Download A Companion to Poetic Genre by Erik Martiny PDF

By Erik Martiny

A better half to Poetic style brings jointly over forty contributions from top lecturers to supply severe overviews of poetic genres and their sleek diversifications. Covers a wide range of poetic cultural traditions from Britain, eire, North the United States, Japan and the CaribbeaSummarises many genres from their earliest origins to their latest renderingsThe merely full-length severe assortment to accommodate sleek variations of poetic genresContributors comprise Bernard O’Donoghue, Stephen Burt, Jahan Ramazani, and lots of different striking students of poetry and poetics

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Extra resources for A Companion to Poetic Genre

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1996. 433–58. Benjamin, W. ” Trans. R. Livingstone. Selected Writings. Vol. 2. Ed. W. Jennings, H. Eiland, and G. Smith. Cambridge, MA: Belknap Press; Harvard University Press. 1996. 741–42. Benjamin, W. ” Trans. R. Livingstone. Selected Writings. Vol. 2. Ed. W. 16 Jahan Ramazani Jennings, H. Eiland, and G. Smith. Cambridge, MA: Belknap Press; Harvard University Press. 1996. 582. Benjamin, W. ” Illuminations. Trans. Harry Zohn. New York: Schocken Books. 1969. 83–109. Bennett, L. Jamaica Labrish.

But this very fact tells us something important about poetry and its distinctive approach to the news: Anything can happen. You know how Jupiter Will mostly wait for clouds to gather head Before he hurls the lightning? Well, just now He galloped his thunder-cart and his horses Across a clear blue sky. It shook the earth And clogged underearth, the River Styx, The winding streams, the Atlantic shore itself. 1–7) The “just now” of Horace’s poem (“nunc”) is renewed, doubling as the now of the ancient past and the now of the immediate present, unlike the singular “now” of the news.

Compared with the news, poetry seems compressed and memorable, phonetically patterned and figuratively rich, if also slow and often counterfactual; compared with poetry, the news seems instantaneous and transparent and dense with information, if also ephemeral, denotative, and flat. But these contrasts obviously oversimplify, less because the news sometimes aspires to poetry in, for example, punning headlines, than because poetry is itself sometimes shot through with the news. If we turn to a handful of modern and contemporary poems, we see that, in accordance with Mikhail Bakhtin’s dialogic model of genre, poetry both incorporates and resists the news.

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