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The Sorrows of Eros and Other Poems
Yet Weinfield is also given to the kind of rigorous intellectual speculation that one usually associates with poets such as William Bronk or George Oppen, and a refined process of abstraction never fails to give the work an utterly contemporary edge."--BOOK JACKET. "His subject matter is equally challenging; here are poems about political violence, the anomie of the postmodern city, the bittersweet disasters of the erotic life."--BOOK JACKET.
The Poet Without a Name
Henry Weinfield offers a new reading not only of the Elegy itself but also of its place in English literary history. His central argument is that in Gray’s Elegy the thematic constellation of poverty, anonymity, alienation, and unfulfilled potential—or what Weinfield calls the "problem of history"—is fully articulated for the first time, and that, as a result, the Elegy represents an important turning-point in the history of English poetry.
In the First Country of Places
These authors describe their relationships with nature and childhood in the context of major Western traditions of philosophy and religion. Each poet confronts the Western image of an alien nature within which histories of individuals are insignificant, and three poets elaborate alternative versions of connection with nature and their own past.
The Music of Thought in the Poetry of George Oppen and William Bronk
George Oppen (1908–1984), born into a prosperous German Jewish family, began his career as a protégé of Ezra Pound and a member of the Objectivist circle of poets; he eventually broke with Pound and became a member of the Communist party before returning to poetry more than twenty-five years later. William Bronk (1918–1999), by contrast, a descendant of the first European families in New York, was influenced by the works of Shakespeare, the King James Bible, and the work of the New England writers of the American Renaissance. Despite differences in background and orientation, the two men formed a deep friendship and shared a similar existential outlook. As Henry Weinfield demonstrates ...
Collected Poems
In this classic tale, Richard Kim paints seven vivid scenes from a boyhood and early adolescence in Korea at the height of the Japanese occupation, 1932 to 1945. Taking its title from the grim fact that the occupiers forced the Koreans to renounce their own names and adopt Japanese names instead, the book follows one Korean family through the Japanese occupation to the surrender of the Japanese empire. Lost Names is at once a loving memory of family and a vivid portrayal of life in a time of anguish.
The Labyrinth of Love
“Hailed as the Prince of Poets of the French Renaissance, Pierre de Ronsard composed a rich body of love poetry that has captivated audiences and challenged scholars for many centuries through its undulating, liquid forms and powerful metamorphic imagination. Blending oneiric fantasy and mythological profusion . . . this poetry appeals to readers steeped in the classical tradition and receptive to an esthetic of vitality and abundance rather than the brooding self-pity more characteristic of Petrarchism. This new translation captures the essence of a poetic legacy whose exuberance and emotion can still be deeply felt today.” —Eric MacPhail, author of Religious Tolerance from Renaissanc...
Selected Poems
Simply indispensable. Bronk is our most honest witness. Annotation copyright Book News, Inc. Portland, Or.
The Fate of Eloquence in the Age of Hume
Potkay explains the sense of urgency that the concept of eloquence evoked among eighteenth-century British readers, for whom it recalled Demosthenes exhorting Athenian citizens to oppose tyranny. Revived by Hume and many other writers, the concept of eloquence resonated deeply for an audience who perceived its own political community as being in danger of disintegration. Potkay also shows how, beginning in the realm of literature, the fashion of polite style began to eclipse that of political eloquence. An ethos suitable both to the family circle and to a public sphere that included women, "politeness" entailed a sublimation of passions, a "feminine" modesty as opposed to "masculine" display, and a style that sought rather to placate or stabilize than to influence the course of events.
Handbook of Inaesthetics
This volume presents a new proposal for the link between philosophy and art. Badiou identifies and rejects the three schemes of didacticism, romanticism, and classicism that he sees as having governed traditional "aesthetics," and seeks a fourth mode of accounting for the educative value of works of art.
