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Lyric Contingencies : Emily Dickinson and Wallace Stevens /

In Lyric Contingencies Margaret Dickie brings Wallace Stevens and Emily Dick­inson together to explore the ways in which the lyric genre is eccentric to, even disruptive of, the Emersonian tradition that has shaped American literary history. Dickie contends that although Stevens and Dickinson repres...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Dickie, Margaret
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Philadelphia, Pa. : University of Pennsylvania Press, [2016]
Temas:
Acceso en línea:Texto completo

MARC

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245 1 0 |a Lyric Contingencies :  |b Emily Dickinson and Wallace Stevens /  |c Margaret Dickie. 
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505 0 0 |t Frontmatter --  |t Contents --  |t Acknowledgments --  |t Abbreviations --  |t Part I. Emily Dickinson --  |t Chapter 1: "They shut me up in Prose": Introduction --  |t Chapter 2: "The dazzled Soul / In her unfurnished Rooms": Dickinson and the Lyric Self --  |t Chapter 3: "A nearness to Tremendousness": Dickinson and Metonymy --  |t Chapter 4: "Who goes to dine must take his Feast": Dickinson and Her Audience --  |t Interchapter --  |t Part II. Wallace Stevens --  |t Chapter 5: "He that of repetition is most master": Stevens and the Lyric Self --  |t Chapter 6: "To picnic in the ruins that we leave": Stevens and Metonymy --  |t Chapter 7: "A world impossible for poets": Stevens and His Audience --  |t Chapter 8: "So summer comes in the end to these few stains": Conclusion --  |t Notes --  |t Index of Works Cited --  |t General Index --  |t Backmatter 
546 |a In English. 
588 0 |a Online resource; title from PDF title page (publisher's Web site, viewed Dec. 09, 2016). 
520 |a In Lyric Contingencies Margaret Dickie brings Wallace Stevens and Emily Dick­inson together to explore the ways in which the lyric genre is eccentric to, even disruptive of, the Emersonian tradition that has shaped American literary history. Dickie contends that although Stevens and Dickinson represent different moments of cultural crises, different genders, and different and private lives, they faced similar problems of expression and similar formal and cultural restraints in their devotion to the lyric genre. Dickie considers those elements of the lyric that set it apart from both prose and narrative poetry: its speaker, its insistence on artifice, and its relation to an audience. By concentrating on these, she examines the radically experimental ways in which Dickinson and Stevens used the genre to question cultural certainties of gender, language, and the nature of the individual. 
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