LEADER 03481nam 2200613 a 450 001 9910820303903321 005 20200520144314.0 010 $a1-282-15902-X 010 $a9786612159022 010 $a1-4008-2741-8 024 7 $a10.1515/9781400827411 035 $a(CKB)1000000000788554 035 $a(EBL)457754 035 $a(OCoLC)439837943 035 $a(SSID)ssj0000194967 035 $a(PQKBManifestationID)11183926 035 $a(PQKBTitleCode)TC0000194967 035 $a(PQKBWorkID)10243565 035 $a(PQKB)11655970 035 $a(MdBmJHUP)muse36189 035 $a(DE-B1597)446289 035 $a(OCoLC)979578643 035 $a(DE-B1597)9781400827411 035 $a(Au-PeEL)EBL457754 035 $a(CaPaEBR)ebr10312463 035 $a(CaONFJC)MIL215902 035 $a(MiAaPQ)EBC457754 035 $a(EXLCZ)991000000000788554 100 $a20051229d2007 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aLyric poetry$b[electronic resource] $ethe pain and the pleasure of words /$fMutlu Konuk Blasing 205 $aCourse Book 210 $aPrinceton, N.J. $cPrinceton University Press$dc2007 215 $a1 online resource (227 p.) 300 $aDescription based upon print version of record. 311 $a0-691-12682-8 320 $aIncludes bibliographical references (p. [205]-211) and index. 327 $t Frontmatter -- $tContents -- $tAcknowledgments -- $tIntroduction. "Making Choice of a Human Self" -- $tPart One. Lyric Theory -- $tChapter 1. The Lyric Subject -- $tChapter 2. The Historical "I" -- $tChapter 3. The Scripted "I" -- $tChapter 4. The Body of Words -- $tPart Two. Lyric Practice -- $tChapter 5. Four Quartets: Rhetoric Redeemed -- $tChapter 6. Wallace Stevens and "The Less Legible Meanings of Sounds" -- $tChapter 7. Pound'S Soundtrack: "Reading Cantos for What Is on the Page" -- $tChapter 8. Anne Sexton, "The Typo" -- $tCoda. The Haunted House of "Anna" -- $tWorks Cited -- $tIndex 330 $aLyric 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. 606 $aLyric poetry$xHistory and criticism 615 0$aLyric poetry$xHistory and criticism. 676 $a809.1/04 700 $aBlasing$b Mutlu Konuk$f1944-$01600475 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910820303903321 996 $aLyric poetry$93923601 997 $aUNINA