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The breaking of style : Hopkins, Heaney, Graham

著者: Helen Vendler
出版: Cambridge, Mass. : Harvard University Press, 1995.
エディション/フォーマット:   書籍 : Englishすべてのエディションとフォーマットを見る
データベース:WorldCat
概要:
Style is the material body of lyric poetry, Helen Vendler suggests. To cast off an earlier style is to perform an act of violence on the self. Why might a poet do this, adopting a sharply different form? In this exploration of three kinds of break in poetic style, Vendler clarifies the essential connection between style and substance in poetry. Opening fresh perspectives on the work of three very different poets,  続きを読む
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ジャンル/形式: Criticism, interpretation, etc
その他のフォーマット: Online version:
Vendler, Helen, 1933-
Breaking of style.
Cambridge, Mass. : Harvard University Press, 1995
(OCoLC)604773144
関連の人物: Gerard Manley Hopkins; Seamus Heaney; Jorie Graham; Gerard Manley Hopkins; Seamus Heaney; Jorie Graham; Jorie Graham; Seamus Heaney; Gerard Manley Hopkins; Gerard Manley Hopkins; Seamus Heaney; Jorie Graham
ドキュメントの種類: 図書
すべての著者/寄与者: Helen Vendler
ISBN: 067408120X 9780674081208 0674081218 9780674081215
OCLC No.: 32550302
注記: "The Richard Ellmann lectures in modern literature."
物理形態: x, 100 pages ; 22 cm
コンテンツ: Gerard Manley Hopkins and Sprung Rhythm --
Seamus Heaney: The Grammatical Moment --
Jorie Graham: The Moment of Excess.
責任者: Helen Vendler.

概要:

Style is the material body of lyric poetry, Helen Vendler suggests. To cast off an earlier style is to perform an act of violence on the self. Why might a poet do this, adopting a sharply different form? In this exploration of three kinds of break in poetic style, Vendler clarifies the essential connection between style and substance in poetry. Opening fresh perspectives on the work of three very different poets, her masterful study of changes in style yields a new view of the interplay of moral, emotional, and intellectual forces in a poet's work. Gerard Manley Hopkins' invention of sprung rhythm marks a dramatic break with his early style. Rhythm, Vendler shows us, is at the heart of Hopkins' aesthetic, and sprung rhythm is his symbol for danger, difference, and the shock of the beautiful. In Seamus Heaney's work, she identifies clear shifts in grammatical "atmosphere" from one poem to the next - from "nounness" to the "betweenness" of an adverbial style - shifts whose moral and political implications come under scrutiny here. And finally Vendler looks at Jorie Graham's departure from short lines to numbered lines to squared long lines of sentences, marking a move from deliberation to cinematic "freeze-framing" to coverage, each with its own meaning in this poet's career.

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