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• W2529107323 abstract "A recent handful of books suggests that a renewed interest in formalism may be becoming a trend in literary studies. Formalism—or the aesthetic—in general is defended in Michael P. Clark’s Revenge of the Aesthetic, George Levine’s Aesthetics and Ideology, and Susan J. Wolfson’s Formal Charges, while a prosodicgrammatical approach to poetry is advocated by Donald Wesling in The Scissors of Meter. Even Steven Knapp, in Literary Interest: The Limits of Anti-Formalism, who sets out to deconstruct formalism, finds it finally irreducible, because “for malism is built into our conception of ourselves as agents” (138). Of course some branches of formalist criticism and theory have continued unabated all through the years of post-colonialism and cultural studies, if not in the forefront of prestige and influence. The study of narrative structure, for example, has never decreased in popularity, in contrast to literary prosody, whose star has waned somewhat since the first half of the twentieth century. Narratologists have generally confined their investigations to prose narratives of various kinds, perhaps because literary academics tend to specialize as to genre—and poetry and narrative are usually categorized as separate genres. Consequently, even though many poems are narrative, the relationship between poetic form and narrative has never been a popular area of research. This paper attempts to redress that neglect, though it makes only a beginning. It deals with only certain aspects of narrative, including the minute particulars of narrator’s tone and attitude and the grammatical and pragmatic units of utterance into which narrative discourse divides itself. The structure of verse is discussed in more detail, with the sharpest focus trained on the capacity of rhyme to concentrate and enclose spaces of discourse, a capacity that lends itself to certain kinds of narration—and, hence, genre—rather than others. Although considerable attention is paid to some texts that are composed in non-rhyming or continuous poetic forms, the main study concentrates on the longer rhymed narrative stanzas, most of which originated during the late Middle Ages and the early Modern period. The word stanza means “room.” A poem divided into stanzas is a house of many rooms, as opposed to a hall or pavilion whose inner spaces are not formally separated by walls and doors. Writing a narrative in stanzas instead of prose or a continuous poetic form such as blank verse has one very obvious effect: to divide the narrative up. When the little boxes, or rooms, into which it is divided are stan" @default.
• W2529107323 created "2016-10-14" @default.
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• W2529107323 date "2016-01-01" @default.
• W2529107323 modified "2023-09-23" @default.
• W2529107323 title "The Effects of the Stanza on Poetic Narrative" @default.
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