Titlebook: Hart Crane and the Modernist Epic; Canon and Genre Form Daniel Gabriel Book 2007 Palgrave Macmillan, a division of Nature America Inc. 2007

Engaged

The Lyric Mode of ,: The I and the Other,to his desire for “universality” in “Faustus and Helen,” and returned to the personal mode of the effusive “Voyages.” These two sequences were preparatory to the more complex and tortured world of .. The . cycle of poems he was arranging at his death introduced a grimmer Crane, more ironic, more exp

Individual

The Epic Mode of ,: The Other and the I,e’s sometimes intense subjectivity, the I/eye in a gaze upon the Other, the epic voice presents another sensibility, an Other gazing back upon an “I.” The epic mode can be considered “objective” in the sense that it is modulated by other “voices” or by personae. But the poet never vanishes or reduce

Intellectual

kindred

Daniel Gabriels by leading scientists in their fields and offers a comprehensive review of the latest achievements and developments. .Topics include: Food and fodder; fungal secondary metabolites and detoxification; biology, disease control and management; symbiontic fungi and mycorrhiza; and phytopathogenicity..

Clinch

粗俗人

教育學(xué)

雄辯

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失誤

cludes Pound‘s The Cantos, Eliot‘s The Waste Land, and Williams‘s Paterson. It offers a close reading of The Bridge as a hybrid of lyric and epic modes. Crane‘s sublime and history converge in a complex synthesis of form and ideas. The study reconceives Crane‘s achievement by locating him in an inte

歡笑

The Epic Mode of ,: The Other and the I,e lyric, as well as immensity and the crises of cultural memory: generally an aura of scope. It stands against the lyric mode’s meditative function, and complicates the existential situation of the solitary singer.