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Titlebook: Hart Crane and the Modernist Epic; Canon and Genre Form Daniel Gabriel Book 2007 Palgrave Macmillan, a division of Nature America Inc. 2007

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書目名稱Hart Crane and the Modernist Epic
副標(biāo)題Canon and Genre Form
編輯Daniel Gabriel
視頻videohttp://file.papertrans.cn/425/424386/424386.mp4
圖書封面Titlebook: Hart Crane and the Modernist Epic; Canon and Genre Form Daniel Gabriel Book 2007 Palgrave Macmillan, a division of Nature America Inc. 2007
描述This study examines Hart Crane‘s canonical ambitions in The Bridge and argues for a new species of epic, ‘the modernist epic,‘ which also includes Pound‘s The Cantos, Eliot‘s The Waste Land, and Williams‘s Paterson. It offers a close reading of The Bridge as a hybrid of lyric and epic modes. Crane‘s sublime and history converge in a complex synthesis of form and ideas. The study reconceives Crane‘s achievement by locating him in an intertextual system of production while also recognizing his poetic making of self. Yet in this work Crane assumes a greater political presence than much commentary has entertained.
出版日期Book 2007
關(guān)鍵詞epic; genre; George Eliot; history; history of literature; lyric
版次1
doihttps://doi.org/10.1007/978-1-137-12207-0
isbn_ebook978-1-137-12207-0
copyrightPalgrave Macmillan, a division of Nature America Inc. 2007
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Daniel Gabrielapacity building to be able to adapt effectively to climate change and variability, 2) the critical roles are those played out by the farmers themselves, but that 3) other actors can play an important role in accompanying farmers in their adaptation process, providing relevant and strategic informat
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Daniel Gabrieler Dynamic Linear Programming models were used to determine the annual optimal land and labour allocations over a 30?year time horizon. In the modeling process, five climate scenarios were modeled, along with different combinations of CO. enhancement and water limitation. Parameters, such as crop pr
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Introduction Hart Crane, Bridging, and History,reputation in lyric—the “musicality” of his lines, the intriguing (though difficult) density of his language and imagery—he was also all too conscious of genre and the architectonics of form. His formal interests intersect with his aspirations to be a “cultural” poet, and to write a symbolic history
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