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How does irony affect the evaluation and perception of the First World War both then and now? Irony and the Poetry of the First World War traces one of the major features of war poetry from the author's application as a means of disguise, criticism or psychological therapy to its perception and interpretation by the reader.
The horrors of the First World War released a great outburst of emotional poetry from the soldiers who fought in it as well as many other giants of world literature. Wilfred Owen, Rupert Brooke and W B Yeats are just some of the poets whose work is featured in this anthology. The raw emotion unleashed in these poems still has the power to move readers today. As well as poems detailing the miseries of war there are poems on themes of bravery, friendship and loyalty, and this collection shows how even in the depths of despair the human spirit can still triumph.
This Companion offers a major re-examination of the poetry of the First World War at the start of the war's centennial commemoration.
Revising his 1996 doctoral dissertation for the University of South Carolina, Haughey seeks out the response of Irish poets to the Great War, which he finds to have been cast into deep critical shadow by the dazzle of English poetry about that war, and the glare of poetry on the contemporary Irish independence movement. Annotation copyrighted by Book News, Inc., Portland, OR
A new edition of Paul Fussell's literate, literary, and illuminating account of the Great War, now a classic text of literary and cultural criticism.
A study of poetry written by men and women in all parts of the British Isles during the First World War, 1914â€"18. The book discusses significant individual poems by the writers named, exploring them within their social, political and aesthetic frames and.
Taking 44 Mecklenburgh Square as the focal point and springboard for a critical group study of D.H. Lawrence, H.D. and Richard Aldington, this book offers a fresh perspective on the relationship of modernist biofiction and poetry to the literature of the First World War. A group that Perdita Schaffner described as 'another Bloomsbury set', the Mecklenburgh Square writers, like the Bloomsbury Group proper, 'lived in squares' and 'loved in triangles', in Dorothy Parker's famous formulation. Geographically adjacent, these sets intersected socially and, at points, in their aesthetics: both practiced innovative forms of what may broadly be defined as 'life writing'. But, demarcating the Mecklenburgh Square writers from the Bloomsbury Set, the former had its origins in the transatlantic avant-garde: Lawrence. H.D., Aldington (and John Cournos) were all associated with Imagism, the poetic movement which instantiated Anglo-American modernism. Considered as a pro-tem collective, these four poets, all of whom were also novelists and translators, contest the binaries that still obtain between modernist and First World War writing. This group study of Lawrence, H.D., Aldington and Cournos tracks the transition of Imagism from a pre-war mode to a war poetics which includes but is not confined to the trench lyric and it traces, in the transtextual relations between the Mecklenburgh Square novels, the traumatic imprint of the war on modernist life writing.
A Revolution in Rhyme: Poetic Co-option under the Islamic Republic offers, for the first time, an original, timely examination of the pivotal role poetry plays in policy, power and political legitimacy in modern-day Iran. Through a compelling chronological and thematic framework, Shams presents fresh insights into the emerging lexicon of coercion and unrest in the modern Persian canon. Analysis of the lives and work of ten key poets traces the evolution of the Islamic Republic, from the 1979 Revolution, through to the Iran-Iraq War, the death of a leader and the rise of internal conflicts. Ancient forms jostle against didactic ideologies, exposing the complex relationship between poetry, patronage and literary production in authoritarian regimes, shedding light on a crucial area of discourse that has been hitherto overlooked.