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- Description'Concrete', 'pattern' or 'shaped' poems are well documented as experimental curiosities. While giving some attention to this sub-genre the book shifts the focus to the ways in which visual form manifests itself in 'traditional' verse, examining poems by Milton, Wordsworth, Eliot, Olson, T.E. Hulme, Auden, Williams, Larkin and Charles Tomlinson. It examines how the tactile presence of the poem on the page transcends the routine distinctions between genre and historical context, emerging as a significant but largely unexamined contribution to modernist poetics. The interpretative methodology is radical, adapting Wollheim's 'twofold thesis' - grounded in the aesthetics of visual art - to the author's own concept of the 'double pattern'. Graphic Poetics challenges the accepted protocols of reading and interpreting verse and considers how poetry is involved in a dialogue with such theoreticians as Derrida. Introducing a new perspective on how poems work and on how they generate effects, it shows how poets use devices previously unrecognised and unackwledged, techniques which are more commonly associated with visual arts than with literature.
- Author BiographyRichard Bradford is Research Professor of English at the University of Ulster, Northern Ireland. He has previously held posts in Oxford, University of Wales and Trinity College, Dublin. He has published widely on prosody, 18th century criticism, Milton, Jakobsen, Critical Theory, the history of English poetry and contemporary fiction.
- Author(s)Richard Bradford
- PublisherContinuum Publishing Corporation
- Date of Publication01/10/2012
- SubjectLiterary Criticism
- Place of PublicationNew York
- Country of PublicationUnited States
- ImprintContinuum Publishing Corporation
- Content Noteblack & white illustrations
- Weight320 g
- Width156 mm
- Height234 mm
- Spine11 mm
- Format DetailsTrade paperback (US)
- Edition StatementNIPPOD
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