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Offering a new theory of poetic constraint, this book analyses contributions of bound people to the history of the lyric.
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Offering a new theory of poetic constraint, this book analyses contributions of bound people to the history of the lyric.
Dieser Download kann aus rechtlichen Gründen nur mit Rechnungsadresse in A, B, BG, CY, CZ, D, DK, EW, E, FIN, F, GR, HR, H, IRL, I, LT, L, LR, M, NL, PL, P, R, S, SLO, SK ausgeliefert werden.
Produktdetails
- Produktdetails
- Verlag: Cambridge University Press
- Erscheinungstermin: 21. Oktober 2021
- Englisch
- ISBN-13: 9781108997713
- Artikelnr.: 70911026
- Verlag: Cambridge University Press
- Erscheinungstermin: 21. Oktober 2021
- Englisch
- ISBN-13: 9781108997713
- Artikelnr.: 70911026
Andrea Brady is Professor of Poetry, School of English and Drama at Queen Mary University of London. Her books include English Funerary Elegy in the Seventeenth Century (2006), The Blue Split Compartments (2021), The Strong Room (2016), Cut from the Rushes (2013), Mutability (2012), and Wildfire (2010). She has held fellowships from the Leverhulme Trust and the National Humanities Center, and performed throughout Europe, Canada, the United States, Lebanon, and Chile.
Introduction: The Fetters of Verse; Part I. Lyric Cells: 1. The Music of
Fetters: Thomas Wyatt and the Beginnings of English Carceral Lyric; 2. The
Ligature: Rob Halpern's Common Place and the Limits of Desire; 3. Each in
Their Separate Hell: Solitary Confinement in the Long Nineteenth Century;
4. Hours of Lead: The Modern US Prison, Segregation and Solidarity; Part
II. The Songs of Slavery: 3. Bind Me - I Still Can Sing: Emily Dickinson at
the Boundaries of Lyric; 4. The Story that Cannot Be Told: M. Nourbese
Philip's Zong!, from Form to Performance; 5. The Sound Came from Everywhere
and Nowhere: African-American Song as Lyric Work; 6. Singing at the Window:
New Criticism and the Evolution of Lyric; Part III. Pleasures and
Ornaments: 9. A New Made Wound: Sadomasochistic Triumphs and Missing Feet
in Ovid's Elegies; 10. The Ecstatic Lash of the Poetic Line: Swinburne,
Hopkins, and the Pleasures of Bondage; 11. Soft Architecture: Lisa
Robertson and Bondage as Ornament; 12. Silken Fetters: Phillis Wheatley and
Ornament as Bondage.
Fetters: Thomas Wyatt and the Beginnings of English Carceral Lyric; 2. The
Ligature: Rob Halpern's Common Place and the Limits of Desire; 3. Each in
Their Separate Hell: Solitary Confinement in the Long Nineteenth Century;
4. Hours of Lead: The Modern US Prison, Segregation and Solidarity; Part
II. The Songs of Slavery: 3. Bind Me - I Still Can Sing: Emily Dickinson at
the Boundaries of Lyric; 4. The Story that Cannot Be Told: M. Nourbese
Philip's Zong!, from Form to Performance; 5. The Sound Came from Everywhere
and Nowhere: African-American Song as Lyric Work; 6. Singing at the Window:
New Criticism and the Evolution of Lyric; Part III. Pleasures and
Ornaments: 9. A New Made Wound: Sadomasochistic Triumphs and Missing Feet
in Ovid's Elegies; 10. The Ecstatic Lash of the Poetic Line: Swinburne,
Hopkins, and the Pleasures of Bondage; 11. Soft Architecture: Lisa
Robertson and Bondage as Ornament; 12. Silken Fetters: Phillis Wheatley and
Ornament as Bondage.
Introduction: The Fetters of Verse; Part I. Lyric Cells: 1. The Music of
Fetters: Thomas Wyatt and the Beginnings of English Carceral Lyric; 2. The
Ligature: Rob Halpern's Common Place and the Limits of Desire; 3. Each in
Their Separate Hell: Solitary Confinement in the Long Nineteenth Century;
4. Hours of Lead: The Modern US Prison, Segregation and Solidarity; Part
II. The Songs of Slavery: 3. Bind Me - I Still Can Sing: Emily Dickinson at
the Boundaries of Lyric; 4. The Story that Cannot Be Told: M. Nourbese
Philip's Zong!, from Form to Performance; 5. The Sound Came from Everywhere
and Nowhere: African-American Song as Lyric Work; 6. Singing at the Window:
New Criticism and the Evolution of Lyric; Part III. Pleasures and
Ornaments: 9. A New Made Wound: Sadomasochistic Triumphs and Missing Feet
in Ovid's Elegies; 10. The Ecstatic Lash of the Poetic Line: Swinburne,
Hopkins, and the Pleasures of Bondage; 11. Soft Architecture: Lisa
Robertson and Bondage as Ornament; 12. Silken Fetters: Phillis Wheatley and
Ornament as Bondage.
Fetters: Thomas Wyatt and the Beginnings of English Carceral Lyric; 2. The
Ligature: Rob Halpern's Common Place and the Limits of Desire; 3. Each in
Their Separate Hell: Solitary Confinement in the Long Nineteenth Century;
4. Hours of Lead: The Modern US Prison, Segregation and Solidarity; Part
II. The Songs of Slavery: 3. Bind Me - I Still Can Sing: Emily Dickinson at
the Boundaries of Lyric; 4. The Story that Cannot Be Told: M. Nourbese
Philip's Zong!, from Form to Performance; 5. The Sound Came from Everywhere
and Nowhere: African-American Song as Lyric Work; 6. Singing at the Window:
New Criticism and the Evolution of Lyric; Part III. Pleasures and
Ornaments: 9. A New Made Wound: Sadomasochistic Triumphs and Missing Feet
in Ovid's Elegies; 10. The Ecstatic Lash of the Poetic Line: Swinburne,
Hopkins, and the Pleasures of Bondage; 11. Soft Architecture: Lisa
Robertson and Bondage as Ornament; 12. Silken Fetters: Phillis Wheatley and
Ornament as Bondage.