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Politics and form in postmodern poetry : O'Hara, Bishop, Ashbery, and Merrill

Autore: Mutlu Konuk Blasing
Editore: Cambridge [England] ; New York : Cambridge University Press, 1995.
Serie: Cambridge studies in American literature and culture.
Edizione/Formato:   Libro : EnglishVedi tutte le edizioni e i formati
Banca dati:WorldCat
Sommario:
Approaching post-World War II poetry from a postmodern critical perspective, this study challenges the prevailing assumption that experimental forms signify political opposition while traditional forms are politically conservative. Blasing defines postmodern poetry as a break with modernism's valorisation of technique and its implicit collusion with technological progress. She shows how four major postwar poets -  Per saperne di più…
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Persona incaricata: Elizabeth Bishop; James Merrill; Frank O'Hara; John Ashbery; Frank O'Hara; James Ingram Merrill; Elizabeth (Schriftstellerin) Bishop; John Ashbery; Elizabeth Bishop; James Ingram Merrill; Frank O'Hara; John Ashbery; Frank O'Hara; Elizabeth Bishop; John Ashbery; James Ingram Merrill
Tipo materiale: Risorsa internet
Tipo documento: Book, Internet Resource
Tutti gli autori / Collaboratori: Mutlu Konuk Blasing
ISBN: 0521496071 9780521496070
Numero OCLC: 32012479
Descrizione: x, 219 p. ; 24 cm.
Contenuti: Introduction: Poetry after Modernism --
Frank O'Hara: "How Am I to Become a Legend?" --
Elizabeth Bishop: "Repeat, Repeat, Repeat; Revise, Revise, Revise" --
John Ashbery: "The Epidemic of the Way We Live Now" --
James Merrill: "Sour Windfalls of the Orchard Back of Us."
Titolo della serie: Cambridge studies in American literature and culture.
Responsabilità: Mutlu Konuk Blasing.
Maggiori informazioni:

Abstract:

Approaching post-World War II poetry from a postmodern critical perspective, this study challenges the prevailing assumption that experimental forms signify political opposition while traditional forms are politically conservative. Blasing defines postmodern poetry as a break with modernism's valorisation of technique and its implicit collusion with technological progress. She shows how four major postwar poets - Frank O'Hara, Elizabeth Bishop, John Ashbery, and James Merrill - cannot be read as politically conservative because formally traditional or as culturally oppositional because formally experimental. All these poets acknowledge that no one form is more natural than another, and no given form grants them a superior position for judging cultural and political arrangements. Their work plays an important cultural role precisely by revealing how meanings and values do not inhere in forms but are always, irreducibly, rhetorical.--Publisher's description.

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