New World Poetics: Nature and the Adamic Imagination of Whitman, Neruda, and WalcottUniversity of Georgia Press, 25 янв. 2010 г. - Всего страниц: 442 A simultaneously ecocritical and comparative study, New World Poetics plumbs the earthly depth and social breadth of the poetry of Walt Whitman, Pablo Neruda, and Derek Walcott, three of the Americas' most ambitious and epic-minded poets. In Whitman's call for a poetry of New World possibility, Neruda's invocation of an "American love," and Walcott's investment in the poetic ironies of an American epic, the adamic imagination of their poetry does not reinvent the mythical Garden that stands before history's beginnings but instead taps the foundational powers of language before a natural world deeply imbued with the traces of human time. Theirs is a postlapsarian Adam seeking a renewed sense of place in a biocentric and cross-cultural New World through language and nature's capacity for regeneration in the wake of human violence and suffering. The book introduces the environmental history of the Americas and its relationship to the foundation of American and Latin American studies, explores its relevance to each poet's ambition to recuperate the New World's lost histories, and provides a transnational poetics of understanding literary influence and textual simultaneity in the Americas. The study provides much needed in-depth ecocritical readings of the major poems of the three poets, insisting on the need for thoughtful regard for the challenge to human imagination and culture posed by nature's regenerative powers; nuanced appreciation for the difficulty of balancing the demands of social justice within the context of deep time; and the symptomatic dangers as well as healing potential of human self-consciousness in light of global environmental degradation. |
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... present form of this book, I am indebted to Scott Slovic for publishing it. Special thanks to Nancy Grayson for believing in this project. Finally, I have many personal debts. To Sergio and Dávila Ordoñez, wherever they may be, who ...
... present” (40). The adamic imagination of this study attends to this weight without turning away from history, as if to dismiss the relevance of the Middle Passage, centuries of enslavement, indigenous genocide, and colonialism. History ...
... present that paradoxically makes poetic language potentially new and new futures possible. This is not the Adam who is complicit with the devastation of the era of discovery or who insists on the myth of “original innocence and unity ...
... present despite the lack of historical evidence that would have necessitated such relationships. That is, he hopes for a freedom from and defiance against historical or biological causation; his earth-saving poetry would take up the ...
... present moment of the artist. Reading along Whitman's proverbial “open road” makes interpretation as much a rendering of the natural world as art is, and this helps to alleviate the anxieties of authenticity that obsess literary and art ...
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