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Things that matter: The importance o...

Brown, Elisabeth Grace.

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Things that matter: The importance of objects in the lyrics of Marianne Moore, Elizabeth Bishop, and Jorie Graham.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Things that matter: The importance of objects in the lyrics of Marianne Moore, Elizabeth Bishop, and Jorie Graham./
Author:	Brown, Elisabeth Grace.
Description:	209 p.
Notes:	Source: Dissertation Abstracts International, Volume: 63-12, Section: A, page: 4310.
Contained By:	Dissertation Abstracts International63-12A.
Subject:	Literature, American. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3073752
ISBN:	9780493938349

Things that matter: The importance of objects in the lyrics of Marianne Moore, Elizabeth Bishop, and Jorie Graham.
Brown, Elisabeth Grace.

Things that matter: The importance of objects in the lyrics of Marianne Moore, Elizabeth Bishop, and Jorie Graham. - 209 p.

Source: Dissertation Abstracts International, Volume: 63-12, Section: A, page: 4310.

Thesis (Ph.D.)--University of Southern California, 2002.

The three women poets in my study challenge the lyric form's ability to incorporate animate and inanimate bodies as commodities. Bodies, it turns out, are an important link between matter and social institutions in the lyric. Yet, many critics continue to understand the lyric as a landscape of the universal self, a genre that represents the voice of a speaker that anyone can assume. This definition tends to rope off the lyric from theoretically contested issues like possession, position, and cultural production. Alternatively, we can understand the lyric as a form that constructs an artifice that passes as a self by looking and recording details. Both looking at objects and recording them, then, become fundamentally political actions. The poets in my dissertation are famous for their powers of observation. Yet, I argue that their poetry implicitly acknowledges their privileged position and questions the lyric's ease and our culture's sanction of lyric observation. Instead of using objects to facilitate lyric transcendence, these poets resist the temptation to move from an individual to the universal self by focusing on the concrete materiality of objects within their poems. In the case of Marianne Moore's poetry, the lyric becomes a place to collect details, to list them, and organize them into categories. Elizabeth Bishop's objects tell stories about the past, using the lyric form as a type of container for nostalgic narratives. Jorie Graham's lyrics materialize on the page, shifting between the physical manifestation of her poetics and the dynamics between the observing gaze and its object. Observation links these three poets together, but it is the emphasis on the material object's fate within the lyric that my project fundamentally sets into conversation between them. The poetry of Moore, Bishop, and Graham provide powerful evidence that the lyric and its materiality engage in what we know as social life. For these three poets, the lyric gestures significantly outside the landscape of the self.

ISBN: 9780493938349Subjects--Topical Terms:

1017657
Literature, American.

Things that matter: The importance of objects in the lyrics of Marianne Moore, Elizabeth Bishop, and Jorie Graham.
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100 1 $a Brown, Elisabeth Grace. $3 1914741
245 1 0 $a Things that matter: The importance of objects in the lyrics of Marianne Moore, Elizabeth Bishop, and Jorie Graham.
300 $a 209 p.
500 $a Source: Dissertation Abstracts International, Volume: 63-12, Section: A, page: 4310.
500 $a Adviser: David St. John.
502 $a Thesis (Ph.D.)--University of Southern California, 2002.
520 $a The three women poets in my study challenge the lyric form's ability to incorporate animate and inanimate bodies as commodities. Bodies, it turns out, are an important link between matter and social institutions in the lyric. Yet, many critics continue to understand the lyric as a landscape of the universal self, a genre that represents the voice of a speaker that anyone can assume. This definition tends to rope off the lyric from theoretically contested issues like possession, position, and cultural production. Alternatively, we can understand the lyric as a form that constructs an artifice that passes as a self by looking and recording details. Both looking at objects and recording them, then, become fundamentally political actions. The poets in my dissertation are famous for their powers of observation. Yet, I argue that their poetry implicitly acknowledges their privileged position and questions the lyric's ease and our culture's sanction of lyric observation. Instead of using objects to facilitate lyric transcendence, these poets resist the temptation to move from an individual to the universal self by focusing on the concrete materiality of objects within their poems. In the case of Marianne Moore's poetry, the lyric becomes a place to collect details, to list them, and organize them into categories. Elizabeth Bishop's objects tell stories about the past, using the lyric form as a type of container for nostalgic narratives. Jorie Graham's lyrics materialize on the page, shifting between the physical manifestation of her poetics and the dynamics between the observing gaze and its object. Observation links these three poets together, but it is the emphasis on the material object's fate within the lyric that my project fundamentally sets into conversation between them. The poetry of Moore, Bishop, and Graham provide powerful evidence that the lyric and its materiality engage in what we know as social life. For these three poets, the lyric gestures significantly outside the landscape of the self.
590 $a School code: 0208.
650 4 $a Literature, American. $3 1017657
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710 2 0 $a University of Southern California. $3 700129
773 0 $t Dissertation Abstracts International $g 63-12A.
790 1 0 $a St. John, David, $e advisor
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792 $a 2002
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3073752