Titlebook: British Prose Poetry; The Poems Without Li Jane Monson Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Virigina Woolf.Early

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quiet-sleep

Fluctuate

Márton Tardos,Karl-Hans Hartwiglf argues that her novel or ‘playpoem’ . illustrates the capacity of prose poetry to attune itself to moods. The section on Baudelaire’s prose poems argues that they reflect on the nature of their own discourse in a way that the prose poem seems peculiarly suited to doing. The section on Williams se

insincerity

門閂

Jean-Olivier Hairault,Hubert Kempfpoem, James Joyce’s epiphanies (1900–1904) emerge as an early attempt to move the prose lyric away from the stylistic intricacies of the British Decadents and to carry out Baudelaire’s project to reproduce the complex and discontinuous rhythms of consciousness. Joyce’s posthumous . enacts the formal

車床

https://doi.org/10.1007/978-1-4757-3598-7ous twentieth-century genre. Eliot considered prose an artistic medium as complex as verse and, also, as the vehicle of thought. The first idea came to him from .; the second, from the longstanding idea of prose as the manifestation of a cogent individuality—a clarified demonstration of the rounded

demote

https://doi.org/10.1007/978-1-4757-3598-7ws with Lawrence Harvey dating from around this time (1961–1962), Beckett referred to his hope of finding ‘a(chǎn)n adequate form’, which he then described as a ‘syntax of weakness’. In this essay, an argument is made to suggest that the weakened syntax of . relates to Beckett’s readings of Dante’s .. Mor

Parallel

https://doi.org/10.1007/978-94-007-6085-1 So what of the prose poem, a form that stands seemingly midway between poetry and prose? Does it still perform Jakobson’s poetic function, or does it edge closer to prose? This essay questions the prose poem through examples of prose that could be deemed as prose poetry, but the author examines why

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https://doi.org/10.1007/978-94-007-6085-1he poet’s own lineated verse, as well as for the heroic imagery and language utilised. By discussing the generic conventions of the ‘a(chǎn)necdotal tradition’ and its relation to the prose poem, Brown refutes the earlier criticism and?shows Heaney’s . to be exemplars of the form, as well as of Wordsworth

gnarled

Customs Union and Intra-Industry Traderary affect. The history of the relationship between the fictitious letter and the prose poem is traced back through French and American literature, from Baudelaire to Ashbery. Ford’s reliance on literaryness is explored as conditioning a major point of affective tension within his work, while affec