Poetry's Afterlife: Verse in the Digital Age * Poetry's Afterlife: Verse in the Digital Age * Male Subjectivity and Poetic Form in "New American" Poetry * Urban Pastoral: Natural Currents in the New York School * Deep Skin: Elizabeth Bishop and Visual Art

2012 ◽  
Vol 84 (1) ◽  
pp. 212-215
Author(s):  
K. Lamm
Keyword(s):  
New York ◽  
Visual Art ◽  
Digital Age ◽  
American Poetry ◽  
Elizabeth Bishop ◽  
New York School ◽  
Poetic Form ◽  
New American Poetry ◽  
Male Subjectivity

Ted Berrigan’s Stanzaic Spaces

2018 ◽  
Author(s):  
Yasmine Shamma
Keyword(s):  
New York ◽  
Second Generation ◽  
John Donne ◽  
New York School ◽  
Poetic Form ◽  
Verse Form

After suggesting (and agreeing) that Berrigan led the Second Generation New York School, this chapter treats the actual forms of Berrigan’s poems, focusing on his sonnets to show that these poets interpret poems as spaces in which to recreate rooms. Berrigan, perhaps more obviously than any other New York School poet, took deliberate steps towards integrating aspects of traditional poetic verse form: Where John Donne encouraged: “We’ll build in sonnets pretty rooms,” Berrigan retorts (repeated throughout his Sonnets): “Is there room in the room that you room in?” riddling the form with domestic, urban and aesthetic complications. Berrigan explained to an interviewer: “I always thought of each one of my poems, like the sonnets, as being a room. And before that, I used to think of each stanza as being a room.” Accordingly, this chapter examines Berrigan’s stanzas as rooms, arguing that this responsive poetic form functions organically.

scholarly journals Contemporary American poetry in Slovenian criticism and translation : 1945 - 2005

2006 ◽  
Vol 39 (1-2) ◽  
pp. 21-39 ◽  
Author(s):  
Igor Divjak
Keyword(s):  
New York ◽  
American Poetry ◽  
New York School ◽  
War Poetry ◽  
Contemporary American Poetry ◽  
Post War ◽  
American Authors ◽  
Black Mountain

The article presents the Slovenian reception of five major groups in American post-war poetry -the Formalists, the Confessionals, the Beats, the Black Mountain poets, and the New York School poets - as well as the reception of those prominent authors who cannot be classified in any of these groups. The analysis reveals which groups have attracted  most interest of the Slovenian critics and translators, when was the peak of their reception, which methods of interpretation have been used by the Slovenian critics, and to what extent has their judgement about certain contemporary American authors gradually changed.

Introduction

2018 ◽  
Author(s):  
Yasmine Shamma
Keyword(s):  
New York ◽  
Second Generation ◽  
New York School ◽  
Poetic Form ◽  
Historical Contextualization ◽  
Historically Situated ◽  
Critical Social

This introduction tells the story of the Second Generation New York School—one of aesthetic and academic lineage and, for at least a decade, intimate bond. The Second Generation New York School poets are historically situated as a bohemia (citing Geoff Ward’s use of the term) and theoretically situated as ecocritical. The ways in which the school engaged in ancestral hopping (of Modernists) are outlined. Following this, the introduction integrates existing discussion of postmodern poetic form, alerting the reader to critical agreements regarding New York School poetry’s “haphazard” form (according to Helen Vendler), while defining form for the purposes of the subsequent revisionist discussion. While much of the introduction engages in this kind of critical, social, and historical contextualization, it also argues that the title of the school, though a misnomer, is necessary, and that the complexities of this particular school’s constructions have yet to be fully apprehended.

Bahá’u’lláh’s Influence on the New York School of Painting: The “Unapprehended Inspiration” of Newman and Rothko

1991 ◽  
Vol 4 (1) ◽  
pp. 67-89
Author(s):  
Ross Woodman
Keyword(s):  
New York ◽  
Divine Revelation ◽  
New York School ◽  
The World ◽  
Mark Rothko ◽  
The Veil ◽  
The City

As members of the New York School of painters, Barnett Newman and Mark Rothko announced not only the passing away of an entire creation but also the bringing forth of a new one. Though unaware that they were living and painting in the City of the Covenant whose light would one day rise from darkness and decay to envelop the world even as their painting of light consciously arose from the void of a blank canvas, Newman’s and Rothko’s work may nevertheless be best understood as a powerful first evidence of what Bahá’u’lláh called “the rising Orb of Divine Revelation, from behind the veil of concealment.” Their work may yet find its true spiritual location in the spiritual city founded by ‘Abdu’l-Bahá on his visit to New York in 1912.

Edwin Denby’s Objectivist Modernism and the New York School

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
New York ◽  
New York School ◽  
Intrinsic Properties ◽  
Dance History ◽  
Art And Politics ◽  
Objectivist Theory ◽  
Biographical Approach

Whereas chapter 2 examines the emergence of a social modernist theory of ballet in the 1930s, chapter 3 illustrates a new ballet modernism arising in the 1940s through the contributions of Edwin Denby. Denby’s primary innovation to American ballet theory was to reassign dance meaning from social or political themes to the intrinsic properties of the movement itself. This chapter takes a biographical approach to Denby’s criticism to situate this theoretical shift in ballet within the interdisciplinary New York School, in which he was extensively involved, and in which similar challenges to the relation of art and politics were being made by painters, photographers, and composers. This chapter demonstrates that Denby was the architect of a new objectivist theory of dance, which relocates the emergence of objectivism to a much earlier point in dance history, and in a different genre, than previously acknowledged. More than any other critic, Denby was responsible for connecting this objectivist theory of dance to Balanchine’s American neoclassicism, formulating the set of aesthetic principles that still shapes our idea of American ballet to date.

Realism and Poetry

2019 ◽  
pp. 485-505
Author(s):  
Jonathan N. Barron
Keyword(s):  
New York ◽  
American Poetry ◽  
Robert Frost ◽  
Interior Space ◽  
New Science ◽  
The World ◽  
Poetic Realism ◽  
American Cities ◽  
Sara Teasdale ◽  
Pragmatic Philosophy

American poetic realism still remains a largely unknown and untold story. Although it came to American poetry relatively late by comparison with fiction, the typical American realist poem has a distinctive nexus combining theme, diction, and style. Chief among the first American realists are Robert Frost, Edgar Lee Masters, Carl Sandburg, and Sara Teasdale. Specifically, realist poetry expresses a pragmatic philosophy rejecting the individual’s location in the world as something knowable, fixed, and stable. Realist poets reject as amoral and quietist the commitment to beauty for the sake of beauty and tend toward virtues associated with masculinity. Their poetry rejects generic nouns in favor of particulars and depicts recognizable contemporary landscapes and, above all, contemporary American cities such as Chicago, Boston, or New York. It emphasizes the interior space of the self as revealed by the new science of psychology. It also focuses on the living idiom of talk and speech rather than a “literary” language.

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