scholarly journals Introducing Students to Pre-Nineteenth-Century Poetry in the Language Classroom

2014 ◽  
Vol 88 (2) ◽  
pp. 171-183
Author(s):  
Erin E. Edgington
Keyword(s):  
Nineteenth Century ◽  
Language Classroom ◽  
Century Poetry ◽  
Nineteenth Century Poetry

“Not Another ‘Poetess’”: Feminist Criticism, Nineteenth-Century Poetry, and the Racialization of Suicide

2016 ◽  
Author(s):  
Tricia Lootens
Keyword(s):  
Nineteenth Century ◽  
African American ◽  
Crisis Intervention ◽  
Feminist Criticism ◽  
Frances Ellen Watkins Harper ◽  
Century Poetry ◽  
Second Wave ◽  
Nineteenth Century Poetry

This chapter examines struggles to define relations between “Victorian femininity” and racialized Poetess reception, focusing in particular on early, explicitly racialized meditations on the loss of African American Poetess figures. Drawing on foundational Second Wave feminist texts such as Ellen Moers's Literary Women, Cora Kaplan's Salt and Bitter and Good, Sandra M. Gilbert and Susan Gubar's Madwoman in the Attic, Erlene Stetson's Black Sister, and Cheryl Walker's Nightingale's Burden, the chapter investigates how early strains in Second Wave thinking came to define feminist criticism itself as a politicized mode of crisis intervention. It also considers how Frances Ellen Watkins Harper came to be barred, explicitly, from the category of “poetess” and concludes with a reading of Alice Walker's 1976 Poetess novel Meridian.

Apprentices to Chance Event

2015 ◽  
Author(s):  
Jesse Zuba
Keyword(s):  
Nineteenth Century ◽  
Wallace Stevens ◽  
Marianne Moore ◽  
Hart Crane ◽  
Regular Production ◽  
Chance Event ◽  
Century Poetry ◽  
White Buildings ◽  
Nineteenth Century Poetry

This chapter explores representations of career in Harmonium (Wallace Stevens), Observations (Marianne Moore), and White Buildings (Hart Crane) that resist the normative course of development that underpins the professional ideal of regular production. The indeterminacy of representations of career in nineteenth-century poetry is pressed to an extreme in modernist debuts, which are burdened not only with evoking the uncertainty that confirms vocational integrity and the intermittency that signals autonomy from the market, but also with evoking those ideas in new ways. This last challenge, necessitated by the demand that every artistic generation make it new, is made still more daunting by the rise of a culture of professionalism in which writing poetry was apt to appear as childish, effeminate, escapist, elitist, and generally absurd.

The Secularization of the Lyric: The End of Art, a Revolution in Poetic Language, and the Meaning of the Modern Crowd

Secular Lyric ◽  
2018 ◽  
Author(s):  
John Michael
Keyword(s):  
Nineteenth Century ◽  
Christian Belief ◽  
Poetic Language ◽  
End Of Art ◽  
Century Poetry ◽  
Nineteenth Century Poetry

The Introduction sketches the alteration of lyric’s place in the nineteenth century. Poetry, which had been a primary purveyor of wisdom and consolation for a relatively homogenous society grounded in Christian belief, becomes a print commodity confronting a society in which contending beliefs—including beliefs in rationalism, science, and progress—have rendered naïve belief and the forms of wisdom and consolation that might attend it unavailable to writers like Poe, Whitman, and Dickinson who were acutely attuned to their times and sensed the hollowness of the discourses around them. They did not abandon lyric, but modernized it. The end of art—as Hegel put it—as the primary vehicle for belief or spirit does not mean the end of lyric but a proliferation of poetic practices and a turn from the conveyance of meaning to the interrogation of language and received ideas, a revolution in poetic language evident in the work of these three U. S. poets, which puts them near the advent of modernity in poetry.

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