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The first study of poetic language from a historical and philosophical perspectiveIn a series of 12 chapters, exemplary poems - by Walter Ralegh, John Milton,William Cowper, William Wordsworth, Gerard Manley Hopkins, Wallace Stevens, Ezra Pound, Frank O'Hara, Robert Creeley, W. S. Graham, Tom Raworth, Denise Riley and Thomas A. Clark - are read alongside theoretical discussions of poetic language. The discussions provide a jargon-free account of a wide range of historical and contemporary schools of thought about poetic language, and an organised, coherent critique of those schools (including analytical philosophy, cognitive poetics, structuralism and post-structuralism). Via close readings of poems from 1600 to the present readers are taken through a wide range of styles including modernist, experimental and innovative poetries. Paired chapters within a chronological structure allow lecturers and students to approach the material in a variety of ways (by individual chapters, paired historical periods) that are appropriate to different courses.
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An accessible introduction to poetry's unusual uses of language that tackles a wide range of poetic features from a linguistic point of view. Equally appealing to the non-expert and more experienced student of linguistics, this book delivers an engaging and often witty summary of how we define what poetry is.
In Revolution in Poetic Language, Julia Kristeva explicates her foundational distinction between the semiotic and the symbolic and explores their interrelationships. Linking the psychosomatic to the literary and the literary to a larger political horizon, she questions the premises of linguistic, psychoanalytic, philosophical, and literary theories.
Since the 1980s, poets in Canada and the U.S. have increasingly turned away from the use of English, bringing multiple languages into dialogue—and into conflict—in their work. This growing but under-studied body of writing differs from previous forms of multilingual poetry. While modernist poets offered multilingual displays of literary refinement, contemporary translingual poetries speak to and are informed by feminist, anti-racist, immigrant rights, and Indigenous sovereignty movements. Although some translingual poems have entered Chicanx, Latinx, Asian American, and Indigenous literary canons, translingual poetry has not yet been studied as a cohesive body of writing. The first book-length study on the subject, Translingual Poetics argues for an urgent rethinking of Canada and the U.S.’s multiculturalist myths. Dowling demonstrates that rising multilingualism in both countries is understood as new and as an effect of cultural shifts toward multiculturalism and globalization. This view conceals the continent’s original Indigenous multilingualism and the ongoing violence of its dismantling. It also naturalizes English as traditional, proper, and, ironically, native. Reading a range of poets whose work contests this “settler monolingualism”—Jordan Abel, Layli Long Soldier, Myung Mi Kim, Guillermo Gómez-Peña, M. NourbeSe Philip, Rachel Zolf, Cecilia Vicuña, and others—Dowling argues that translingual poetry documents the flexible forms of racialization innovated by North American settler colonialisms. Combining deft close readings of poetry with innovative analyses of media, film, and government documents, Dowling shows that translingual poetry’s avoidance of authentic, personal speech reveals the differential forms of personhood and non-personhood imposed upon the settler, the native, and the alien.
The most important poetry reference for more than four decades—now fully updated for the twenty-first century Through three editions over more than four decades, The Princeton Encyclopedia of Poetry and Poetics has built an unrivaled reputation as the most comprehensive and authoritative reference for students, scholars, and poets on all aspects of its subject: history, movements, genres, prosody, rhetorical devices, critical terms, and more. Now this landmark work has been thoroughly revised and updated for the twenty-first century. Compiled by an entirely new team of editors, the fourth edition—the first new edition in almost twenty years—reflects recent changes in literary and cultural studies, providing up-to-date coverage and giving greater attention to the international aspects of poetry, all while preserving the best of the previous volumes. At well over a million words and more than 1,000 entries, the Encyclopedia has unparalleled breadth and depth. Entries range in length from brief paragraphs to major essays of 15,000 words, offering a more thorough treatment—including expert synthesis and indispensable bibliographies—than conventional handbooks or dictionaries. This is a book that no reader or writer of poetry will want to be without. Thoroughly revised and updated by a new editorial team for twenty-first-century students, scholars, and poets More than 250 new entries cover recent terms, movements, and related topics Broader international coverage includes articles on the poetries of more than 110 nations, regions, and languages Expanded coverage of poetries of the non-Western and developing worlds Updated bibliographies and cross-references New, easier-to-use page design Fully indexed for the first time
In Feeling as a Foreign Language, Alice Fulton considers poetry's uncanny ability to access and recreate emotions so wayward they go unnamed. Fulton contemplates topics ranging from the intricacies of a rare genetic syndrome to fractals from the aesthetics of complexity theory to the need for "cultural incorrectness." Along the way, she falls in love with an outrageous 17th century poet, argues for a Dickinsonian tradition in American letters, and calls for a courageous poetics of inconvenient knowledge.
Austere and uncompromising, the philosopher Ludwig Wittgenstein had no use for the avant-garde art works of his own time. He refused to formulate an aesthetic, declaring that one can no more define the "beautiful" than determine "what sort of coffee tastes good". And yet many of the writers of our time have understood, as academic theorists generally have not, that Wittgenstein is "their" philosopher. How do we resolve this paradox? Marjorie Perloff, our foremost critic of twentieth-century poetry, argues that Wittgenstein has provided writers with a radical new aesthetic, a key to recognizing the inescapable strangeness of ordinary language. Wittgenstein's ladder is an apt figure for this radical aesthetic, and not just in its ordinariness as an object. The movement "up" this ladder can never be more than what Wittgenstein's contemporary, Gertrude Stein, called "Beginning again and again". Wittgenstein shows us, too, that we cannot climb the same ladder twice: the use of language, the context in which words and sentences appear, defines their meaning, which changes with every repetition. Wittgenstein's aesthetic brooks no theory, no essentialism, no metalanguage - only a practice, a mode of operation, fragmentary and elliptical.
"L=A=N=G=U=A=G=E started as a bimonthy magazine of infrmation and commentary, a forum for discussion and interchange. Throughout, we have emphasized a spectrum of writing that places its attention primarily on language and ways of making meaning, that takes for granted neither vocabulary, grammar, process, shape, syntax, program or subject matter. All of these remain an issue. Focussing on this range of poetic exploration, and on related aesthetic and political concerns, we have tried to open things up beyond correspondence and conversation: to break down some unnecessary encapsulation of writers (person to person, & scene from scene), and to develop more fully the latticework of those involved in aesthetically related activity. ..."--Repossessing the word, P. IX.