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Political poetry, American - History and criticism.Ĩ. O'Hara,įrank - Political and social views. Merrill, James Ingram - Political and social views. Bishop, Elizabeth, 1911-1979 - Political and social views.Ĥ. Politics and literature - United States - History - 20th century.ģ. American poetry - 20th century - History and criticism.Ģ. (Cambridge studies in American literature andġ. Library of Congress Cataloguing in Publication dataīiasing, Mutlu Konuk, 1944Politics and form in postmodern poetry : O'Hara, Bishop, Ashbery,Ĭm. Permission of Cambridge University Press.Ī catalogue record for this publication is available from the British Library No reproduction of any part may take place without the written Subject to statutory exceptionĪnd to the provisions of relevant collective licensing agreements, Information on this title: © Cambridge University Press 1995 Published in the United States of America by Cambridge University Press, New York The Edinburgh Building, Cambridge CB2 8RU, UK Bernard Rosenthal, Salem Story: Reading the Witch Trials of 1692Ĭambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sao Paulo, Delhi William Carlos Williams, Mina Loy, Denise Levertov, and Kathleen Eraserħ3. Kinnahan, Poetics of the Feminine: Authority and Literary Tradition in Barry Ahearn, William Carlos Williams and Alterity: The Early Poetryħ4.
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Peter Halter, The Revolution in the Visual Arts and the Poetry of William Carlosħ5. Katherine Keams, Robert Frost and a Poetics of Appetiteħ6. Staub, Voices of Persuasion: The Politics of Representation in 1930sġ1. Alan Filreis, Modernism from Right to Leftħ8.
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Ed Folsom, Walt Whitman's Native Representationsħ9. Rena Fraden, Blueprints for a Black Federal Theatre, 1935-1939Ĩ0. Joan Burbick, The Language of Health and the Culture of Nationalism inĨ1. Robert Tilton, Pocahontas: The Evolution of an American NarrativeĨ2. Gelfant, Cross-Cultural Reckonings: A Triptych of Russian,Ĩ3. Rita Barnard, The Great Depression and the Culture of AbundanceĨ6. Rafael Perez-Torres, Movements in Chicano Poetry: Against Myths, AgainstĨ7. Cindy Weinstein, The Literature of Labor and the Labors of Literature: AllegoryĨ8. Nancy Bentley, Customs and Manners: The Ethnographic Turn in Hawthorne,Ĩ9. Richard Walsh, Novel Arguments: Reading Innovative American Fictionĩ0. Sing ley, Edith Wharton: Matters of Mind and Spiritĩ1. Life of a Slave Girl: New Critical Essaysĩ2. Rafia Zafar and Deborah Garfield (eds.), Harriet Jacobs and Incidents in the Mutlu Konuk Biasing, Politics and Form in Postmodern Poetry: O'Hara, Bishop,ĩ3. Tony Tanner, King's College, Cambridge Universityĩ4. Nina Baym, University of Illinois, Urbana-ChampaignĬarolyn Porter, University of California, Berkeley Revealing that meanings and values do not inhere in forms but areĬAMBRIDGE STUDIES IN AMERICAN LITERATURE AND CULTUREĮditor: Eric Sundquist, University of California, Los Angelesįounding Editor: Albert Gelpi, Stanford University Their work plays an important cultural role precisely by All of these poets acknowledge that no one form is more natural than another, and no givenįorm grants them a superior position for judging cultural and politicalĪrrangements. Politically conservative because formally traditional or as culturally oppositional because formally experimental. Merrill (two traditional and two experimental) - cannot be read as Poets - Frank O'Hara, Elizabeth Bishop, John Ashbery, and James Biasing defines postmodern poetry as aīreak with modernism's valorization of technique and its implicit collusion with technological progress. Such essentialist alignments of forms withĮxtraformal values, and the oppositional framework of innovation versus conservation that they yield, reflect modernist biases inappropriateįor reading postwar poetry. Perspective, this study challenges the prevailing assumption that experimental forms signify political opposition while traditional formsĪre politically conservative. Approaching post-World War II poetry from a postmodern critical