Titlebook: Contemporary Poetry and Postmodernism; Dialogue and Estrang Ian Gregson Book 1996 Palgrave Macmillan, a division of Macmillan Publishers Li

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Herd-Immunity

Edwin Morgan’s Metamorphosesin the second section, of comic confusion caused by their terrible din (“the clerks write Three Pounds Starling in the savings-books”) and in the third section of anxiety at their possible disappearance, then relief at their continued presence (“They lift up the eyes, they lighten the heart”). “Glas

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A Various Art: Veronica Forrest-Thomson and Denise Rileyoncern was to cast off what he felt as the dead weight of English tradition and to invent for poetry a native American idiom, especially in matters of rhythm. To some extent it is unsurprising, then, that Eric Mottram raised hackles when he promoted this kind of poetry when he was editor of . from 1

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Osmosis

https://doi.org/10.1007/3-540-30045-7tmodernist techniques and preoccupations. What I want to maintain in this concluding chapter is that the collision between postmodernism and realism in contemporary British poetry has produced instabilities so extensive that it is no longer possible to discern what the dominant mode of contemporary

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hat have had to make their way outside it. Mainstream poets like Paul Muldoon, James Fenton and Carol Ann Duffy multiply voices and so draw on resources from the novel - Bakhtin‘s concept of the dialogic is therefore used to explain their techniques. By contrast, Shklovsky‘s concept of ‘estrangement

Perennial长期的

https://doi.org/10.1007/3-540-30035-Xee senior poets Roy Fisher, Christopher Middleton and, to a lesser extent Edwin Morgan who are discussed in the second section. However, I also wish to celebrate the exciting achievements of the mainstream and to redefine the nature of those achievements in what seem to me the most appropriate terms.