FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W1971152927> ?p ?o ?g. }

• W1971152927 endingPage "281" @default.
• W1971152927 startingPage "269" @default.
• W1971152927 abstract "Afterword:The Literary World Has Always Been Read/Write Martha Nell Smith (bio) Even in the age of personal computers and the Internet, which jointly give readers access to digital archives of materials formerly locked away for specialists only and to wikis, blogs, listservs, and other tools that facilitate communication in our read/write world, many are still more comfortable with and accustomed to reading by the book, as it were—and that fact has long affected the ways in which we read (or have read) poetry. The lyricization of poetry, or the conflation of all sorts of poetic writing—songs, riddles, epigrams, sonnets, epitaphs, blazons, lieder, elegies, marches, dialogues, conceits, ballads, epistles, hymns, odes, eclogues, and monodramas—into the single abstraction of the post-Romantic lyric,1 has led readers to assume that poems will be contained on pages, which are in turn bound within books. Each of the compelling essays collected in this special issue teaches something new about effective reading of too-long-neglected or at-best-skimmed American poetry, specifically that diverse body of work produced in the nineteenth century and circulated in many forms—magazines, newspapers, broadsides, oral performances, and yes, The Book, whether singly or multiply authored. However these contributors may define their critical strategies, they all, in one way or another, answer the call Joseph Harrington issued a little over a decade ago: As a social form, poetry is not simply a value-neutral, universal taxonomic category but an interpretive cue and an evaluative epithet that shapes uses and judgments of texts. Bereft of inherent properties, the conversation called poetry [End Page 269] instead stages literary ideologies. A social-formalist approach thus contextualizes the historical productions of reading strategies generally.2 Scaffolding complex arguments, the contributors' varied, refreshing tactics for analyzing the wide range of poetic practices their subjects enact might each be called social-formalist. Briefly recounting in this afterword their method[s] of thought and ethical attitude[s]—as a way of taking them in, again—shows how such passionate, curious, multiple-vectored, personable, and invested discussions generatively refuse the already filled page[s] of a literary history that has imposed aesthetic valuations anachronistically—misreading our poetic legacies and binding us in appreciations largely limited (throughout most of the twentieth century) to that odd couple, Walt Whitman and Emily Dickinson.3 Constructions of literary history have also privileged The Book so that a collective amnesia about poetry's circulations—by hand through letters or in parlors, by broadside, by newspaper, and so forth—has, until recently, prevailed. Michael Cohen's Peddlers, Poems, and Local Culture reorients our appreciation for the broadside as he asks: What happens to 'poetry' if we think of poems as potentially cheap, disposable, timely, and local? What are the social uses and meanings of poems in such a culture? (10). Turning these questions on Jonathan Plummer, a New England peddler-poet of the early nineteenth-century U.S., Cohen begins to show that poems have surprising social and political uses when historicized in their own singular time and place—revealing 'poetry' as a convention of our own scene of reading (11, 13). Comparing Plummer both to a journalist dabbling in gossip as well as responsibly passing along vital information (warnings of epidemics, for example) and to a bard gesturing like the elder Hamlet, Cohen's analysis provides a fitting initial performance for all that can be found in this special-issue theater. Supple and incisive, Max Cavitch opens up a world of reading the refrain's powerful effects in Stephen Crane's spare, irrhythmic verses (33)—a world that, through repetition imprinting words on readers' memory, becomes not a collaborative field of invention and improvisation but the rhetorical figure of despair (44). Rendering a history of the [End Page 270] refrain itself along the way, Cavitch finds in reviews by William Dean Howells and Willa Cather touchstones for his own critique of Crane's particular use of the refrain, which always asserts the disruptive power of the conventional—the power, that is, to disrupt the fiction of the unique voice (48)—and begins to index the place Crane's poetry ventures to occupy in the history of..." @default.
• W1971152927 created "2016-06-24" @default.
• W1971152927 creator A5044545810 @default.
• W1971152927 date "2009-01-01" @default.
• W1971152927 modified "2023-10-17" @default.
• W1971152927 title "Afterword: The Literary World Has Always Been Read/Write" @default.
• W1971152927 cites W1505563434 @default.
• W1971152927 cites W1522383936 @default.
• W1971152927 cites W1581025959 @default.
• W1971152927 cites W1966780697 @default.
• W1971152927 cites W1981902418 @default.
• W1971152927 cites W2018460053 @default.
• W1971152927 cites W2037758988 @default.
• W1971152927 cites W2079761465 @default.
• W1971152927 cites W2163284576 @default.
• W1971152927 cites W2316805967 @default.
• W1971152927 cites W2618627319 @default.
• W1971152927 cites W651733872 @default.
• W1971152927 cites W871694923 @default.
• W1971152927 doi "https://doi.org/10.1353/esq.0.0017" @default.
• W1971152927 hasPublicationYear "2009" @default.
• W1971152927 type Work @default.
• W1971152927 sameAs 1971152927 @default.
• W1971152927 citedByCount "1" @default.
• W1971152927 countsByYear W19711529272014 @default.
• W1971152927 crossrefType "journal-article" @default.
• W1971152927 hasAuthorship W1971152927A5044545810 @default.
• W1971152927 hasConcept C124952713 @default.
• W1971152927 hasConcept C138885662 @default.
• W1971152927 hasConcept C142362112 @default.
• W1971152927 hasConcept C164913051 @default.
• W1971152927 hasConcept C23924245 @default.
• W1971152927 hasConcept C27727207 @default.
• W1971152927 hasConcept C38721330 @default.
• W1971152927 hasConcept C41895202 @default.
• W1971152927 hasConcept C518914266 @default.
• W1971152927 hasConcept C554936623 @default.
• W1971152927 hasConcept C95457728 @default.
• W1971152927 hasConceptScore W1971152927C124952713 @default.
• W1971152927 hasConceptScore W1971152927C138885662 @default.
• W1971152927 hasConceptScore W1971152927C142362112 @default.
• W1971152927 hasConceptScore W1971152927C164913051 @default.
• W1971152927 hasConceptScore W1971152927C23924245 @default.
• W1971152927 hasConceptScore W1971152927C27727207 @default.
• W1971152927 hasConceptScore W1971152927C38721330 @default.
• W1971152927 hasConceptScore W1971152927C41895202 @default.
• W1971152927 hasConceptScore W1971152927C518914266 @default.
• W1971152927 hasConceptScore W1971152927C554936623 @default.
• W1971152927 hasConceptScore W1971152927C95457728 @default.
• W1971152927 hasIssue "1-4" @default.
• W1971152927 hasLocation W19711529271 @default.
• W1971152927 hasOpenAccess W1971152927 @default.
• W1971152927 hasPrimaryLocation W19711529271 @default.
• W1971152927 hasRelatedWork W1504130013 @default.
• W1971152927 hasRelatedWork W1514509644 @default.
• W1971152927 hasRelatedWork W1532636115 @default.
• W1971152927 hasRelatedWork W2036066814 @default.
• W1971152927 hasRelatedWork W2810835205 @default.
• W1971152927 hasRelatedWork W3117001307 @default.
• W1971152927 hasRelatedWork W4298506689 @default.
• W1971152927 hasRelatedWork W4319770563 @default.
• W1971152927 hasRelatedWork W4366386769 @default.
• W1971152927 hasRelatedWork W658356385 @default.
• W1971152927 hasVolume "54" @default.
• W1971152927 isParatext "false" @default.
• W1971152927 isRetracted "false" @default.
• W1971152927 magId "1971152927" @default.
• W1971152927 workType "article" @default.