Combining literary analysis and theoretical linguistics, Tiffany Beechy's timely and engaging study provides a critical reassessment of Old English texts that challenges the distinction between Anglo-Saxon prose and verse, ultimately recognizing an inherent poetic nature present in all Old English texts. While the poetic nature of Beowulf, due to the regular meter and heroic story, is recognized, this study demonstrates that poetry is a more widespread phenomenon than previously thought; poetic patterning can be found across the Old English corpus, both in verse and in so-called prose.
Explaining how poetry arises, where its traditions come from, and how English poetry eventually developed, as an independent body of literature on its own.The text is arranged in two parts: the first is about traditional poetic origins and formulae, especially from the past; and the second is about the use of poetic language, tools and devices, leading up to the more recent present. The first section gives a historical scan or overview; the second part goes into closer observation and analysis of the art of poetry in an attempt to lead the reader into developing a critical ability to see the difference between what is merely good and what is truly excellent.
Ellipsis - Of Poetry and the Experience of Language After Heidegger, Holderlin, and Blanchot
What is the nature of poetic language when its experience involves an encounter with finitude; with failure, loss, and absence? For Martin Heidegger this experience is central to any thinking that would seek to articulate the meaning of being, but for Friedrich H?lderlin and Maurice Blanchot it is a mark of the tragic and unanswerable demands of poetic language.
The Feast at Solhaug (or in the original Norwegian Gildet paa Solhoug) is the first publicly successful drama by Henrik Ibsen. It was written in 1855 and had its premier at Det norske Theater in Bergen on January 2, 1856. Part of the strength and charm of this play as well as Ibsen's other early poetic works results from the style of the poetic form and the inherent melody of the old ballads for those who speak Scandinavian languages.
Joan Foster is the bored wife of a myopic ban-the-bomber. She takes off overnight as Canada's new superpoet, pens lurid gothics on the sly, attracts a blackmailing reporter, skids cheerfully in and out of menacing plots, hair-raising traps, and passionate trysts, and lands dead and well in Terremoto, Italy. In this remarkable, poetic, and magical novel, Margaret Atwood proves yet again why she is considered to be one of the most important and accomplished writers of our time.
