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

作者: Mutlu Konuk Blasing
出版商: Cambridge [England] ; New York : Cambridge University Press, 1995.
叢書: Cambridge studies in American literature and culture.
版本/格式:   圖書 : 英語所有版本和格式的總覽
資料庫:WorldCat
提要:
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 -  再讀一些...
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詳細書目

提及的人: 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
資料類型: 網際網路資源
文件類型: 圖書, 網路資源
所有的作者/貢獻者: Mutlu Konuk Blasing
ISBN: 0521496071 9780521496070
OCLC系統控制編碼: 32012479
描述: x, 219 p. ; 24 cm.
内容: 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."
叢書名: Cambridge studies in American literature and culture.
責任: Mutlu Konuk Blasing.
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摘要:

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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