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  1. Politics and form in postmodern poetry
    O'Hara, Bishop, Ashbery, and Merrill
    Author: Blasing, Mutlu Konuk
    Published: 1996
    Publisher:  Cambridge University Press, Cambridge

    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. Such essentialist... more

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    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. Such essentialist alignments of forms with extra-formal values, and the oppositional framework of innovation versus conservation that they yield, reflect modernist biases inappropriate for reading postwar poetry. Biasing defines postmodern poetry as a break with modernism's valorization of technique and its implicit collusion with technological progress. She shows that four major postwar poets - Frank O'Hara, Elizabeth Bishop, John Ashbery and James Merrill (two traditional and two experimental) - cannot be read as politically conservative because formally traditional or as culturally oppositional because formally experimental. All of 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 that meanings and values do not inhere in forms but are always and irreducibly rhetorical

     
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    Source: Union catalogues
    Language: English
    Media type: Ebook
    Format: Online
    ISBN: 9780511570360
    Other identifier:
    RVK Categories: HU 1740 ; HU 1769
    Series: Cambridge studies in American literature and culture ; 94
    Subjects: Geschichte; American poetry / 20th century / History and criticism; Politics and literature / United States / History / 20th century; Political poetry, American / History and criticism; Postmodernism (Literature) / United States; Literary form / History / 20th century; Literarische Form; Politisches Denken; Postmoderne; Lyrik; Politische Einstellung
    Other subjects: Bishop, Elizabeth / 1911-1979 / Political and social views; Merrill, James / 1926-1995 / Political and social views; O'Hara, Frank / 1926-1966 / Political and social views; Ashbery, John / 1927- / Political and social views; Bishop, Elizabeth (1911-1979); Ashbery, John (1927-2017); Merrill, James Ingram (1926-1995); O'Hara, Frank (1926-1966)
    Scope: 1 online resource (x, 219 pages)
    Notes:

    Title from publisher's bibliographic system (viewed on 05 Oct 2015)

    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."
  2. Politics and form in postmodern poetry
    O'Hara, Bishop, Ashbery, and Merrill
    Author: Blasing, Mutlu Konuk
    Published: 1996
    Publisher:  Cambridge University Press, Cambridge

    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. Such essentialist... more

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    Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Haus Unter den Linden
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    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. Such essentialist alignments of forms with extra-formal values, and the oppositional framework of innovation versus conservation that they yield, reflect modernist biases inappropriate for reading postwar poetry. Biasing defines postmodern poetry as a break with modernism's valorization of technique and its implicit collusion with technological progress. She shows that four major postwar poets - Frank O'Hara, Elizabeth Bishop, John Ashbery and James Merrill (two traditional and two experimental) - cannot be read as politically conservative because formally traditional or as culturally oppositional because formally experimental. All of 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 that meanings and values do not inhere in forms but are always and irreducibly rhetorical 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

     
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  3. Politics and form in postmodern poetry
    O'Hara, Bishop, Ashbery, and Merrill
    Author: Blasing, Mutlu Konuk
    Published: 1996
    Publisher:  Cambridge University Press, Cambridge

    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. Such essentialist... more

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    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. Such essentialist alignments of forms with extra-formal values, and the oppositional framework of innovation versus conservation that they yield, reflect modernist biases inappropriate for reading postwar poetry. Biasing defines postmodern poetry as a break with modernism's valorization of technique and its implicit collusion with technological progress. She shows that four major postwar poets - Frank O'Hara, Elizabeth Bishop, John Ashbery and James Merrill (two traditional and two experimental) - cannot be read as politically conservative because formally traditional or as culturally oppositional because formally experimental. All of 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 that meanings and values do not inhere in forms but are always and irreducibly rhetorical.

     
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    Source: Union catalogues
    Language: English
    Media type: Ebook
    Format: Online
    ISBN: 9780511570360
    RVK Categories: HU 1769
    Series: Cambridge studies in American literature and culture ; 94
    Subjects: Lyrik; Politik <Motiv>
    Other subjects: Merrill, James Ingram (1926-1995); O'Hara, Frank (1926-1966); Bishop, Elizabeth (1911-1979)
    Scope: 1 Online-Ressource (x, 219 pages)
    Notes:

    Title from publisher's bibliographic system (viewed on 05 Oct 2015)
  4. Politics and form in postmodern poetry
    O'Hara, Bishop, Ashbery, and Merrill
    Author: Blasing, Mutlu Konuk
    Published: 1996
    Publisher:  Cambridge University Press, Cambridge

    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. Such essentialist... more

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    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. Such essentialist alignments of forms with extra-formal values, and the oppositional framework of innovation versus conservation that they yield, reflect modernist biases inappropriate for reading postwar poetry. Biasing defines postmodern poetry as a break with modernism's valorization of technique and its implicit collusion with technological progress. She shows that four major postwar poets - Frank O'Hara, Elizabeth Bishop, John Ashbery and James Merrill (two traditional and two experimental) - cannot be read as politically conservative because formally traditional or as culturally oppositional because formally experimental. All of 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 that meanings and values do not inhere in forms but are always and irreducibly rhetorical 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

     
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