Titlebook: Queer Lyrics; Difficulty and Closu John Vincent Book 20021st edition Palgrave Macmillan, a division of Nature America Inc. 2002 America.lyr

重婚

書目名稱Queer Lyrics影響因子(影響力)




書目名稱Queer Lyrics影響因子(影響力)學科排名




書目名稱Queer Lyrics網(wǎng)絡公開度




書目名稱Queer Lyrics網(wǎng)絡公開度學科排名




書目名稱Queer Lyrics被引頻次




書目名稱Queer Lyrics被引頻次學科排名




書目名稱Queer Lyrics年度引用




書目名稱Queer Lyrics年度引用學科排名




書目名稱Queer Lyrics讀者反饋




書目名稱Queer Lyrics讀者反饋學科排名

占卜者

Gingivitis

978-1-349-63544-3Palgrave Macmillan, a division of Nature America Inc. 2002

Psychogenic

Book 20021st edition, difficulty and closure, to discuss innovations specific to queer American poets. He traces a genealogy based on these queer techniques from Whitman, through Crane and Moore, to Ashbery and Spicer. Queer Lyrics considers the place of form in queer theory, while opening new vistas on the poetry of these seminal figures.

植物群

l concerns, difficulty and closure, to discuss innovations specific to queer American poets. He traces a genealogy based on these queer techniques from Whitman, through Crane and Moore, to Ashbery and Spicer. Queer Lyrics considers the place of form in queer theory, while opening new vistas on the p

禮節(jié)

The End of the Line: Spicer in Love, he dislikedchrw(133)” (75). Spicer’s contempt is a complicated mix of jealousy, homophobia, and political critique. Spicer was a different, less effete brand of homosexual and more out than Ashbery in his poetic persona. But, as I will argue below, Spicer’s dislike of Ashbery may have more to do with their similarities than their differences.

競選運動

Snags and Gags: Cruising the Difficult,akable. Much of the most exciting modern and contemporary poetry hovers at this edge, its lexical and affective power arising from unmappable, but somehow accessible, journeys out of and back into the known. Poetic difficulty lives at the site of poetry’s central node: the conflict between what can

橫截,橫斷

,Rhetorical Suspense, Sexuality, and Death in Whitman’s “Calamus” Poems, see in “Whoever You Are Holding Me Now in Hand,” reserves his affections for a particular reader, in “These I Singing in Spring” and “To a Western Boy,” declares himself unreachable, in “Are You the New Person Drawn toward Me,” or dares “not tell in words” the core of his motivation and emotion, in

BLOT

abject