American Elegy: The Poetry of Mourning from the Puritans to WhitmanU of Minnesota Press - Всего страниц: 352 The most widely practiced and read form of verse in America, “elegies are poems about being left behind,” writes Max Cavitch. American Elegy is the history of a diverse people’s poetic experience of mourning and of mortality’s profound challenge to creative living. By telling this history in political, psychological, and aesthetic terms, American Elegy powerfully reconnects the study of early American poetry to the broadest currents of literary and cultural criticism. Cavitch begins by considering eighteenth-century elegists such as Franklin, Bradstreet, Mather, Wheatley, Freneau, and Annis Stockton, highlighting their defiance of boundaries—between public and private, male and female, rational and sentimental—and demonstrating how closely intertwined the work of mourning and the work of nationalism were in the revolutionary era. He then turns to elegy’s adaptations during the market-driven Jacksonian age, including more obliquely elegiac poems like those of William Cullen Bryant and the popular child elegies of Emerson, Lydia Sigourney, and others. Devoting unprecedented attention to the early African-American elegy, Cavitch discusses poems written by free blacks and slaves, as well as white abolitionists, seeing in them the development of an African-American genealogical imagination. In addition to a major new reading of Whitman’s great elegy for Lincoln, “When Lilacs Last in the Dooryard Bloom’d,” Cavitch takes up less familiar passages from Whitman as well as Melville’s and Lazarus’s poems following Lincoln’s death. American Elegy offers critical and often poignant insights into the place of mourning in American culture. Cavitch examines literary responses to historical events—such as the American Revolution, Native American removal, African-American slavery, and the Civil War—and illuminates the states of loss, hope, desire, and love in American studies today. Max Cavitch is assistant professor of English at the University of Pennsylvania. |
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Стр. 13
... lost their relevance to contemporary life before America entered the cultural scene.” Yet, despite the avowed centrality of their concern with representations of grief and mourning, important recent works of Americanist criticism by ...
... lost their relevance to contemporary life before America entered the cultural scene.” Yet, despite the avowed centrality of their concern with representations of grief and mourning, important recent works of Americanist criticism by ...
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... lost child. I begin with child elegies by Lydia Sigourney, Henry Wadsworth Longfellow, and other poets who tend to measure the loss of children in conventional terms. Then I offer an extended analysis of Ralph Waldo Emerson's “Threnody ...
... lost child. I begin with child elegies by Lydia Sigourney, Henry Wadsworth Longfellow, and other poets who tend to measure the loss of children in conventional terms. Then I offer an extended analysis of Ralph Waldo Emerson's “Threnody ...
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... lost even more of its presumptive force. And as a corollary development with the philosophical deconstruction of the subject, most recent thinking on genre tends variously to refute the ideal of the incarnate text. Nevertheless ...
... lost even more of its presumptive force. And as a corollary development with the philosophical deconstruction of the subject, most recent thinking on genre tends variously to refute the ideal of the incarnate text. Nevertheless ...
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... lost human constituencies. His attachment to generic history and criticism is poised in opposition to what he considers an unwarrantable disavowal of social identity— an overscrupulous devotion to theories of social constructionism—in ...
... lost human constituencies. His attachment to generic history and criticism is poised in opposition to what he considers an unwarrantable disavowal of social identity— an overscrupulous devotion to theories of social constructionism—in ...
Стр. 23
... lost object and its so-called substitutes. There really are no substitutes, as Freud conceded in a letter to his friend Ludwig Binswanger. There is only “something else.” Fradenburg eloquently reflects on this letter and on ...
... lost object and its so-called substitutes. There really are no substitutes, as Freud conceded in a letter to his friend Ludwig Binswanger. There is only “something else.” Fradenburg eloquently reflects on this letter and on ...
Содержание
1 | |
1 Legacy and Revision in EighteenthCentury AngloAmerican Elegy | 33 |
2 Elegy and the Subject of National Mourning | 80 |
Custodianship and Opposition in Antebellum Elegy | 108 |
Waldo Emerson and the Price of Generation | 143 |
African Americans and Elegy from Wheatley to Lincoln | 180 |
Whitman and the Future of Elegy | 233 |
Objects | 286 |
Notes | 295 |
Index | 335 |
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American Elegy: The Poetry of Mourning from the Puritans to Whitman Max Cavitch Недоступно для просмотра - 2007 |
American Elegy: The Poetry of Mourning from the Puritans to Whitman Max Cavitch Недоступно для просмотра - 2007 |
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American authority become begins body Boston Bryant calls century child collective Complete continuity conventional criticism cultural dead death dream early effect elegiac elegists elegy Emerson England Essays example experience expression father feeling figure final funeral further future genre George grief hand heart helps human idealization imagination Indian individual John kind laments later Leaves less letter Lilacs Lincoln lines literary literature living loss lost means memory mourners mourning nature never night object ofthe once particular poem poet poetic poetry political practice present published Puritan question readers reading references relation remains says scene seeks seems sense slave social song sorrow soul speak suggests suicide Thomas thought tion tradition turn University Press verse voice Waldo Washington Wheatley Whitman writes wrote York
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Misery's Mathematics: Mourning, Compensation, and Reality in Antebellum ... Peter Balaam Недоступно для просмотра - 2009 |