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Beyond landscape and lyricism
Author: John Kinsella

This book explores the author's contemporary poetics and pedagogy as it emerges from his reflections on his own writing and teaching, and on the work of other poets, particularly contemporary writers with whom he feels some affinity. At its heart is the author's attempt to elaborate his vision of a species of pastoral that is adequate to a globalised world (the author himself writes and teaches in the United States, the UK and his native Australia), and an environmentally and politically just poetry. The book has an autobiographical element, as the author explores the pulse of his poetic imagination through significant moments and passages of his life.

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John Kinsella

again, echo through the literature. Use the pain. Write with it. This is bad as advice, though it might be appropriate to evoke a reaction against itself. The anxiety of influence (Bloom, 1973/1997) resonates because patriarchy has created the environment for the reception of poetic texts – the Oedipal struggle is written not only in what a poem says, but in the actual techniques traditionally used to express it. The private poetry of women may bear many 47 Disclosed poetics exceptions to this, but the male control over publishing, in western tradition at least, has

in Disclosed poetics
John Kinsella

can begin at zero degrees and disappear below the horizon, moving into the negative until we meet our beginning. Do circles negate ageing? At eighteen, he got to vote and drink – the birthday before, he could drive a car. He did all of these things – well, not vote for government, avoided the draft – 161 Disclosed poetics before that. And other things out of keeping with his ‘age’, or in keeping with the age? Epitaph. Birth notice. Wedding banns . . . I was born old, or so I was told. As a child, I certainly wanted to grow old, to free myself from what I perceived

in Disclosed poetics
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John Kinsella

works subtextually. But it is also limiting, and tends to help establish a nationalist discourse, a collective identity that places those outside the fabric as Other. This Other varies in degrees of rapprochement and alienation, but all those outside the place denoted by the rubric ‘Australia’ become the necessary counterpart in a binary that defines collective identity. This can easily become the machinery of oppression, the emotional and potentially propagandist means of oppressing those who are not of the nation. Disclosed poetics Australia is often called a young

in Disclosed poetics
John Kinsella

most often romanticising of the rural world. There was a huge gap between the rural workers portrayed and the manner of their presentation. One possible turning point in this approach was Wordsworth’s ‘Michael’ (1800/1984, pp. 224–236), in which a consciousness of the collapse of the idyll found expression as part of popular poetic and dramatic culture in English. Earlier, the Elizabethan court wits could invest their Italian-inherited pastorals with ironic relief, and utilise an arcadia as a playground for aristocratic or land-owning sensibilities, but ultimately

in Disclosed poetics
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John Kinsella

. Some landmarks loom. Your poetics is founded in ambiguity and stress – of divergent meanings, images and themes. You see this as bending and warping both moral and visual landscapes into new, sometimes literally newly-perceived, shapes. Geometry and sets are somehow basic to this. ‘Parrotology’ and ‘Hyperpoetics’ are approaches to a new picture of poetics – not just your poetics, but all poetics. But where it counts, each approaches not just a theory of poetry but poetry itself. As you say about poems, those who write them can’t write their theory else they’d write

in Disclosed poetics
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Jonathan Driskell

production of his first feature films, Jenny (1936) and Drôle de drame (1937), and will finish with his contributions to poetic realism at the end of the decade, Le Quai des brumes , Hôtel du Nord , and Le Jour se lève . The seemingly contradictory term ‘poetic realism’ describes a popular and critically respected film movement that emerged in France in the 1930s, which centred on pessimistic, fatalistic stories about

in Marcel Carné
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Michael Kindellan

6 Poetic instruction Michael Kindellan Charles Olson is a didactic poet, a ‘poet-teacher’.1 Though, for instance, he wrote several conspicuously ‘didactic poems’, such as ‘Ballad for Americans’, the ‘ABC’ poems, ‘Letter for Melville 1951’ and ‘The Collected Poems Of’ to name but a few, the Maximus poems undoubtedly constitute the core texts. Not only are these poems intentionally and explicitly didactic – the very first poem presents the eponymous creature Maximus coming to ‘tell you’ what is what – but they are used by Olson as pedagogical texts (MP, 5

in Contemporary Olson
Anke Bernau

8 Lydgate’s saintly poetics Anke Bernau While most scholarship on the works of John Lydgate has tended to concentrate on ‘secular’ works such as Troy Book (c. 1412–20) or Fall of Princes (c. 1431–38), more recently some voices have started to speak out about the innovative aspects of his religious writings, especially his saints’ lives. Thus, in 2006, Fiona Somerset urged scholars to look across Lydgate’s immense and diverse oeuvre, arguing that ‘Lydgate’s hagiographical writings are a particularly fertile ground for such cross-comparison’.1 Jennifer Sisk

in Sanctity as literature in late medieval Britain
Elisabeth Bronfen

between intention and reception due to the inclusion of points of focalisation, the duplicity of the image’s enmeshment of a conservative and a subversive drive. Rather than exorcise Poe’s conjunction of femininity, death and aesthetics, I will instead take his poetics seriously and begin by questioning the presuppositions underlying his claim. What does it mean to maintain that the

in Over her dead body