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The breaking of style : Hopkins, Heaney, Graham

저자: Helen Vendler
출판사: Cambridge, Mass. : Harvard University Press, 1995.
판/형식:   Print book : 영어모든 판과 형식 보기
데이터베이스:WorldCat
요약:
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,  더 읽기…
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상세정보

장르/형태: Criticism, interpretation, etc
추가적인 물리적 형식: Online version:
Vendler, Helen, 1933-
Breaking of style.
Cambridge, Mass. : Harvard University Press, 1995
(OCoLC)604773144
명시된 사람: 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
문서 형식:
모든 저자 / 참여자: Helen Vendler
ISBN: 067408120X 9780674081208 0674081218 9780674081215
OCLC 번호: 32550302
메모: "The Richard Ellmann lectures in modern literature."
설명: x, 100 pages ; 22 cm
내용: Gerard Manley Hopkins and Sprung Rhythm --
Seamus Heaney: The Grammatical Moment --
Jorie Graham: The Moment of Excess.
책임: Helen Vendler.

초록:

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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