Titlebook: Democracy in Contemporary U.S. Women’s Poetry; Nicky Marsh Book 2007 Nicky Marsh 2007 culture.democracy.lyric.poetics.poetry.Romanticism.w

男學(xué)院

爆米花

The Poetics of Privacy: Writing the Lyric Self,her weak solution to the tension between the cultural homogeneity demanded by the Right and the risk of cultural incommensurability associated with the social movements on the Left. Claims such as Moyers’s appear to suggest the effect on poetry of the “uneasy merger of individualism with institution

Spartan

Romantic Materialism and Emerging Poets,n keeping with the apparent contradictions that have surrounded recent work in the “parallel” tradition. On the one hand, this writing continues to participate in what has long been one of U.S. poetry’s more marginal poetic communities. Yet, on the other hand, as the opening to the introduction of W

使閉塞

休戰(zhàn)

逃避系列單詞

The Poetics of Privacy: Writing the Lyric Self,high-profile and well-funded “Search for American Democracy,” for example, was earnest in its celebration of the importance of the nation’s poets. “Democracy needs her poets,” Moyers reminds us in the introduction to the book accompanying his successful . series, “because our hope for survival is in

清楚

Against the Outside: Language Poetry as a Counter-Public,graphy of consumerism and femininity in the postwar period: the ambivalent twinning of America’s ascendant capitalism with the new social movements of which feminism was so influential.. The taut irony of these opening lines, and the more complex interrogations that characterize Armantrout’s writing

極大痛苦

Go Grrrl: Democracy and Counterculture,ully staged debates taking place on the pages of . teems a self-publishing industry that has peeped only glancingly over the critical horizon of American poetry. The indeterminate and uneasy categories of the “small press” have been frequently acknowledged but only rarely explored in the critical na

外觀

malapropism