By Gary Day
This assortment seems on the advancements in British poetry from the stream till the current. The advent not just presents a context for those alterations but additionally argues that poetry feedback has been debilitated through the hunt for political respectability, a development which may basically be reversed via reconsidering the assumption of culture. The essays themselves concentrate on common issues or person authors. Written in a transparent and knowledgeable demeanour, they galvanize the reader right into a clean knowledge of the character of poetry and its relation to society.
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Additional resources for British Poetry from the 1950s to the 1990s: Politics and Art
17. 18. 19. John Powell Ward, The English Line: Poetry of the Unpoetic from Wordsworth to Larkin (London: Macmillan, 1991). , p. 7. , p. 16. For a full account of the Movement see Blake Morrison, The Movement: English Poetry and Fiction of the 1950s (London and New York: Methuen, 1980). ), New Lines (London: Macmillan, 1956) and A. ), The New Poetry (Harmondsworth: Penguin, 1962). Blake Morrison and Andrew Motion (eds), Contemporary British Poetry (Harmondsworth: Penguin, 1982). Michael Hulse, David Kennedy and David Morley (eds), The New Poetry (Newcastle: Bloodaxe Books, 1993).
B Bunting was particularly an admirer of Pound's quasi-translation 'Homage to Sextus Propertius' and something of that poem's assertive virility and contempt Basil Bunting: Briggflatts 25 for the socio-political order, as well as its use of lyrical free verse, appears in Bunting's own work. His 'Villon' (1925) plays off the mediaeval French poet as Pound had played off Propertius, at times achieving the stark epigrammatic flavour of the Scottish Chaucerians: Abelard and Eloise, Henry the Fowler, Charlemagne, Genee, Lopokova, all these die, die in pain.
282. See William Empson, Seven Types of Ambiguity (Harmondsworth: Penguin, 1961). Martin Heidegger, 'The Origin of the Work of Art', in Martin Heidegger, Basic Writings, ed. David Farrell Krell (London and New York: Routledge, 1978), pp. 143-212, p. 191. : Blackwell, 1994), p. 191. Heidegger, 'The Origin of the Work of Art', op. , p. 187. Bronner, Of Critical Theory and its Theorists, op. , p. 330. , p. 135. The source of the quotation is not given. R. R. Leavis, The Common Pursuit (Harmondsworth: Penguin, 1993), pp.