Erin Mackie Introduces students to the discipline of English and Textual Studies, stressing not what is read but how we read it—and the difference that makes. Its goal, in other words, is not only to show how meanings are created through acts of critical reading but also to demonstrate the consequences of pursuing one mode or method of reading over another. This course is designed to enhance your ability to read and interpret contextually as well as closely, to help you to articulate your understanding effectively, and to draw connections through reading and writing. Through close, deep, and thoughtful reading of literary and non-literary texts as well as essays by critics and theorists, we will explore the ways texts mean and the ways readers produce meaning.
In lieu of an abstract, here is a brief excerpt of the content: Guide to the Year's Work: General Materials Andrew M. Press, takes up the question of Milton's influence in the wake of the Romantic agon diagnosed by Harold Bloom. Unlike the Romantics who struggle insistently and Satanically with Milton as their precursor, the Victorians accept him as a "classic"—meaning he is both everywhere, taken for granted, and yet strangely obscure, occluded in ways that nevertheless express his power as an influence.
Christina Rossetti's biblical allusions, for example, keep turning to Milton in a way that quietly demonstrates the pervasiveness of his poetry. In the central portion of the book, Gray chooses a particular rubric for individual authors.
|Note to Teachers||Published February 16, Overview This essay considers southern literature in terms of generic forms that are, if not uniquely southern, substantially recognizable as contingent upon southern identifiers:|
|While The Billy Boils - Reading Australia||Her publications include poetry and scholarship. In a Station of the Metro page 63 by Ezra Pound.|
|Literature Worms: A Portrait of the Artist as a Young Man by James Joyce||Immediately, her perceptions of death seem to be that it is a final thing, hence she needs her partner to be sure to remember her, using this same imperative verb three times in the octet.|
|How to Write a Poetry Analysis Essay Comparing & Contrasting Two Poems | Pen and the Pad||It presents the work of leading scholars of written and oral epic poetry, ancient, Renaissance, and contemporary, from a wide variety of disciplines, including anthropology, classics, Slavic studies, comparative literature, folklore, and English. Epic poetry now stands at the center of an intense debate concerning the relevance and cultural significance of the works that have helped to define Western culture.|
|The Woman in Black | Miss Scoffham's English Blog for Amazing Students||Dec 06, Jeffrey Keeten rated it it was amazing "Andrew Carnegie started out buying Adams Express and Pullman stock when they were in a slump; he had confidence in railroads, he had confidence in communications, he had confidence in transportation, he believed in iron. Andrew Carnegie believed in iron, built bridges Bessemer plants blast furnaces rolling mills; Andrew Carnegie believed in oil; Andrew Carnegie believed in steel; always saved his money whenever he had a million dollars he invested it.|
Arnold is drawn to "the Might of Weakness" in Milton: This provides a model for Arnold's own poetry and its frequent yet oblique allusions to Milton.
Similarly, Tennyson adopts Miltonic modes of "Diffusive Power," limiting his scope, trading in understatement, and emphasizing the earthly, mortal beauty in Milton rather than the sublime. George Eliot thematizes "Troubled Transmissions" in Middlemarch, drawing on David Masson's then-recent biography to invoke a Milton both great and "subject to inevitable distortion" p.
Each section of Gray's book leads into a series of readings of related texts, brought to life by the critic's fine ear and sure touch, his real ease with language and perhaps more crucially, with the more subtle range of human emotion. His previous book, The Poetry of Indifference, was also devoted to the understated and the oblique, yet his own habits of mind are anything but slack.
In a characteristically witty move, Gray entitles his new book's conclusion, "The Heirs of Milton," and it dwells tellingly, amusingly, and finally movingly on Milton's hair—and human hair generally—as a way of thinking about influence via self-possession and dispersal.
Readers may not accept all of Gray's suggestive formulations, but they cannot fail to be impressed by his nuanced mode of proceeding and the winning style of his prose. Milton and the Victorians provides valuable new ways of thinking about Milton, about the [End Page ] relationship of Romantic to Victorian literature, about the specific authors and works it takes up, and about the nature of influence itself.
It reveals an impressive literary critic at work. Victorian Physiological Poetics Ohio Univ. Press,Jason Rudy asks us to re-imagine the history of Victorian poetry by placing the Spasmodics at its center.
In such a narrative, the prosodic experiments of Sydney Dobell and Alexander Smith represent an extreme version of what motivated Victorian poets across the board: Using the debates over Spasmody as a lens, Rudy reveals patterns of engagement with "embodied poetic form" as characteristic of the age of electricity and the telegraph.
He argues that while the poets of Sensibility for example, the Della Cruscans and the Romantics had some allegiance to the idea of electric communication of emotion, it was the Victorians who moved beyond mere intellectual processing and metaphorical deployment: One might argue with the quick dispatch of Romanticism along these lines, particularly the sidelining of Coleridge, but Rudy is looking ahead to Tennyson's early work, and particularly The Princess, as involved with the telegraph and the physiological effects of electric sensation.
That these effects could have socio-political consequences meant that the debate over embodied poetics was conducted at a nervous pitch. Rudy has Tennyson swerve from a commitment to this type of poetry as "too extreme, too extravagant, and ultimately, in a time of national unease [i If you would like to authenticate using a different subscribed institution that supports Shibboleth authentication or have your own login and password to Project MUSE, click 'Authenticate'.
You are not currently authenticated. View freely available titles:Note to Teachers The Book of the Dun Cow has a wonderful complexity. It participates in the antique and the modern world view and spiritual realities co-exist with a naturalistic account of both barnyard and human interaction.
Life Class is the first novel in Pat Barker's Life Class Trilogy - a powerful and unforgettable story of art and war Spring, The students at the Slade School of Art gather in /5().
Compare and contrast the two poems, focusing on how the poets use language and imagery to represent war. Both poems are war poems of two different periods in history. Even poets meet to discuss their ideas and techniques. In short, all kinds of writers collaborate.
This chapter offers some strategies for successful collaboration.
John Keats was born in London on 31 October , the eldest of Thomas and Frances Jennings Keats’s four children. Although he died at the age of twenty-five, Keats had perhaps the most remarkable career of any English poet.
Compare and Contrast the Ways in Which Two Poets Create Sympathy for Their Characters – ‘on a Portrait of a Deaf Man’ and ‘the River God’. Compare and Contrast the ways in which two Poets create Sympathy for their Characters – ‘On a Portrait of a Deaf Man’ and ‘The River God’.