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In it, Aristotle offers an account of what he calls "poetry" (a term which in Greek literally means "making" and in this context includes drama - comedy, tragedy, and the satyr play - as well as lyric poetry and epic poetry). They are similar in the fact that they are all imitations but different in the three ways that Aristotle describes: 1. Differences in music rhythm, harmony, meter and melody. 2. Difference of goodness in the characters. 3. Difference in how the narrative is presented: telling a story or acting it out. In examining its "first principles," Aristotle finds two: 1) imitation and 2) genres and other concepts by which that of truth is applied/revealed in the poesis. His analysis of tragedy constitutes the core of the discussion. Although Aristotle's Poetics is universally acknowledged in the Western critical tradition, "almost every detail about his seminal work has aroused divergent opinions."
A selection of interviews and rare photos from the legendary St. Mark's Poetry Project for its 50th anniversary season.
"Poe thought of himself as fundamentally a poet, even though he felt that economic pressures had prevented him from devoting himself fully to what "under happier circumstances, would have been the field of my choice." In his poems can be found the most distilled expression of that quest for supernal realities that he took as his aesthetic credo. Richard Wilbur has collected here the whole canon of Poe's mature poetry, along with a selection of prose writings that illuminate his poetic goals."--BOOK JACKET.
This landmark book, together with its accompanying CD, captures the heady excitement of the vibrant, irreverent poetry scene of New York's Lower East Side in the 1960s. Drawing from personal interviews with many of the participants, from unpublished letters, and from rare sound recordings, Daniel Kane brings together for the first time the people, political events, and poetic roots that coalesced into a highly influential community. From the poetry-reading venues of the early sixties, such as those at the Les Deux Mégots and Le Metro coffeehouses to The Poetry Project at St. Mark's Church, a vital forum for poets to this day, Kane traces the history of this literary renaissance, showing how it was born from a culture of publicly performed poetry. The Lower East Side in the sixties proved foundational in American verse culture, a defining era for the artistic and political avant-garde. The voices and works of John Ashbery, Amiri Baraka, Charles Bernstein, Bill Berkson, Ted Berrigan, Kenneth Koch, Bernadette Mayer, Ron Padgett, Denise Levertov, Paul Blackburn, Frank O'Hara, and many others enliven these pages, and the thirty five-track CD includes recordings of several of the poets reading from their work in the sixties and seventies. The Lower East Side's cafes, coffeehouses, and salons brought together poets of various aesthetic sensibilities, including writers associated with the so-called New York School, Beats, Black Mountain, Deep Image, San Francisco Renaissance, Umbra, and others. Kane shows that the significance for literary history of this loosely defined community of poets and artists lies in part in its reclaiming an orally centered poetic tradition, adapted specifically to open up the possibilities for an aesthetically daring, playful poetics and a politics of joy and resistance.
A simultaneously ecocritical and comparative study, New World Poetics plumbs the earthly depth and social breadth of the poetry of Walt Whitman, Pablo Neruda, and Derek Walcott, three of the Americas' most ambitious and epic-minded poets. In Whitman's call for a poetry of New World possibility, Neruda's invocation of an "American love," and Walcott's investment in the poetic ironies of an American epic, the adamic imagination of their poetry does not reinvent the mythical Garden that stands before history's beginnings but instead taps the foundational powers of language before a natural world deeply imbued with the traces of human time. Theirs is a postlapsarian Adam seeking a renewed sense of place in a biocentric and cross-cultural New World through language and nature's capacity for regeneration in the wake of human violence and suffering. The book introduces the environmental history of the Americas and its relationship to the foundation of American and Latin American studies, explores its relevance to each poet's ambition to recuperate the New World's lost histories, and provides a transnational poetics of understanding literary influence and textual simultaneity in the Americas. The study provides much needed in-depth ecocritical readings of the major poems of the three poets, insisting on the need for thoughtful regard for the challenge to human imagination and culture posed by nature's regenerative powers; nuanced appreciation for the difficulty of balancing the demands of social justice within the context of deep time; and the symptomatic dangers as well as healing potential of human self-consciousness in light of global environmental degradation.
The poetic manifesto has a long, rich history that hasn't been updated until now. What does a poetic manifesto look like in a time of increased pluralism, relativism, and danger? How can a manifesto open a space for new and diverse voices? Forty-five poets at different stages of their careers contribute to this new anthology, demonstrating the relevance of the declarative form at the intersection of aesthetics and politics. The contributors also have chosen their own poems to accompany their manifestos-an anthologizing act that poets are never permitted. Invaluable for writers at any stage in their careers, this anthology may be especially useful for teachers of creative writing, both undergraduate and graduate. Poets include: Lisa Ampleman, Sandra Beasley, Sean Bishop, Susan Briante, Stephen Burt, Jen Campbell, Kara Candito, Bruce Cohen, Erica Dawson, Sean Thomas Dougherty, Jehanne Dubrow, Rebecca Morgan Frank, Elisa Gabbert, Hannah Gamble, Noah Eli Gordon, David Groff, Cynthia Hogue, Doyali Farah Islam, Genevieve Kaplan, Vandana Khanna, Matthew Lippman, Beth Loffreda, Cecilia Llompart, Randall Mann, Corey Marks, Joyelle McSweeney, Erika Meitner, Orlando Menes, Susan Laughter Meyers, Jennifer Militello, Tyler Mills, Jacqueline Osherow, Emilia Phillips, Kevin Prufer, Claudia Rankine, Joshua Robbins, Kathleen Rooney, Zach Savich, Jeffrey Schultz, Martha Silano, Sean Singer, Marcela Sulak, Maureen Thorson, Afaa Weaver, Jillian Weise, Valerie Wetlaufer, and Rachel Zucker.
"A collaborative critical analysis of a work of digital literature, this book models how scholars can and need to weave together multiple methodologies from the digital humanities in order to effectively analyze born-digital electronic literature"--
Poetics of the Local considers contemporary Irish poetry in light of transnational forces of globalization and financialization, showing how these conditions have shaped poetic innovation in Ireland from the 1960s to the present. The book is organized around different sites caught in the growing pains of a rapidly globalizing Ireland—from the "ghost estates," or housing projects abandoned after the economic boom of the 1990s, to the urban "regeneration" of Belfast after the Troubles, to the transformation of Dublin into a hub for creative economy programs like the UNESCO City of Literature. In readings of works by Thomas Kinsella, Paula Meehan, Seamus Heaney, John Montague, Ciaran Carson, Leontia Flynn, Alan Gillis, Sinéad Morrissey, and Paul Muldoon, Shirley Lau Wong argues that the enduring centrality of place in Irish poetry should be seen not as a hangover of nostalgic nationalism but rather as an exploration of the material and emplaced effects of the seemingly faraway processes of global capitalism.
This book consists of four lectures and six interviews; it covers a wide range of topics central to Glissant's thought - such as creolization, langage, culture and identity, 'atavistic' versus 'composite cultures' - presented in a particularly accessible form because here Glissant interacts with the views of other people.