東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Lyric Spaces: Past Tense Speakers in...

Bauer, Mark.

Linked to FindBook

Google Book

Amazon

博客來

Lyric Spaces: Past Tense Speakers in Late Twentieth-Century Poetry.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Lyric Spaces: Past Tense Speakers in Late Twentieth-Century Poetry./
Author:	Bauer, Mark.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
Description:	131 p.
Notes:	Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.
Contained By:	Dissertation Abstracts International78-11A(E).
Subject:	British & Irish literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10282389
ISBN:	9780355034301

Lyric Spaces: Past Tense Speakers in Late Twentieth-Century Poetry.
Bauer, Mark.

Lyric Spaces: Past Tense Speakers in Late Twentieth-Century Poetry. - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 131 p.

Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.

Thesis (Ph.D.)--University of California, Berkeley, 2017.

In extended readings of Robert Lowell, Seamus Heaney, Elizabeth Bishop, and Ted Hughes, Lyric Spaces troubles the formal resemblance between the lyric 'I' and the autobiographical 'I' in autobiographical poetry written after the Second World War. I argue that while a work like Robert Lowell's Life Studies announces itself as being drawn from the poet's own life, the poems themselves frequently critique and ironize that connection. My project's first goal is to conceptualize these critiques and ironies as what I call self-forgetful autobiography---a reticent, distanced mode of writing a self that is as attentive to writing's limitations as it is to its possibilities. For Lowell, this mode is visible in his simultaneous, yet divergent, concern for poetic authenticity and factual accuracy in Life Studies; for Heaney, it appears as the desire in Death of a Naturalist to be both autobiographical and anonymous; for Bishop, it emerges through efforts of recollection that critique the very possibility of writing about memory; for Hughes, it is legible in Moortown Diary in the struggle to assert poetry's personal, mnemonic valences over its more impersonal, aesthetic qualities. For all of these poets, resisting the direct equation of speaker and poet turns on the multiple spaces of poetic experience that stems from the use of a subgenre whose use they have in common: the past tense lyric.

ISBN: 9780355034301Subjects--Topical Terms:

3284317
British & Irish literature.

Lyric Spaces: Past Tense Speakers in Late Twentieth-Century Poetry.
LDR:04408nmm a2200325 4500 001 2163149
005 20181022132217.5
008 190424s2017 ||||||||||||||||| ||eng d
020 $a 9780355034301
035 $a (MiAaPQ)AAI10282389
035 $a (MiAaPQ)berkeley:16999
035 $a AAI10282389
040 $a MiAaPQ $c MiAaPQ
100 1 $a Bauer, Mark. $3 1271514
245 1 0 $a Lyric Spaces: Past Tense Speakers in Late Twentieth-Century Poetry.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2017
300 $a 131 p.
500 $a Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.
500 $a Adviser: Eric Falci.
502 $a Thesis (Ph.D.)--University of California, Berkeley, 2017.
520 $a In extended readings of Robert Lowell, Seamus Heaney, Elizabeth Bishop, and Ted Hughes, Lyric Spaces troubles the formal resemblance between the lyric 'I' and the autobiographical 'I' in autobiographical poetry written after the Second World War. I argue that while a work like Robert Lowell's Life Studies announces itself as being drawn from the poet's own life, the poems themselves frequently critique and ironize that connection. My project's first goal is to conceptualize these critiques and ironies as what I call self-forgetful autobiography---a reticent, distanced mode of writing a self that is as attentive to writing's limitations as it is to its possibilities. For Lowell, this mode is visible in his simultaneous, yet divergent, concern for poetic authenticity and factual accuracy in Life Studies; for Heaney, it appears as the desire in Death of a Naturalist to be both autobiographical and anonymous; for Bishop, it emerges through efforts of recollection that critique the very possibility of writing about memory; for Hughes, it is legible in Moortown Diary in the struggle to assert poetry's personal, mnemonic valences over its more impersonal, aesthetic qualities. For all of these poets, resisting the direct equation of speaker and poet turns on the multiple spaces of poetic experience that stems from the use of a subgenre whose use they have in common: the past tense lyric.
520 $a Indeed, my project's second goal is to theorize this little-discussed past tense, first person lyric in an attempt to overturn critical assumptions about lyric as a fundamentally present tense genre. To be sure, the vast majority of lyric poems are anchored in the present, but if twenty-five percent of the poems in Heaney's Death of a Naturalist are wholly in the past tense, that emphasis on the present needs to be refocused to note the poems' emphasis on the events they present rather than their relevance to the speaker's present. These past tense poems carve out separate spaces of experience by dividing the figure of the speaker into two positions: one who participates in the events that the poem describes, and another who readers might infer is responsible for generating the poem's language. By separating these two figures, Heaney and these other poets reshape what seem to be poems of personal experience into recitations of events that are unconnected to the life of either the narrating speaker or the poet. My treatment of this separation as a rhetorical choice rather than a mere happenstance of storytelling reveals a deliberate distancing between these two figures, reigniting the longstanding debate about whether a lyric 'I' is also an autobiographical 'I.' In light of these formal interventions, poetic autobiography becomes a poetics of caveats and loopholes, of both greater intimacy and greater irony than it initially seems. A recognition of this sophisticated dialectic of self-exposure and self-concealment reformulates this poetry's naive retention of Romantic subjecthood as, instead, a form of postmodern play with subjectivity of the type that comes to define the work of Ashbery, Muldoon, and others in this period. By illustrating the ways in which these poets push the boundaries of genre to their breaking point, my formalist approach to these highly canonical works offers another way to take up New Lyric Studies' historicist challenge to redefine our notions of the lyric genre.
590 $a School code: 0028.
650 4 $a British & Irish literature. $3 3284317
650 4 $a Modern literature. $3 2122750
650 4 $a American literature. $3 523234
690 $a 0593
690 $a 0298
690 $a 0591
710 2 $a University of California, Berkeley. $b English. $3 1673129
773 0 $t Dissertation Abstracts International $g 78-11A(E).
790 $a 0028
791 $a Ph.D.
792 $a 2017
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10282389