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03080nam a2200337Ia 4500 |
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990000648900204151 |
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20241030105024.0 |
| 008 |
151104s2006 nyu 000 0 eng d |
| 020 |
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|a 0374148104
|q (hardcover : alk. paper)
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|a 9780374148102
|q (hardcover : alk. paper)
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|a 9780374148102
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|a (OCoLC)000064890
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|a (udesa)000064890USA01
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|a (OCoLC)927441500
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| 035 |
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|a (OCoLC)990000648900204151
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|a U@S
|b spa
|c U@S
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| 049 |
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|a U@SA
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| 050 |
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4 |
|a PN1271
|b .M85 2006
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| 100 |
1 |
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|a Muldoon, Paul.
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| 245 |
1 |
4 |
|a The end of the poem /
|c Paul Muldoon.
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| 250 |
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|a 1st ed.
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| 260 |
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|a New York :
|b Farrar, Straus, and Giroux,
|c 2006.
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| 300 |
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|a 406 p. ;
|c 24 cm.
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| 490 |
1 |
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|a Oxford lectures
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|a All Souls' Night / W.B. Yeats -- The Literary Life / Ted Hughes -- The Mountain / Robert Frost -- 12 O'Clock News / Elizabeth Bishop -- I tried to think a lonelier Thing / Emily Dickinson -- I Remember / Stevie Smith -- George III / Robert Lowell -- L'anguilla/The Eel / Eugenio Montale -- Autopsychography / Fernando Pessoa -- Poetry / Marianne Moore -- Sea Poppies / H.D. -- Poem of the End / Marina Tsvetayeva -- Dover Beach / Matthew Arnold -- Homage to Clio / W.H. Auden -- Welsh Incident / Robert Graves -- A Failure / C. Day-Lewis -- Keeping Going / Seamus Heaney.
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| 520 |
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|a "In "The End of the Poem", Paul Muldoon, "the most significant English-language poet born since the Second World War" (Times Literary Supplement), presents engaging, rigorous, and insightful investigations of a diverse group of poems, from Yeats's "All Souls' Night" to Stevie Smith's "I Remember" to Fernando Pessoa's "Autopsychography." Here Muldoon reminds us that the word "poem" comes, via French, from the Latin and Greek: "a thing made or created." He asks: Can a poem ever be a free-standing, discrete structure, or must it always interface with the whole of its author's bibliography--and biography? Muldoon explores the boundlessness, the illimitability, created by influence, what Robert Frost meant when he insisted that "the way to read a poem in prose or verse is in the light of all the other poems ever written." And he writes of the boundaries or borders between writer and reader and the extent to which one determines the role of the other. At the end, Muldoon returns to the most fruitful, and fraught, aspect of the phrase "the end of the poem": the interpretation that centers on the "aim" or "function" of a poem, and the question of whether or not the end of the poem is the beginning of criticism. Irreverent, deeply learned, often funny, and always stimulating, The End of the Poem is a vigorous and accessible approach to looking at poetry anew." --Descripción del editor.
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| 650 |
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|a Poetry, Modern
|y 20th century
|x History and criticism.
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| 650 |
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|a Poetry, Modern
|y 19th century
|x History and criticism.
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| 650 |
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7 |
|a Poesía moderna
|y Siglo XX
|x Historia y crítica.
|2 UDESA
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| 650 |
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7 |
|a Poesía moderna
|y Siglo XIX
|x Historia y crítica.
|2 UDESA
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| 830 |
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|a Oxford lectures (New York, N.Y.)
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