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Poetry's Appeal studies the reemergence of a viable poetry in the politicized culture of revolutionary and post-revolutionary France. It finds that poetry addresses history and the political through a disjunction between its illusory status as a song of private, lyrical intent and its actual state as a material inscription, inevitably public in character.
Throughout the 19th century, American poetry was a profoundly populist literary form. It circulated in New England magazines and Southern newspapers; it was read aloud in taverns, homes, and schools across the country. Antebellum reviewers envisioned poetry as the touchstone democratic genre, and their Civil War–era counterparts celebrated its motivating power, singing poems on battlefields. Following the war, however, as criticism grew more professionalized and American literature emerged as an academic subject, reviewers increasingly elevated difficult, dispassionate writing and elite readers over their supposedly common counterparts, thereby separating “authentic” poetry for intellectuals from “popular” poetry for everyone else.\ Conceptually and methodologically unique among studies of 19th-century American poetry, Who Killed American Poetry? not only charts changing attitudes toward American poetry, but also applies these ideas to the work of representative individual poets. Closely analyzing hundreds of reviews and critical essays, Karen L. Kilcup tracks the century’s developing aesthetic standards and highlights the different criteria reviewers used to assess poetry based on poets’ class, gender, ethnicity, and location. She shows that, as early as the 1820s, critics began to marginalize some kinds of emotional American poetry, a shift many scholars have attributed primarily to the late-century emergence of affectively restrained modernist ideals. Mapping this literary critical history enables us to more readily apprehend poetry’s status in American culture—both in the past and present—and encourages us to scrutinize the standards of academic criticism that underwrite contemporary aesthetics and continue to constrain poetry’s appeal. Who American Killed Poetry? enlarges our understanding of American culture over the past two hundred years and will interest scholars in literary studies, historical poetics, American studies, gender studies, canon criticism, genre studies, the history of criticism, and affect studies. It will also appeal to poetry readers and those who enjoy reading about American cultural history.
This book argues that the theory of force elaborated in Immanuel Kant's aesthetics (and in particular, his theorization of the dynamic sublime) is of decisive importance to poetry in the nineteenth century and to the connection between poetry and philosophy over the last two centuries. Inspired by his deep engagement with the critical theory of Walter Benjamin, who especially developed this Kantian strain of thinking, Kevin McLaughlin uses this theory of force to illuminate the work of three of the most influential nineteenth-century writers in their respective national traditions: Friedrich Hölderlin, Charles Baudelaire, and Matthew Arnold. The result is a fine elucidation of Kantian theory and a fresh account of poetic language and its aesthetic, ethical, and political possibilities.
Separated into 10 subject matters, the book contains numerous poems and short stories reflecting how my life experiences and the hundreds of books I have read. The subjects are relevant to everyone; Passing, Man, Wisdom, Time, Personal, History, Life, Woman, Metaphysics, and Religion.
Separated into ten subject matters, the book contains numerous poems and short stories reflecting my life experiences and the hundreds of books I have read. The subjects are relevant to everyonepassing, man, wisdom, time, personal, history, life, woman, metaphysics, and religion.
A poet writer and muscian, living in Sheffield /Nottingham UK. i love to write, and everything I write comes from the heart. i feel compelled to do so, and express myself. My aim to through my writing bring some pleasure, and perhaps write poems people can relate to. How hope you enjoy my book, as much as I did writing it. Happy reading thank you.
This work opens a different line of inquiry into the stakes of poetry through indepth investigations of the mishearing inherent to poetry's relation to philosophy, history, politics, and the law.