{"product_id":"poetry-in-theory-isbn-9780631225546","title":"Poetry in Theory","description":"\u003ci\u003ePoetry in Theory: An Anthology 1900-2000\u003c\/i\u003e brings together key critical and theoretical texts from the twentieth century which have animated debates about modern poetry.  \u003cul\u003e \u003cli\u003eHelps readers to think critically about the nature of modern poetry, and to engage with broader questions about aesthetics, language, culture and imagination.\u003c\/li\u003e \u003cli\u003eIncludes texts by poets, critics, theorists and philosophers, ranging from Ezra Pound to Jacques Derrida.\u003c\/li\u003e \u003cli\u003eTexts in translation from French, German, Spanish, Italian and Russian are presented alongside the work of writers from Britain, Ireland, the United States, Africa, India and the Caribbean.\u003c\/li\u003e \u003cli\u003eEach text is accompanied by a brief biographical and thematic introduction.\u003c\/li\u003e \u003cli\u003eA system of cross-referencing points up significant connections and disagreements between the texts.\u003c\/li\u003e \u003cli\u003eIncludes a thematic index and chronology.\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003eAcknowledgments\u003c\/p\u003e \u003cp\u003eIntroduction 1\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I 1900–1920 27\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e1 W. B. Yeats\u003c\/p\u003e \u003cp\u003eThe Symbolism of Poetry (1900) 29\u003c\/p\u003e \u003cp\u003e2 Rainer Maria Rilke\u003c\/p\u003e \u003cp\u003eThree Letters (1903, 1907, 1925) 35\u003c\/p\u003e \u003cp\u003e3 Sigmund Freud\u003c\/p\u003e \u003cp\u003eCreative Writers and Day-dreaming (1908) 41\u003c\/p\u003e \u003cp\u003e4 T. E. Hulme\u003c\/p\u003e \u003cp\u003eRomanticism and Classicism (1911) 47\u003c\/p\u003e \u003cp\u003e5 Filippo Marinetti\u003c\/p\u003e \u003cp\u003eTechnical Manifesto of Futurist Literature (1912) 56\u003c\/p\u003e \u003cp\u003e6 Rabindranath Tagore\u003c\/p\u003e \u003cp\u003ePoet Yeats (1912) 61\u003c\/p\u003e \u003cp\u003e7 Edward Thomas\u003c\/p\u003e \u003cp\u003eRobert Frost (1914) 65\u003c\/p\u003e \u003cp\u003e8 Amy Lowell\u003c\/p\u003e \u003cp\u003ePoetry as a Spoken Art (1917) 69\u003c\/p\u003e \u003cp\u003e9 Guillaume Apollinaire\u003c\/p\u003e \u003cp\u003eThe New Spirit and the Poets (1917) 75\u003c\/p\u003e \u003cp\u003e10 Ezra Pound\u003c\/p\u003e \u003cp\u003eA Retrospect (1918) 83\u003c\/p\u003e \u003cp\u003e11 Tristan Tzara\u003c\/p\u003e \u003cp\u003eNote on Poetry (1919) 91\u003c\/p\u003e \u003cp\u003e12 Velimir Khlebnikov\u003c\/p\u003e \u003cp\u003eOn Poetry and On Contemporary Poetry (1919, 1920) 94\u003c\/p\u003e \u003cp\u003e13 T. S. Eliot\u003c\/p\u003e \u003cp\u003eTradition and the Individual Talent and Reflections on Contemporary Poetry (1919) 97\u003c\/p\u003e \u003cp\u003e14 D. H. Lawrence\u003c\/p\u003e \u003cp\u003ePreface to New Poems (1920) 106\u003c\/p\u003e \u003cp\u003e15 William Carlos Williams\u003c\/p\u003e \u003cp\u003ePrologue to Kora in Hell (1920) 111\u003c\/p\u003e \u003cp\u003e16 Ernest Fenollosa\u003c\/p\u003e \u003cp\u003eThe Chinese Written Character as the Medium for Poetry (1920) 116\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II 1920–1940 129\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e17 Mina Loy\u003c\/p\u003e \u003cp\u003eModern Poetry (1925) 131\u003c\/p\u003e \u003cp\u003e18 Hart Crane\u003c\/p\u003e \u003cp\u003eGeneral Aims and Theories (1925) 135\u003c\/p\u003e \u003cp\u003e19 Langston Hughes\u003c\/p\u003e \u003cp\u003eThe Negro Artist and the Racial Mountain (1926) 139\u003c\/p\u003e \u003cp\u003e20 Vladimir Mayakovsky\u003c\/p\u003e \u003cp\u003eHow Are Verses Made? (1926) 144\u003c\/p\u003e \u003cp\u003e21 I. A. Richards\u003c\/p\u003e \u003cp\u003eScience and Poetry (1926) 152\u003c\/p\u003e \u003cp\u003e22 Robert Graves and Laura Riding\u003c\/p\u003e \u003cp\u003eA Survey of Modernist Poetry (1927) 160\u003c\/p\u003e \u003cp\u003e23 William Empson\u003c\/p\u003e \u003cp\u003eSeven Types of Ambiguity (1930) 169\u003c\/p\u003e \u003cp\u003e24 Kenneth Burke\u003c\/p\u003e \u003cp\u003eThe Poetic Process (1931) 175\u003c\/p\u003e \u003cp\u003e25 Paul Éluard and André Breton\u003c\/p\u003e \u003cp\u003ePoetry’s Evidence and The Automatic Message (1932, 1933) 182\u003c\/p\u003e \u003cp\u003e26 F. R. Leavis\u003c\/p\u003e \u003cp\u003eNew Bearings in English Poetry (1932) 192\u003c\/p\u003e \u003cp\u003e27 Federico García Lorca\u003c\/p\u003e \u003cp\u003ePlay and Theory of the Duende (1933) 201\u003c\/p\u003e \u003cp\u003e28 Gertrude Stein\u003c\/p\u003e \u003cp\u003ePoetry and Grammar (1935) 208\u003c\/p\u003e \u003cp\u003e29 Marina Tsvetaeva\u003c\/p\u003e \u003cp\u003ePoets with History and Poets without History (1935) 215\u003c\/p\u003e \u003cp\u003e30 Walter Benjamin\u003c\/p\u003e \u003cp\u003eModernism (1938) 223\u003c\/p\u003e \u003cp\u003e31 Robert Frost\u003c\/p\u003e \u003cp\u003eThe Figure a Poem Makes (1939) 234\u003c\/p\u003e \u003cp\u003e32 Paul Valéry\u003c\/p\u003e \u003cp\u003ePoetry and Abstract Thought (1939) 237\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III 1940–1960 245\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e33 Martin Heidegger\u003c\/p\u003e \u003cp\u003eThree Lectures on Poetry (1941, 1944, 1946) 247\u003c\/p\u003e \u003cp\u003e34 Wallace Stevens\u003c\/p\u003e \u003cp\u003eThe Noble Rider and the Sound of Words (1942) 256\u003c\/p\u003e \u003cp\u003e35 Randall Jarrell\u003c\/p\u003e \u003cp\u003eThe End of the Line (1942) 268\u003c\/p\u003e \u003cp\u003e36 Aimé Césaire\u003c\/p\u003e \u003cp\u003ePoetry and Knowledge (1945) 275\u003c\/p\u003e \u003cp\u003e37 Charles Olson\u003c\/p\u003e \u003cp\u003eProjective Verse (1950) 288\u003c\/p\u003e \u003cp\u003e38 Louis Zukofsky\u003c\/p\u003e \u003cp\u003eA Statement for Poetry (1950) 296\u003c\/p\u003e \u003cp\u003e39 Roland Barthes\u003c\/p\u003e \u003cp\u003eIs There Any Poetic Writing? (1953) 301\u003c\/p\u003e \u003cp\u003e40 W. K. Wimsatt\u003c\/p\u003e \u003cp\u003eThe Concrete Universal (1954) 307\u003c\/p\u003e \u003cp\u003e41 Jacques Lacan\u003c\/p\u003e \u003cp\u003eExcerpts from Seminars and Papers (1954, 1955, 1957) 315\u003c\/p\u003e \u003cp\u003e42 Donald Davie\u003c\/p\u003e \u003cp\u003eWhat is Modern Poetry and The Reek of the Human (1955)? 323\u003c\/p\u003e \u003cp\u003e43 Maurice Blanchot\u003c\/p\u003e \u003cp\u003eMallarmé’s Experience (1955) 330\u003c\/p\u003e \u003cp\u003e44 Philip Larkin\u003c\/p\u003e \u003cp\u003eThe Pleasure Principle and Writing Poems (1957, 1964) 337\u003c\/p\u003e \u003cp\u003e45 Theodor Adorno\u003c\/p\u003e \u003cp\u003eOn Lyric Poetry and Society (1957) 342\u003c\/p\u003e \u003cp\u003e46 Roman Jakobson\u003c\/p\u003e \u003cp\u003eClosing Statement: Linguistics and Poetics (1960) 350\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV 1960–1980 359\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e47 Edward Dorn\u003c\/p\u003e \u003cp\u003eWhat I See in The Maximus Poems (1961) 361\u003c\/p\u003e \u003cp\u003e48 Frank O’Hara\u003c\/p\u003e \u003cp\u003ePersonism: A Manifesto (1961) 367\u003c\/p\u003e \u003cp\u003e49 Allen Ginsberg\u003c\/p\u003e \u003cp\u003eWhen the Mode of the Music Changes and Abstraction in Poetry (1961, 1962) 370\u003c\/p\u003e \u003cp\u003e50 W. H. Auden\u003c\/p\u003e \u003cp\u003eThe Poet and the City (1962) 377\u003c\/p\u003e \u003cp\u003e51 Imamu Baraka\u003c\/p\u003e \u003cp\u003eHunting Is Not Those Heads on the Wall and State\/Meant (1964, 1965) 385\u003c\/p\u003e \u003cp\u003e52 Robert Creeley\u003c\/p\u003e \u003cp\u003eA Sense of Measure (1964) 390\u003c\/p\u003e \u003cp\u003e53 John Ashbery\u003c\/p\u003e \u003cp\u003eThe Invisible Avant-Garde (1968) 393\u003c\/p\u003e \u003cp\u003e54 Barbara Herrnstein Smith\u003c\/p\u003e \u003cp\u003eClosure and Anti-closure in Modern Poetry (1968) 399\u003c\/p\u003e \u003cp\u003e55 Gerard Genette\u003c\/p\u003e \u003cp\u003ePoetic Language, Poetics of Language (1969) 408\u003c\/p\u003e \u003cp\u003e56 Paul de Man\u003c\/p\u003e \u003cp\u003eIntentional Structure of the Romantic Image (1970) 413\u003c\/p\u003e \u003cp\u003e57 Derek Walcott\u003c\/p\u003e \u003cp\u003eThe Muse of History (1974) 420\u003c\/p\u003e \u003cp\u003e58 Julia Kristeva\u003c\/p\u003e \u003cp\u003eThe Ethics of Linguistics (1974) 437\u003c\/p\u003e \u003cp\u003e59 Hans Magnus Enzensberger\u003c\/p\u003e \u003cp\u003eA Modest Proposal (1976) 447\u003c\/p\u003e \u003cp\u003e60 Veronica Forrest-Thomson\u003c\/p\u003e \u003cp\u003eContinuity in Language (1978) 456\u003c\/p\u003e \u003cp\u003e61 Geoffrey Hill\u003c\/p\u003e \u003cp\u003ePoetry as ‘‘Menace’’ and ‘‘Atonement’’ (1978) 464\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V 1980–2000 475\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e62 Shoshana Felman\u003c\/p\u003e \u003cp\u003eThe Poe-etic Effect (1980) 477\u003c\/p\u003e \u003cp\u003e63 Charles Bernstein\u003c\/p\u003e \u003cp\u003eThe Dollar Value of Poetry (1983) 491\u003c\/p\u003e \u003cp\u003e64 Czeslaw Milosz\u003c\/p\u003e \u003cp\u003eOn Hope (1983) 494\u003c\/p\u003e \u003cp\u003e65 Adrienne Rich\u003c\/p\u003e \u003cp\u003eBlood, Bread, and Poetry (1984) 503\u003c\/p\u003e \u003cp\u003e66 Richard Poirier\u003c\/p\u003e \u003cp\u003ePrologue: The Deed of Writing (1987) 514\u003c\/p\u003e \u003cp\u003e67 Jeremy Cronin\u003c\/p\u003e \u003cp\u003e‘‘Even under the Rine of Terror ’’ (1988) 523\u003c\/p\u003e \u003cp\u003e68 Jacques Derrida\u003c\/p\u003e \u003cp\u003eChe cos’è la poesia? (1988) 533\u003c\/p\u003e \u003cp\u003e69 Thomas Yingling\u003c\/p\u003e \u003cp\u003eThe Homosexual Lyric (1990) 538\u003c\/p\u003e \u003cp\u003e70 Marjorie Perloff\u003c\/p\u003e \u003cp\u003eAvant-Garde or Endgame? (1991) 547\u003c\/p\u003e \u003cp\u003e71 Eavan Boland\u003c\/p\u003e \u003cp\u003eThe Woman Poet: Her Dilemma (1995) 559\u003c\/p\u003e \u003cp\u003e72 Seamus Heaney\u003c\/p\u003e \u003cp\u003eThe Redress of Poetry (1995) 567\u003c\/p\u003e \u003cp\u003e73 Helen Vendler\u003c\/p\u003e \u003cp\u003eIntroduction, Soul Says (1995) 574\u003c\/p\u003e \u003cp\u003eChronology 581\u003c\/p\u003e \u003cp\u003eSelect Bibliography 619\u003c\/p\u003e \u003cp\u003eThematic Index 622\u003c\/p\u003e \u003cp\u003eIndex 624\u003c\/p\u003e  \"Poetry has always provided the most severe test for theory, and this rich, wide-ranging anthology shows just how fruitful the encounter between the two has been. Jon Cook's excellent collection should prove a salutary lesson for all those who assume, utterly against the evidence, that literary theory has had nothing to say about the shape of the sentences and the texture of the verse.\"\u003cbr\u003e —\u003cb\u003eTerry Eagleton\u003c\/b\u003e, University of Manchester \u003cb\u003eJon Cook \u003c\/b\u003eis Dean of the Faculty of Arts and Humanities at the University of East Anglia and a Senior Lecturer in the Department of American and English Literature. His published work includes \u003ci\u003eRomanticism and Ideology\u003c\/i\u003e (1981)\u003ci\u003e, William Hazlitt: Selected Writings\u003c\/i\u003e (1998) and numerous essays on Romanticism, critical and cultural theory, and contemporary writing\u003ci\u003e. \u003c\/i\u003e \u003ci\u003ePoetry in Theory: An Anthology 1900-2000\u003c\/i\u003e brings key critical and theoretical texts from the twentieth century which have animated debates about modern poetry. It provides all the material necessary for readers to engage with these debates, and with broader questions about aesthetics, language, culture, and imagination.","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47989803122917,"sku":"NP9780631225546","price":55.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9780631225546.jpg?v=1761785527","url":"https:\/\/k12savings.com\/es\/products\/poetry-in-theory-isbn-9780631225546","provider":"K12savings","version":"1.0","type":"link"}