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Features photographs of cats from A to Z.
Provides a new appreciation of John Donne through the lens of Walter Benjamin's critical theory of baroque allegory.
This book introduces the reader to the literary work and to an understanding of its cultural background and its specific features, presenting basic topics and ideas in their historical context and development in Western culture.
In Spanish. This volume, while including many of the usual anthology pieces from Spanish poetry, provides a sampling of the major genres of poetry associated with Spains older literary traditions, omitting only the classical epic. In addition to English prose translations, this collection also includes a seventeen-page introduction intended to define the genres and to indicate briefly the lines along which they developed. Includes selections from these poets of the Renaissance: Juan Boscn, Cristbal de Castillejo, Garcilaso de la Vega, Gutierre de Cetina, Francisco de la Torre, Hernando de Acua, Fray Luis de Len, Baltasar del Alczar, Fernando de Herrera, Francisco de Aldana, and San Juan de la Cruz. Includes selections from these Baroque poets: Lupercio & Bartolom L. de Argensola, Luis de Gngora, Lope de Vega, Juan de Arguijo, Francisco de Medrano, Rodrigo Caro, Andrs Fernndez de Andrada, Pedro Espinosa, Francisco de Quevedo, Francisco de Rioja, Esteban Manuel de Villegas, and Sor Juana Ins de la Cruz.
Although readers of prose fiction sometimes find descriptive passages superfluous or boring, description itself is often the most important aspect of a poem. This book examines how a variety of contemporary poets use description in their work. Description has been the great burden of poetry. How do poets see the world? How do they look at it? What do they look for? Is description an end in itself, or a means of expressing desire? Ezra Pound demanded that a poem should represent the external world as objectively and directly as possible, and William Butler Yeats, in his introduction to The Oxford Book of Modern Verse (1936), said that he and his generation were rebelling against, inter alia, "irrelevant descriptions of nature" in the work of their predecessors. The poets in this book, however, who are distinct in many ways from one another, all observe the external world of nature or the reflected world of art, and make relevant poems out of their observations. This study deals with the crisp, elegant work of Charles Tomlinson, the swirling baroque poetry of Amy Clampitt, the metaphysical meditations of Charles Wright from a position in his backyard, the weather reports and landscapes of John Ashbery, and the "new way of looking" that Jorie Graham proposes to explore in her increasingly fragmented poems. All of these poets, plus others (Gary Snyder, Theodore Weiss, Irving Feldman, Richard Howard) who are dealt with more briefly, attend to what Wallace Stevens, in a memorable phrase, calls "the way things look each day." The ordinariness of daily reality is the beginning of the poets' own idiosyncratic, indeed unique, visions and styles.