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

Auteur: Mutlu Konuk Blasing
Uitgever: Cambridge [England] ; New York : Cambridge University Press, 1995.
Serie: Cambridge studies in American literature and culture.
Editie/Formaat:   Boek : EngelsAlle edities en materiaalsoorten bekijken.
Database:WorldCat
Samenvatting:
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 -  Meer lezen...
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Genre/Vorm: Criticism, interpretation, etc
History
Genoemd persoon: 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; John Ashbery; Elizabeth Bishop; James Merrill; Frank O'Hara
Genre: Internetbron
Soort document: Boek, Internetbron
Alle auteurs / medewerkers: Mutlu Konuk Blasing
ISBN: 0521496071 9780521496070
OCLC-nummer: 32012479
Beschrijving: x, 219 p. ; 24 cm.
Inhoud: 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."
Serietitel: Cambridge studies in American literature and culture.
Verantwoordelijkheid: Mutlu Konuk Blasing.
Meer informatie:

Fragment:

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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