Search results

You are looking at 1 - 10 of 35 items for :

  • "Poetic techniques" x
  • Refine by access: All content x
Clear All

The Art of The Faerie Queene is the first book centrally focused on the forms and poetic techniques employed by Spenser. Though much scholarly attention in recent years has been on the relationships between Spenser’s poetry and political and colonial history, the place of his epic in literary history has received less attention. This book aims to rectify that by re-reading The Faerie Queene as poetry which is at once absorbing, demanding, and experimental. The Spenser explored here ingeniously uses the tricks of his poetic style to amplify his symbolic agendas and to deepen the reading experience.

One of the book’s particular originalities is the way in which it reframes Spenser’s place in literary history. As opposed to the stylistic conservatism diagnosed by previous generations of scholars, The Art of The Faerie Queene presents the poem as more radical, more edgy, and less conventional, particularly as it appeared to Spenser’s first readers. As such, the book proposes new ways of understanding the Elizabethan poetic Renaissance and the ways in which Spenser is best understood in terms of literary history.

The book progresses from the choice of individual words through to questions of metre, rhyme, and stanza form up to the larger structures of canto, book, and the incomplete yet massive poem itself. It will be of particular relevance to undergraduates studying Elizabethan poetry, graduate students, and scholars of Renaissance poetry, for whom the formal aspect of the poetry has been a topic of growing relevance.

Abstract only
Hable con ella
Ana María Sánchez-Arce

ella , what Almodóvar refers to as ‘tone’. Poetic techniques are used skilfully to equivocate, as Benigno does, and constantly undermine spectators’ assumptions. Almodóvar writes in his notes on Hable con ella : Disrupted time and the mixing of diverse narrative units function best when the action is mental or internal, or occurs in another dimension, as in the films of David Lynch. In this kind of ‘fantastic neorealism’ or ‘naturalism of the absurd’ in which I move, plot ruptures suppose a kind of punch in the eyes of the spectator since he’s already

in The cinema of Pedro Almodóvar

This book is the first ever concordance to the rhymes of Spenser’s epic. It gives the reader unparalleled access to the formal nuts and bolts of this massive poem: the rhymes which he used to structure its intricate stanzas.

As well as the main concordance to the rhymes, the volume features a wealth of ancillary materials, which will be of value to both professional Spenserians and students, including distribution lists and an alphabetical listing of all the words in The Faerie Queene. The volume breaks new ground by including two studies by Richard Danson Brown and J. B. Lethbridge, so that the reader is given provocative analyses alongside the raw data about Spenser as a rhymer. Brown considers the reception of rhyme, theoretical models and how Spenser’s rhymes may be reading for meaning. Lethbridge in contrast discusses the formulaic and rhetorical character of the rhymes.

Political apathy and the poetry of Derek Mahon
George Legg

poetics’ might actually critique the pervasions of ‘the free m ­ arket … a­ nd the economic disparities it produces’.49 It is the purpose of this chapter to develop this important contention: to delineate Mahon’s critical engagement with the tumult of Northern Irish modernity by grounding his poetic techniques in the systemic violence from which they emerge. The deep reading this requires means I have room to discuss only a handful of poems. But through this approach I aim to develop a broader understanding of Mahon’s formalism and the complex cultural conditions they

in Northern Ireland and the politics of boredom
Louis Sullivan’s transcendentalist legacy in word and image
Lauren S. Weingarden

transcendentalism thrived. Here, Sullivan was schooled in Emerson’s teachings, which promoted the myth of America as the new Eden or ‘Nature’s nation’.4 To sustain this myth and thereby attain an indigenous art form, Emerson instructed artists in every medium to use the poet and poetic techniques as models for translating all things natural and manmade as symbols of the divine mind. As he put it, ‘Nature offers all her creatures as a picture-language … because nature is a symbol in the whole and in every part’.5 For Emerson, these symbol-making procedures would not only ensure

in Mixed messages
Open Access (free)
Christopher Morgan

’s poetic technique, his habitual ‘breaking the skin on the pool of himself’, the process of unveiling ‘his own reality’. chapter1 28/1/05 1:21 pm Page 21 Poetry as autobiography 21 In his 1972 article ‘Belfast’ Heaney also differentiates between the passivity and the activity required by the poet in pursuit of the self. He refers to his own listening for poems, to waiting and to hearing, much as Wordsworth did, but he also writes of seeking, of journeying, of dredging up, of overmastering, as he claims Yeats did. His conclusion is that poems involve craft and

in R. S. Thomas
Open Access (free)
The scientific world
Christopher Morgan

two primary sources of Thomas’s accumulating critique of applied science and examines the three poetic techniques according to which he achieves this ‘escalating irony’. The final section of Chapter 5 looks briefly at a few of the poems in which Thomas envisions the possibility of a Wordsworthian unity between technology and poetry before taking up his position on pure science, in particular modern physics, as he contextualises it in Old Testament theology. Looking primarily at his 1988 article for Planet entitled ‘Undod’ or ‘Unity’ one discovers a surprising

in R. S. Thomas
Marie Mulvey-Roberts

more original composite of medieval imagery, utilizing – and subverting – the traditional allegory of the virgin and the unicorn. It is ‘Unicorn’ that best illustrates Carter’s own description of her poetic technique as ‘a kind of pop poetry, with images from Ian Fleming, off the back of corn-flake packets, women’s magazines, strip cartoons etc.’ (AC to CM, 18 May 1964). The piece is presented to the reader from the outset as a kind of pop-art collage, summed up in the early line ‘Let us cut out and assemble our pieces’. It opens with the following quotation

in The arts of Angela Carter
Yulia Ryzhik

, and he looked more frequently to early modern drama than to the poets in his later writings. Eliot’s critical engagement with Donne is well known, not just his interest in Donne’s ideas of love, sex, and death but especially his ‘metaphysical’ poetic techniques and values. His encounter with Spenser is less obvious and has been much less studied, yet in some of his critical writings Eliot praised Spenser as a ‘master of versification’, an ‘innovator’ and ‘elaborator’ ‘with a sensitiveness to words almost equal to that of Chaucer’. 18 These

in Spenser and Donne
South African resistance poetry in the 1970s and 1980s
Tim Woods

. The poems which appeared in Staffrider , and in individual volumes in the aftermath of Soweto 1976, represented departures in form and ideology from those that had been published in The Purple Renoster , in The Classic and in early collections, such as Mtshali’s Sounds of a Cowhide Drum . Initially, Soweto poems were aimed at a white, liberal readership, and used poetic techniques not

in African pasts