Reading Poetry: An IntroductionPrentice Hall/Harvester Wheatsheaf, 1996 - Počet stran: 427 Many readers will have already acquired the basis for self-conscious and self-critical reading strategies through their everyday responses to popular culture. This innovative new textbook will help develop these strategies and interpretive skills by recognising and explaining the open and multi-dimensional qualities of the poetic text. At the same time, Reading Poetry is theoretically informed and up-to-date, taking into account the wealth of theoretical speculation about poetry, and literature in general, the twentieth-century has produced. A wide spectrum of examples has been included, ranging from fifteenth-century lyrics and ballads to contemporary poetry from all over the English-speaking world. Features a unique combination of theory and practice unprecedented in an undergraduate textbook, arguments and discussions supported by analytic examples and case studies, chapter-end exercises to help develop critical analysis, and well-known 'canonical' poems placed alongside the poetry of marginalised groups to exemplify the different meaning and uses of poetry. |
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Výsledky 1-3 z 84
Strana 84
... fact that Owen's poems use interesting formal devices - even the fact that he chose to use poetic form at all - would seem to be of secondary importance . Owen himself wrote : ' Above all I am not concerned with Poetry . My subject is ...
... fact that Owen's poems use interesting formal devices - even the fact that he chose to use poetic form at all - would seem to be of secondary importance . Owen himself wrote : ' Above all I am not concerned with Poetry . My subject is ...
Strana 89
... fact , the metaphorical equivalences between these lines can be more precisely stated : faces ( A ) = petals ( A1 ) crowd ( B ) = wet , black bough ( B1 ) The parallels between these lines are even more exact , since the equivalent ...
... fact , the metaphorical equivalences between these lines can be more precisely stated : faces ( A ) = petals ( A1 ) crowd ( B ) = wet , black bough ( B1 ) The parallels between these lines are even more exact , since the equivalent ...
Strana 264
... fact that each stanza will also repeat the accompanying tune makes it easy for certain verbal phrases to get attached to the musical phrase at particular points in the song ( indeed , that is how refrains tend to get remembered in ...
... fact that each stanza will also repeat the accompanying tune makes it easy for certain verbal phrases to get attached to the musical phrase at particular points in the song ( indeed , that is how refrains tend to get remembered in ...
Obsah
Metre and Syntax ix | 3 |
Creative Form and the Arbitrary Nature of Language | 4 |
George Herbert Easter Wings 1633 | 69 |
Autorská práva | |
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achieved ambiguity American analysis appear argues argument assumptions attempt ballad become beginning called century Chapter claim close context conventions criticism cultural describe developed discourse discussion effect English example experience fact feelings figurative genre human idea imagination important indicates interesting interpretation irony Keats's kind language leaves literary literature living look lyric meaning metaphor metre Milton mind nature particular pattern perhaps period phrase play poem poem's poetic poetry poets political possible present produced question reader reading reasons recognize refer relation relationship response reveals rhetorical rhyme rhythm Romantic seems seen sense signifier similar simply song sonnet sound speaker speech stanza stress structure suggests syllables syntax theory things thought tradition turn understand verse voice whole Wordsworth writing written
Odkazy na tuto knihu
Creativity and Writing: Developing Voice and Verve in the Classroom Teresa Grainger,Kathy Goouch,Andrew Lambirth Náhled není k dispozici. - 2005 |