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Though Wallace Stevens' shorter poems are perhaps his best known, his longer poems, Vendler suggests in this book, deserve equal fame and equal consideration. She proposes that Stevens development as a poet can best be seen, not in description--which must be repetitive--of the abstract bases of his work, but rather in a view of his changing styles.
The emergence of photography in the mid-nineteenth century transformed ideas about how the self and nature could be pictured. Although the autobiographical potential of photography seems self-evident today, Sean Meehan takes us back to the birth of the medium when some of America's preeminent authors began to think about photography's implications for the representation of identity and the nature of autobiographical writing. Both photography and autobiography involve a tension between disclosing and concealing their means of production: a chemical process for one, the writing process for the other. Meehan examines how four major authors-Ralph Waldo Emerson, Henry David Thoreau, Frederick Douglass, and Walt Whitman-were well aware of this tension and explored it in their work. By examining the implications of early photography in their writings, he shows how each engaged the new visual medium, how photography mediated their conceptions of self-representation, and how their appropriation of photographic thinking created a new kind of autobiography. Examining the metonymic nature of photography, Meehan explores how the new medium influenced conceptions of visual and verbal representation. He intertwines these four writers' reflections on photography-in Emerson's Representative Men, Thoreau's journals, Douglass's narratives of slavery, and Whitman's Specimen Days-with theories of photography as expounded by its inventors and observers, from Louis Daguerre and William Talbot in Europe to Oliver Wendell Holmes and Marcus Root in America. As the first book to focus on the emergence of this new visual medium during the American Renaissance, Mediating American Autobiography shows us what photography means for American literature in general and for the genre most closely linked to it in particular. Because the engagement of these writers with photography has been neglected in previous scholarship, Meehan's work provocatively bridges the study of two media and illuminates an important aspect of American thought and culture at the dawn of the technological era.
Interpreters use exhibits, brochures, signs, websites, site publications, and other visual media to tell their stories. Written for interpreters who have little or no training in graphic design but find themselves responsible for creating or overseeing the production of nonpersonal media, Interpretation by Design focuses on using basic principles of both graphic design and interpretation in nonpersonal media. This book addresses how to make decisions about type, color, and composition, as well as why an interpretive approach may be more effective for communicating with your audience.
The “transmigration of souls is no fable. I would it were, but men and women are only half human.” With these words, Ralph Waldo Emerson confronts a dilemma that illuminates the formation of American individualism: to evolve and become fully human requires a heightened engagement with history. Americans, Emerson argues, must realize history’s chronology in themselves—because their own minds and bodies are its evolving record. Whereas scholarship has tended to minimize the mystical underpinnings of Emerson’s notion of the self, his depictions of “the metempsychosis of nature” reveal deep roots in mystical traditions from Hinduism and Buddhism to Platonism and Christian esotericism. In essay after essay, Emerson uses metempsychosis as an open-ended template to understand human development. In Leaves of Grass, Walt Whitman transforms Emerson’s conception of metempsychotic selfhood into an expressly poetic event. His vision of transmigration viscerally celebrates the poet’s ability to assume and live in other bodies; his American poet seeks to incorporate the entire nation into his own person so that he can speak for every man and woman.
Willard Spiegelman is considered one of the finest critics of poetry writing today and this volume collects his best work on the subject, offering essays that span his entire career and chart his changing relationship to an elusive form. He takes the measure of a wide spectrum of poetry, ranging from the Romantic era to the present, through an examination of those poets whose language, formal experiments, and music have fascinated him throughout his career. With his trademark engaging and stylish prose, Spiegelman takes readers on a tour of the rich and diverse landscape of British and American poetry, as he provides nuanced, insightful readings of works by William Wordsworth, John Keats, Robert Lowell, Elizabeth Bishop, and John Ashbery, to name just a few.
Focuses on how nuances of poetic form alter how we have come to understand cultural aspects of time. Figures of Time proposes radically new ideas about the very poetic ground of culture. Presenting unique close readings of six modern poets—Wallace Stevens, W. B. Yeats, H. D. (Hilda Doolittle), Ezra Pound, Langston Hughes, and T. S. Eliot—David Ben-Merre brings recent theoretical questions about the rhetoric of modernism and poetic figuration into current discussions in critical theory. He argues that poetic spaces, often disjunctions of sound and sense, disrupt our culturally inherited notions of time, reimagining with an often irrational and anachronistic backward glance what we take to be historical chronologies, psychological perceptions of time, and collective scripts about causality.
Ralph Waldo Emerson was one of America's most influential thinkers. His essay, Nature is considered to be the founding document for the Transcendentalism movement, and his influence can be seen in the writings of Whitman, Thoreau, Melville, and countless others. This is a guide on the 19th-century essayist and philosopher.
Expanding Authorship collects important essays by Peter Middleton that show the many ways in which, in a world of proliferating communications media, poetry-making is increasingly the work of agencies extending beyond that of a single, identifiable author. In four sections—Sound, Communities, Collaboration, and Complexity—Middleton demonstrates that this changing situation of poetry requires new understandings of the variations of authorship. He explores the internal divisions of lyric subjectivity, the vicissitudes of coauthorship and poetry networks, the creative role of editors and anthologists, and the ways in which the long poem can reveal the outer limits of authorship. Readers and scholars of Wallace Stevens, William Carlos Williams, George Oppen, Frank O’Hara, Robert Duncan, Robert Creeley, Jerome Rothenberg, Susan Howe, Lyn Hejinian, Nathaniel Mackey, and Rae Armantrout will find much to learn and enjoy in this groundbreaking volume.