Convention and Revolt in Poetry by John Livingston Lowes

By John Livingston Lowes

Leopold is extremely joyful to post this vintage publication as a part of our vast vintage Library assortment. a number of the books in our assortment were out of print for many years, and as a result haven't been obtainable to most of the people. the purpose of our publishing software is to facilitate quick entry to this gigantic reservoir of literature, and our view is this is an important literary paintings, which merits to be introduced again into print after many many years. The contents of the majority of titles within the vintage Library were scanned from the unique works. to make sure a top quality product, each one identify has been meticulously hand curated via our employees. which means we've checked each web page in each identify, making it hugely not going that any fabric imperfections – akin to terrible photo caliber, blurred or lacking textual content - stay. whilst our employees saw such imperfections within the unique paintings, those have both been repaired, or the name has been excluded from the Leopold vintage Library catalogue. As a part of our on-going dedication to offering price to the reader, in the ebook we've got additionally supplied you with a hyperlink to an internet site, the place you could obtain a electronic model of this paintings at no cost. Our philosophy has been guided through a wish to give you the reader with a publication that's as shut as attainable to possession of the unique paintings. we are hoping that you'll get pleasure from this glorious vintage paintings, and that for you it turns into an enriching event. if you'd like to profit extra in regards to the Leopold vintage Library assortment please stopover at our web site at www.leopoldclassiclibrary.com

Show description

Read Online or Download Convention and Revolt in Poetry PDF

Best poetry books

Dante’s Inferno: The Indiana Critical Edition

This new severe version, together with Mark Musa’s vintage translation, offers scholars with a transparent, readable verse translation observed by way of ten cutting edge interpretations of Dante’s masterpiece.

Itself (Wesleyan Poetry Series)

What do "self" and "it" have in universal? In Rae Armantrout's new poems, there isn't any inert substance. Self and it (word and particle) are ritual and rigmarole, song-and-dance and lengthy distance name into no matter what darkish topic may possibly exist. How may well a self now not be egocentric? Armantrout accesses the strangeness of daily incidence with wit, sensuality, and a watch alert to underlying trauma, as within the poem "Price Points" the place a guy conducts an imaginary orchestra yet "gets no issues for originality.

The Nibelungenlied: The Lay of the Nibelungs (Oxford World's Classics)

The best of the heroic epics to emerge from medieval Germany, the Nibelungenlied is a revenge saga of sweeping dimensions. It tells of the dragon-slayer Sivrit, and the mysterious nation of the Nibelungs with its necessary treasure-hoard guarded by means of dwarves and giants, of Prünhilt the Amazonian queen, fortune-telling water-sprites and a cloak of invisibility.

Arthurian Chronicles: Roman de Brut

(Robert John) Wace (c. 1100 - c. 1174) was once an Anglo-Norman poet, who used to be born in Jersey and taken up in mainland Normandy. Roman de Brut (c. 1155) used to be in response to the Historia Regum Britanniae of Geoffrey of Monmouth. Its attractiveness is defined by way of the recent accessibility to a much broader public of the Arthur legend in a vernacular language.

Additional info for Convention and Revolt in Poetry

Sample text

What happens when we are constructed as adversary and ally, encumbrance and friend? In the next chapter, I will try to show how such doubling can occur within the writing of one student, Devlyn, who discovered a creative way to approach his rhetorical predicament. ” In the years since its first publication, Elbow’s article has been cited, praised, disparaged by some, but generally acknowledged as an important counterstatement to a good deal of then-current thinking about audience. Elbow’s article proceeds from what he calls a “limited claim,” his view that “even though ignoring audience will usually lead to weak writing at first .

These are composed of “that person who intimidates us” or those “people who make us feel dumb when we try to speak to them” (51) or even such 32 S AY I N G A N D S I L E N C E “readers with whom we have an awkward relationship” (52). Indeed, for Elbow, it goes without saying that inhibiting audiences are, by definition, impediments to a writer’s struggle to say something authentic and compelling to others. But they are something else too. Notice that, in Elbow’s descriptions, inhibiting audiences are almost always personal, immediate, overwhelmingly present.

Or, as the contemporary philosopher, Hilary Putnam, has pointed out: “We always speak the language of a time and place; but the rightness and wrongness of what we say is not just for a time and place” (247). If this were not the case, we would face the curious necessity of having to attach a subtextual rider to every utterance we make, a disclaimer of sorts that might be translated thus: “Of course, you must realize that the words I speak to you have no meaning beyond the here and now in which they are spoken.

Download PDF sample

Rated 4.91 of 5 – based on 26 votes