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Poetry in Theory: An Anthology 1900-2000 (Blackwell Anthologies)by Jon Cook
Synopses & Reviews
Poetry in Theory: An Anthology 1900-2000 brings together key critical and theoretical texts from the twentieth century which have animated debates about modern poetry.
Poetry in Theory: An Anthology 1900 -2000 brings together key critical and theoretical texts from the twentieth century which have animated debates about modern poetry. It provides all the material necessary for readers to engage with these debates, and with broader questions about aesthetics, language, culture, and imagination.The anthology is broad in scope, embracing writings by poets, critics, literary theorists, and philosophers, ranging from Ezra Pound to Jacques Derrida. These take a variety of different forms, including manifestos, polemics, critical essays, and extracts from longer works. Texts translated from French, German, Spanish, Italian, and Russian are presented alongside the work of writers from Britain, Ireland, the United States, Africa, India, and the Caribbean.The volume is organized chronologically, with a thematic index, allowing readers to trace continuities and disruptions in poetics over the twentieth century. A general introduction by the editor sets out the uses of the book and outlines Romantic and nineteenth-century precedents for thinking about modern poetry.
Poetry in Theory: An Anthology 1900-2000 brings key critical and theoretical texts from the twentieth century which have animated debates about modern poetry. It provides all the material necessary for readers to engage with these debates, and with broader questions about aesthetics, language, culture, and imagination.
About the Author
Jon Cook is Dean of the Faculty of Arts and Humanities at the University of East Anglia and a Senior Lecturer in the Department of American and English Literature. His published work includes Romanticism and Ideology (1981), William Hazlitt: Selected Writings (1998) and numerous essays on Romanticism, critical and cultural theory, and contemporary writing.
Table of Contents
Part I: 1900-20.
The Symbolism of Poetry: W.B. Yeats (1900).
Three Letters: Rainer Maria Rilke (1903, 1907, 1925).
Creative Writers and Daydreaming: Sigmund Freud (1908).
Romanticism and Classicism: T. E. Hulme (1911).
The Technical Manifesto of Futurist Literature: Filippo Marinetti (1912).
Poet Yeats: Rabindrantah Tagore (1912).
Robert Frost: Edward Thomas (1914).
Poetry as Spoken Art: Amy Lowell (1917).
The New Spirit and the Poets: Guillaume Apollinaire (1917).
A Retrospect: Ezra Pound (1918).
Note on Poetry: Tristan Tzara (1919).
On Poetry and On Contemporary Poetry: Velimir Khlebnikov (1919/20).
Tradition and the Individual Talent: T. S. Eliot (1919).
D. H. Lawrence Preface to New Poems (1920).
Prologue to Kora in Hell: William Carlos Williams (1920).
Part II: 1921-40.
General Aims and Theories: Hart Crane (1925).
The Negro Artist and the Racial Mountain: Langston Hughes (1926).
How are Verses Made: Vladimir Mayakovsky (1926).
Science and Poetry: I. A. Richards (1926).
A Survey of Modernist Poetry: Robert Graves and Laura Riding (1928).
Seven Types of Ambiguity: William Empson (1930).
The Poetic Process: Kenneth Burke (1931).
Poetry’s Evidence and Automatic Writing: Paul Eluard and Andre Breton (1932/33).
New Bearings in English Poetry: F. R. Leavis (1932).
Lorca Play and the Theory of Duende: Frederico Garcia (1933).
Poetry and Grammar: Gertrude Stein (1935).
Poets with History and Poets Without History: Marina Tsvetaeva (1935).
Modernism: Walter Benjamin (1938).
The Figure a Poem Makes: Robert Frost (1939).
Poetry and Abstract Thought: Paul Valery (1939).
Part III: 1941-60.
Three Lectures on Poetry: Martin Heidegger (1941/44/46).
The Noble Rider and the Sound of Words: Wallace Stevens (1942).
Feeling and Precision: Marianne Moore (1944).
Poetry and Knowledge: Aime Cesaire (1945).
Projective Verse: Charles Olson (1950).
A Statement for Poetry: Louis Zukofsky (1950).
Is There Any Poetic Writing: Roland Barthes (1953).
The Concrete Universal: W. C. Wimsatt (1954).
Excerpts from Seminars and Papers: Jacques Lacan (1954/55/57).
What is Modern Poetry: Donald Davie (1955).
Mallarme’s Experience: Maurice Blanchot (1955).
The Pleasure Principle/Writing Poems: Philip Larkin (1957/64).
On Lyric Poetry and Society: Theodor Adorno (1957).
Closing Statement: Linguistics and Poetics: Roman Jakobson (1960).
Part IV: 1961-80.
What I See in the Maximus Poems: Edward Dorn (1961).
Personism: A Manifesto: Frank O’Hara (1961).
When the Mode of the Music Changes/Abstraction in Poetry: Allan Ginsberg (1961/62).
The Poet and the City: W. H. Auden (1962).
Hunting Is Not Those Heads on the Wall/State/Meant: Imamu Baraka (1964/65).
A Sense of Measure: Robert Creeley (1964).
The Invisible Avant-Garde: John Ashbery (1968).
Closure and Anti-Closure in Modern Poetry: Barbara Herrnstein Smith (1968).
Poetic Language, Poetics of
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