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. 14
... suggests that the poem receives no real attention in the volume precisely because it has been canonized—and thus, presumably, rendered less amenable to contemporary critical transformations—by virtue ofits formal coherence. To dwell ...
... suggests that the poem receives no real attention in the volume precisely because it has been canonized—and thus, presumably, rendered less amenable to contemporary critical transformations—by virtue ofits formal coherence. To dwell ...
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... suggest how these responses help variously to configure, legitimate, and disrupt national identifications by both crossing and articulating divisions of class, race, gender, religion, sexuality, and politics. So many aims could not be ...
... suggest how these responses help variously to configure, legitimate, and disrupt national identifications by both crossing and articulating divisions of class, race, gender, religion, sexuality, and politics. So many aims could not be ...
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... suggest ways in which such revisionary practices could be brought to bear on the study of genre—for example, in connection with Native American death songs or with the Creole funerary traditions of the Caribbean. The present focus on ...
... suggest ways in which such revisionary practices could be brought to bear on the study of genre—for example, in connection with Native American death songs or with the Creole funerary traditions of the Caribbean. The present focus on ...
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... suggest in his concluding remarks “some of the ways in which our approach to the genre might be brought to bear on American elegies.” And, indeed, his psychosexual analysis is a crucial starting point for later readers of “Lilacs ...
... suggest in his concluding remarks “some of the ways in which our approach to the genre might be brought to bear on American elegies.” And, indeed, his psychosexual analysis is a crucial starting point for later readers of “Lilacs ...
Стр. 27
... suggesting that any poems of comparable interest or influence were produced there—at least not until Whitman's “Lilacs,” which is where Sacks, in his adumbration of an American countertradition in elegy, looks first. “Lilacs” seems to ...
... suggesting that any poems of comparable interest or influence were produced there—at least not until Whitman's “Lilacs,” which is where Sacks, in his adumbration of an American countertradition in elegy, looks first. “Lilacs” seems to ...
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 |
Часто встречающиеся слова и выражения
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 |