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

Author: Mutlu Konuk Blasing
Publisher: Cambridge [England] ; New York : Cambridge University Press, 1995.
Series: Cambridge studies in American literature and culture.
Edition/Format:   Book : EnglishView all editions and formats
Database:WorldCat
Summary:
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 -  Read more...
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Genre/Form: Criticism, interpretation, etc
History
Named Person: 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
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Mutlu Konuk Blasing
ISBN: 0521496071 9780521496070
OCLC Number: 32012479
Description: x, 219 p. ; 24 cm.
Contents: 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."
Series Title: Cambridge studies in American literature and culture.
Responsibility: Mutlu Konuk Blasing.
More information:

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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