iTunes

Opening the iTunes Store.If iTunes doesn’t open, click the iTunes application icon in your Dock or on your Windows desktop.Progress Indicator
Opening the iBooks Store.If iBooks doesn't open, click the iBooks app in your Dock.Progress Indicator
iTunes

iTunes is the world's easiest way to organize and add to your digital media collection.

We are unable to find iTunes on your computer. To download from the iTunes Store, get iTunes now.

Already have iTunes? Click I Have iTunes to open it now.

I Have iTunes Free Download
iTunes for Mac + PC

E. C. Stedman and the Invention of Victorian Poetry.

Victorian Poetry 2005, Summer, 43, 2

Victorian Poetry

This book is available for download with iBooks on your Mac or iOS device, and with iTunes on your computer. Books can be read with iBooks on your Mac or iOS device.

Description

CRITICS HAVE LONG DESPISED "THE GENTEEL TRADITION" OF THE AMERICAN nineteenth century. According to the vast majority of American literary histories written since 1915 (when Van Wyck Brooks published his polemic America's Coming of Age), the genteel tradition (and nineteenth-century America more generally) derived its poetic norms and ideals from the forms, imagery, and language of foreign sources, and it expressed a sentimental, bourgeois ideology at odds with the subversive work of truly great American writers. Only after the liberating Modernist revolution of the early twentieth century would America have its own poetic tradition. As Andrew DuBois and Frank Lentricchia tell the story, "to many appreciative American readers at the end of the nineteenth century," the genteel writers The Modernists, then, resented not only the "boring poems" of the genteel writers but more significantly the cultural control they exercised, and by breaking the power of this "cabal," Modernism effected much more than a revolution in taste. In other words, the key target of Modernist rage was not genteel poems but genteel poetics, a system of "values," which DuBois and Lentricchia indict without really specifying. But the phrase "displaced late Victorians" is telling: not only do the genteel poets hold on to a set of values hopelessly out of date (hence "late"), they also mistakenly endorse a tradition that is not even theirs (hence they are "displaced Victorians"). Looking to Britain, the Victorian American "cabal" endorsed a sense of American poetry that only (and weakly) met the terms of a foreign poetics, and in so doing they missed the vital work being created at home, so that only in the twentieth century would the real American literature (Walden, Moby Dick, Leaves of Grass) be recognized. Besides being generally incorrect, this thesis fails to acknowledge an important implication of its terms, namely that "looking eastward" from America might be creative and productive as well as derivative. Americans did not look eastward to an autonomous or pre-existent field or discourse of Victorian poetry; rather, their looking eastward called that field into being. In other words, Americans did look to Britain during the Victorian era, but these Americans did not imitate, they created Victorian poetry. Rather than merely adopting pre-existing British poetic models as paradigms for American poetry, American writers helped to create those models by theorizing and defining Victorian poetry. (2)

E. C. Stedman and the Invention of Victorian Poetry.
View In iTunes
  • $5.99
  • Available on iPhone, iPad, iPod touch, and Mac.
  • Category: Language Arts & Disciplines
  • Published: 22 June 2005
  • Publisher: West Virginia University Press, University of West Virginia
  • Seller: The Gale Group, Inc.
  • Print Length: 45 Pages
  • Language: English
  • Requirements: To view this book, you must have an iOS device with iBooks 1.3.1 or later and iOS 4.3.3 or later, or a Mac with iBooks 1.0 or later and OS X 10.9 or later.

Customer Ratings

We have not received enough ratings to display an average for this book.