Daniel Morris
Essays and Interviews on Contemporary American Poets, Poetry, and Pedagogy
A Thirty-Year Creative Reading Workshop
Daniel Morris
Essays and Interviews on Contemporary American Poets, Poetry, and Pedagogy
A Thirty-Year Creative Reading Workshop
- Broschiertes Buch
- Merkliste
- Auf die Merkliste
- Bewerten Bewerten
- Teilen
- Produkt teilen
- Produkterinnerung
- Produkterinnerung
Merging autobiography and literary criticism, Daniel Morris illustrates in sixteen essays how he learned to attend to avant-garde contemporary American poets whose aesthetic contributions were not part of his education.
Andere Kunden interessierten sich auch für
- Harryette MullenThe Cracks Between What We Are and What We Are Supposed to Be: Essays and Interviews43,99 €
- Innovative Women Poets: An Anthology of Contemporary Poetry and Interviews35,99 €
- Kevin SteinPrivate Poets, Worldly Acts20,99 €
- Contemporary Poetry, Volume 147,99 €
- Rachel Blau DuplessisGenders, Races, and Religious Cultures in Modern American Poetry, 1908 193450,99 €
- James DickeySelf-Interviews25,99 €
- James WolcottCritical Mass16,99 €
-
-
-
Merging autobiography and literary criticism, Daniel Morris illustrates in sixteen essays how he learned to attend to avant-garde contemporary American poets whose aesthetic contributions were not part of his education.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
- Produktdetails
- Verlag: Anthem Press
- Seitenzahl: 302
- Erscheinungstermin: 10. September 2024
- Englisch
- Abmessung: 216mm x 140mm x 18mm
- Gewicht: 404g
- ISBN-13: 9781839992247
- ISBN-10: 1839992247
- Artikelnr.: 69969868
- Verlag: Anthem Press
- Seitenzahl: 302
- Erscheinungstermin: 10. September 2024
- Englisch
- Abmessung: 216mm x 140mm x 18mm
- Gewicht: 404g
- ISBN-13: 9781839992247
- ISBN-10: 1839992247
- Artikelnr.: 69969868
Daniel Morris is Professor of English at Purdue University, USA.
Acknowledgments; Introduction: To Teach Is to Learn Twice (or, Putting the
Pieces of My Life's Work Together); SECTION 1: Rereading the Poets, Poetry,
and Poetics of My Decade in the Boston Area (1983-1993); CHAPTER 1 Reading
Spivack/Reading Myself: A Memoir of Reading a Memoir, Boston 1959-1977;
Boston 1983-1993; CHAPTER 2 Allen Grossman's Radical Simplicity; CHAPTER 3
In Praise of Secular Jewish American Lyric Commentary: Why Bob Dylan and
Louise Glück Are Twenty-First-Century Nobel Laureates; CHAPTER 4 Preserving
William Carlos Williams: Populism, Curation, and Late AvantGardism in
Kenneth Goldsmith's Duchamp Is My Lawyer and Thomas Lux's "Refrigerator,
1957"; SECTION 2: Midwestern Avant-Gardism: Essays and Interviews on
Experimental Poetics; CHAPTER 5 No Sympathy for the Devil of History: On
Norman Finkelstein's "Oppen at Altamont"; CHAPTER 6 History and/as Language
Poetry: Remembering Literary Community through Negation in Barrett Watten's
Questions of Poetics; CHAPTER 7 Tyrone Calling: Torqued Language Poetry and
Radical Mimesis in c.c.; CHAPTER 8 An Interview with Patrick Durgin about
Hannah Weiner; CHAPTER 9 Tech Support Says "Dead Don Walking": Tradition,
the Internet, and Individual Talent in the Poetry of Daniel Y. Harris;
CHAPTER 10 Interview with Adeena Karasick on Checking In; SECTION 3: To
Teach is to Learn Twice: Poetry, Poetics, and Pedagogy; CHAPTER 11
Convergence Cultures: Modern and Contemporary Poetry and the Graphic Novel;
CHAPTER 12 Resisting Billy Collins: On Teaching "Introduction to Poetry" in
Introduction to Poetry; CHAPTER 13 Amiri Baraka's Aesthetic Radicalism:
Dutchman's Modernist Roots; CHAPTER 14 Two Interviews with Thomas Fink;
SECTION 4: In My End Is My Beginning: Reviewing Peter Dale Scott and Philip
Guston; CHAPTER 15 Reviewing Peter Dale Scott/Reviewing Myself; CHAPTER 16
In My End Is My Beginning: Seeing Double at Philip Guston Now in the Summer
of 2023; Conclusion: Goodbye, Heavilon Hall; Index
Pieces of My Life's Work Together); SECTION 1: Rereading the Poets, Poetry,
and Poetics of My Decade in the Boston Area (1983-1993); CHAPTER 1 Reading
Spivack/Reading Myself: A Memoir of Reading a Memoir, Boston 1959-1977;
Boston 1983-1993; CHAPTER 2 Allen Grossman's Radical Simplicity; CHAPTER 3
In Praise of Secular Jewish American Lyric Commentary: Why Bob Dylan and
Louise Glück Are Twenty-First-Century Nobel Laureates; CHAPTER 4 Preserving
William Carlos Williams: Populism, Curation, and Late AvantGardism in
Kenneth Goldsmith's Duchamp Is My Lawyer and Thomas Lux's "Refrigerator,
1957"; SECTION 2: Midwestern Avant-Gardism: Essays and Interviews on
Experimental Poetics; CHAPTER 5 No Sympathy for the Devil of History: On
Norman Finkelstein's "Oppen at Altamont"; CHAPTER 6 History and/as Language
Poetry: Remembering Literary Community through Negation in Barrett Watten's
Questions of Poetics; CHAPTER 7 Tyrone Calling: Torqued Language Poetry and
Radical Mimesis in c.c.; CHAPTER 8 An Interview with Patrick Durgin about
Hannah Weiner; CHAPTER 9 Tech Support Says "Dead Don Walking": Tradition,
the Internet, and Individual Talent in the Poetry of Daniel Y. Harris;
CHAPTER 10 Interview with Adeena Karasick on Checking In; SECTION 3: To
Teach is to Learn Twice: Poetry, Poetics, and Pedagogy; CHAPTER 11
Convergence Cultures: Modern and Contemporary Poetry and the Graphic Novel;
CHAPTER 12 Resisting Billy Collins: On Teaching "Introduction to Poetry" in
Introduction to Poetry; CHAPTER 13 Amiri Baraka's Aesthetic Radicalism:
Dutchman's Modernist Roots; CHAPTER 14 Two Interviews with Thomas Fink;
SECTION 4: In My End Is My Beginning: Reviewing Peter Dale Scott and Philip
Guston; CHAPTER 15 Reviewing Peter Dale Scott/Reviewing Myself; CHAPTER 16
In My End Is My Beginning: Seeing Double at Philip Guston Now in the Summer
of 2023; Conclusion: Goodbye, Heavilon Hall; Index
Acknowledgments; Introduction: To Teach Is to Learn Twice (or, Putting the
Pieces of My Life's Work Together); SECTION 1: Rereading the Poets, Poetry,
and Poetics of My Decade in the Boston Area (1983-1993); CHAPTER 1 Reading
Spivack/Reading Myself: A Memoir of Reading a Memoir, Boston 1959-1977;
Boston 1983-1993; CHAPTER 2 Allen Grossman's Radical Simplicity; CHAPTER 3
In Praise of Secular Jewish American Lyric Commentary: Why Bob Dylan and
Louise Glück Are Twenty-First-Century Nobel Laureates; CHAPTER 4 Preserving
William Carlos Williams: Populism, Curation, and Late AvantGardism in
Kenneth Goldsmith's Duchamp Is My Lawyer and Thomas Lux's "Refrigerator,
1957"; SECTION 2: Midwestern Avant-Gardism: Essays and Interviews on
Experimental Poetics; CHAPTER 5 No Sympathy for the Devil of History: On
Norman Finkelstein's "Oppen at Altamont"; CHAPTER 6 History and/as Language
Poetry: Remembering Literary Community through Negation in Barrett Watten's
Questions of Poetics; CHAPTER 7 Tyrone Calling: Torqued Language Poetry and
Radical Mimesis in c.c.; CHAPTER 8 An Interview with Patrick Durgin about
Hannah Weiner; CHAPTER 9 Tech Support Says "Dead Don Walking": Tradition,
the Internet, and Individual Talent in the Poetry of Daniel Y. Harris;
CHAPTER 10 Interview with Adeena Karasick on Checking In; SECTION 3: To
Teach is to Learn Twice: Poetry, Poetics, and Pedagogy; CHAPTER 11
Convergence Cultures: Modern and Contemporary Poetry and the Graphic Novel;
CHAPTER 12 Resisting Billy Collins: On Teaching "Introduction to Poetry" in
Introduction to Poetry; CHAPTER 13 Amiri Baraka's Aesthetic Radicalism:
Dutchman's Modernist Roots; CHAPTER 14 Two Interviews with Thomas Fink;
SECTION 4: In My End Is My Beginning: Reviewing Peter Dale Scott and Philip
Guston; CHAPTER 15 Reviewing Peter Dale Scott/Reviewing Myself; CHAPTER 16
In My End Is My Beginning: Seeing Double at Philip Guston Now in the Summer
of 2023; Conclusion: Goodbye, Heavilon Hall; Index
Pieces of My Life's Work Together); SECTION 1: Rereading the Poets, Poetry,
and Poetics of My Decade in the Boston Area (1983-1993); CHAPTER 1 Reading
Spivack/Reading Myself: A Memoir of Reading a Memoir, Boston 1959-1977;
Boston 1983-1993; CHAPTER 2 Allen Grossman's Radical Simplicity; CHAPTER 3
In Praise of Secular Jewish American Lyric Commentary: Why Bob Dylan and
Louise Glück Are Twenty-First-Century Nobel Laureates; CHAPTER 4 Preserving
William Carlos Williams: Populism, Curation, and Late AvantGardism in
Kenneth Goldsmith's Duchamp Is My Lawyer and Thomas Lux's "Refrigerator,
1957"; SECTION 2: Midwestern Avant-Gardism: Essays and Interviews on
Experimental Poetics; CHAPTER 5 No Sympathy for the Devil of History: On
Norman Finkelstein's "Oppen at Altamont"; CHAPTER 6 History and/as Language
Poetry: Remembering Literary Community through Negation in Barrett Watten's
Questions of Poetics; CHAPTER 7 Tyrone Calling: Torqued Language Poetry and
Radical Mimesis in c.c.; CHAPTER 8 An Interview with Patrick Durgin about
Hannah Weiner; CHAPTER 9 Tech Support Says "Dead Don Walking": Tradition,
the Internet, and Individual Talent in the Poetry of Daniel Y. Harris;
CHAPTER 10 Interview with Adeena Karasick on Checking In; SECTION 3: To
Teach is to Learn Twice: Poetry, Poetics, and Pedagogy; CHAPTER 11
Convergence Cultures: Modern and Contemporary Poetry and the Graphic Novel;
CHAPTER 12 Resisting Billy Collins: On Teaching "Introduction to Poetry" in
Introduction to Poetry; CHAPTER 13 Amiri Baraka's Aesthetic Radicalism:
Dutchman's Modernist Roots; CHAPTER 14 Two Interviews with Thomas Fink;
SECTION 4: In My End Is My Beginning: Reviewing Peter Dale Scott and Philip
Guston; CHAPTER 15 Reviewing Peter Dale Scott/Reviewing Myself; CHAPTER 16
In My End Is My Beginning: Seeing Double at Philip Guston Now in the Summer
of 2023; Conclusion: Goodbye, Heavilon Hall; Index