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The breaking of style : Hopkins, Heaney, Graham

Auteur : Helen Vendler
Éditeur : Cambridge, Mass. : Harvard University Press, 1995.
Édition/format :   Livre : AnglaisVoir toutes les éditions et les formats
Base de données :WorldCat
Résumé :
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,  Lire la suite...
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Détails

Genre/forme : Criticism, interpretation, etc
Format – détails additionnels : Online version:
Vendler, Helen, 1933-
Breaking of style.
Cambridge, Mass. : Harvard University Press, 1995
(OCoLC)604773144
Personne nommée : Gerard Manley Hopkins; Seamus Heaney; Jorie Graham; Gerard Manley Hopkins; Seamus Heaney; Jorie Graham; Gerard Manley Hopkins; Seamus Heaney; Jorie Graham; Jorie Graham; Seamus Heaney; Gerard Manley Hopkins
Format : Livre
Tous les auteurs / collaborateurs : Helen Vendler
ISBN : 067408120X 9780674081208 0674081218 9780674081215
Numéro OCLC : 32550302
Notes : "The Richard Ellmann lectures in modern literature"
Description : x, 100 p. ; 22 cm.
Contenu : Gerard Manley Hopkins and Sprung Rhythm --
Seamus Heaney: The Grammatical Moment --
Jorie Graham: The Moment of Excess
Responsabilité : Helen Vendler.

Résumé :

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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Données liées


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