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Title Lyric Poetry : the Pain and the Pleasure of Words / Mutlu Konuk Blasing.
Imprint Princeton, N.J. : Princeton University Press, [2007]


 Internet  Electronic Book    AVAILABLE
Edition Course book.
Description 1 online resource (232 pages) : illustrations
Note Available only to authorized UTEP users.
In English.
Online resource; title from PDF title page (publisher's Web site, viewed October 27 2015).
Subject Criticism -- General.
Criticism -- Poetry.
Lyric poetry -- History and criticism.
Travel -- Special Interest -- Literary.
Genre Criticism, interpretation, etc.
Contents Frontmatter -- Contents -- Acknowledgments -- Introduction. "Making Choice of a Human Self" -- Chapter 1. The Lyric Subject -- Chapter 2. The Historical "I" -- Chapter 3. The Scripted "I" -- Chapter 4. The Body of Words -- Chapter 5. Four Quartets: Rhetoric Redeemed -- Chapter 6. Wallace Stevens and "The Less Legible Meanings of Sounds" -- Chapter 7. Pound'S Soundtrack: "Reading Cantos for What Is on the Page" -- Chapter 8. Anne Sexton, "The Typo" -- Coda. The Haunted House of "Anna" -- Works Cited -- Index.
Summary Lyric poetry has long been regarded as the intensely private, emotional expression of individuals, powerful precisely because it draws readers into personal worlds. But who, exactly, is the "I" in a lyric poem, and how is it created? In Lyric Poetry, Mutlu Blasing argues that the individual in a lyric is only a virtual entity and that lyric poetry takes its power from the public, emotional power of language itself. In the first major new theory of the lyric to be put forward in decades, Blasing proposes that lyric poetry is a public discourse deeply rooted in the mother tongue. She looks to poetic, linguistic, and psychoanalytic theory to help unravel the intricate historical processes that generate speaking subjects, and concludes that lyric forms convey both personal and communal emotional histories in language. Focusing on the work of such diverse twentieth-century American poets as T.S. Eliot, Ezra Pound, Wallace Stevens, and Anne Sexton, Blasing demonstrates the ways that the lyric "I" speaks, from first to last, as a creation of poetic language.