Titlebook: Auden, MacNeice, Spender: The Thirties Poetry; Michael O’Neill,Gareth Reeves Textbook 1992Latest edition Michael O?Neill and Gareth Reeves

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小步舞

方舟

Textbook 1992Latest editionreative quarrel in their work between a sense of poetry as autonomous art and an anti-modernist desire to communicate. The book does not allow the poetry to be subsumed within some impersonal historical Zeitgeist; instead it concentrates on the issue of poetic achievement, giving individual poems thoughtful and illuminating attention.

壓艙物

he often creative quarrel in their work between a sense of poetry as autonomous art and an anti-modernist desire to communicate. The book does not allow the poetry to be subsumed within some impersonal historical Zeitgeist; instead it concentrates on the issue of poetic achievement, giving individual poems thoughtful and illuminating attention.

Picks-Disease

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Dynamics of Charge Carriers and Photons,rhetorical effects, posings, disruptions, syntactical swervings, dislocations, obscurities? Is it better or worse for the fact that, in Justin Replogle’s words, its author seems to have ‘often cared more about the liveliness of the total verbal performance than about philosophy, ideas, social themes

FANG

characteristic

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,Vertrauen? Einrede gegen eine ?quivokation,s truer to its nature than Mendelson’s demonstration that there is a ‘hidden key’ (a paper by Auden’s friend, the anthropologist John Layard), and that it is ‘possible to reconstruct the original conception that was blurred in the finished work’; for such an approach is in danger of letting the conc

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https://doi.org/10.1007/978-3-658-40916-6s Spender’s judgement about the poets of the thirties relevant to his own work? This chapter attempts an answer; it begins by considering some of the more overtly political or programmatic pieces in ., 1933; it then briefly discusses . (a long poem about the suppression of the Austrian socialist upr