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Brogan traces in detail the Wallace Stevens increasingly sophisticated use of similes in order to demonstrate how they satisfied both his own intellectual needs and the needs of modern poetry. While thoroughly grounded in the poetry of Stevens, her book also explores the nature of language itself by demonstrating the possibilities, as well as the limitations, of either a romantic or a deconstructive conception of language. Originally published in 1986. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Demonstrates that Wallace Stevens's experimentation with sound is not only essential to his poetics but also profoundly linked to the pragmatist ideas that informed his way of thinking about language.
Edward Ragg's study was the first to examine the role of abstraction throughout the work of Wallace Stevens. By tracing the poet's interest in abstraction from Harmonium through to his later works, Ragg argues that Stevens only fully appreciated and refined this interest within his later career. Ragg's detailed close-readings highlight the poet's absorption of late nineteenth century and early twentieth century painting, as well as the examples of philosophers and other poets' work. Wallace Stevens and the Aesthetics of Abstraction will appeal to those studying Stevens as well as anyone interested in the relations between poetry and painting. This valuable study embraces revealing philosophical and artistic perspectives, analyzing Stevens' place within and resistance to Modernist debates concerning literature, painting, representation and 'the imagination'.
Wallace Stevens is one of the major poets of the twentieth century, and also among the most challenging. His poems can be dazzling in their verbal brilliance. They are often shot through with lavish imagery and wit, informed by a lawyer's logic, and disarmingly unexpected: a singing jackrabbit, the seductive Nanzia Nunzio. They also spoke--and still speak--to contemporary concerns. Though his work is popular and his readership continues to grow, many readers encountering it are baffled by such rich and strange poetry. Eleanor Cook, a leading critic of poetry and expert on Stevens, gives us here the essential reader's guide to this important American poet. Cook goes through each of Stevens's poems in his six major collections as well as his later lyrics, in chronological order. For each poem she provides an introductory head note and a series of annotations on difficult phrases and references, illuminating for us just why and how Stevens was a master at his art. Her annotations, which include both previously unpublished scholarship and interpretive remarks, will benefit beginners and specialists alike. Cook also provides a brief biography of Stevens, and offers a detailed appendix on how to read modern poetry. A Reader's Guide to Wallace Stevens is an indispensable resource and the perfect companion to The Collected Poems of Wallace Stevens, first published in 1954 in honor of Stevens's seventy-fifth birthday, as well as to the 1997 collection Wallace Stevens: Collected Poetry and Prose.
Praise for the earlier edition: "Students of modern American literature have for some years turned to Fifteen Modern American Authors (1969) as an indispensable guide to significant scholarship and criticism about twentieth-century American writers. In its new form--Sixteenth Modern American Authors--it will continue to be indispensable. If it is not a desk-book for all Americanists, it is a book to be kept in the forefront of the bibliographical compartment of their brains."--American Studies
Wallace Stevens (1879-1955), one of the leading poets of the twentieth century, continues to influence a wide range of poets writing today. However, an image persists of Stevens as an aesthete who was politically removed from his times and who also exhibited sexist and racist tendencies. Jacqueline Vaught Brogan offers careful readings from across the Stevens canon to demonstrate that, contrary to such enduring earlier assessments, Stevens's work over the years shows poetic and political changes that merge with his growing ethical concerns. Brogan traces Stevens's evolving poetic practices along three major lines that often intersected. She situates the beginnings of Stevens's development within his early resistance to the pressures of "reality" on the imagination, an artistic stand that pitted him against the "objective" poetry exemplified in the work of William Carlos Williams. Then, in the midst of Stevens's career, World War II moved him forward with new poetic responsibilities both to witness the current world and to guide readers into their future. The emergence of an almost feminist vision defines Stevens's third line of development. Finally, in addition to identifying these developmental stages, Brogan addresses the undercurrent of race throughout Stevens's work. According to Brogan, Stevens not only changed but matured over time. What began as an aesthetic "violence within," or a girding against such "violence without" as social unrest and war, rapidly evolved during Stevens's middle years into a set of perceptions and practices increasingly responsive to his times.
The first monograph on Ovid's epic simile, offering fresh perspectives on central episodes of this important work.
Practices of comparing shape how we perceive, organize, and change the world. Supposedly innocent, practices of comparing play a decisive role in forming categories, boundaries, and hierarchies; but they can also give an impetus to question and change such structures. Like almost no other human practice, comparing pervades all social, political, economic, and cultural spheres. This volume outlines the program of a new research agenda that places comparative practices at the center of an interdisciplinary exploration. Its contributions combine case studies with overarching systematic considerations. They show what insights can be gained and which further questions arise when one makes a seemingly trivial practice - comparing - the subject of in-depth research.
A lesson on similes and metaphors.
A COMPANION TO MODERNIST POETRY A Companion to Modernist Poetry A Companion to Modernist Poetry presents contemporary approaches to modernist poetry in a uniquely in-depth and accessible text. The first section of the volume reflects the attention to historical and cultural context that has been especially fruitful in recent scholarship. The second section focuses on various movements and groupings of poets, placing writers in literary history and indicating the currents and countercurrents whose interaction generated the category of modernism as it is now broadly conceived. The third section traces the arcs of twenty-one poets’ careers, illustrated by analyses of key works. The Companion thus offers breadth in its presentation of historical and literary contexts and depth in its attention to individual poets; it brings recent scholarship to bear on the subject of modernist poetry while also providing guidance on poets who are historically important and who are likely to appear on syllabi and to attract critical interest for many years to come. Edited by two highly respected and notable critics in the field, A Companion to Modernist Poetry boasts a varied list of contributors who have produced an intense, focused study of modernist poetry.