Titlebook: Spatial Engagement with Poetry; Heather H. Yeung Book 2015 Palgrave Macmillan, a division of Nature America Inc. 2015 poem.poetics.poetry.

痛苦一生

troponins

Interlude 3: The Poetic Map, Vocalizedgure of voice a lyric I/eye that is multiple and is at once placed and displaced, content to use whatever language suits the experiential moment of perception and articulation. The poem is short, but its final lines are spread over two pages. The literal space of the page and the extended breathing

PAEAN

Economies of Poetic Production: The Poetry of Thomas Kinsella(1858). Kinsella uses selections from Morris’s poem to diagnose a “verbal excess,” which “dissipates in slackness” (.: 10) as characteristic of the poem as a whole. Through this criticism, Kinsella implicitly questions what he calls Morris’ “established reputation, [. his] place in literary history”

禁止,切断

Landscapes of the Body: The Poetry of Kathleen Jamietly linked to our future aesthetic engagement and appreciation. As Michel Serres remarks, the point at which linguistic articulation becomes a possibility, “the unity of the aesthetic field is undone,” and must thence be remade. Language is the dream of the flesh, and it is what the body moves towar

浓缩

制定

在驾驶

Gossamer

Tracheotomy

2578-9694 he inherently spatial and affective nature of our engagement with poetry. Adding to the expanding field of geocritical studies, Yeung specifically discusses ideas of space and constructions of voice in poetry.978-1-349-50404-6978-1-137-47827-6Series ISSN 2578-9694 Series E-ISSN 2634-5188

Palpate

Of Passage and Process: Alice Oswald’s , and continual experience, which creates and defines its own passage in relation to itself, and finds coherence in the scattered nature of its ., that we can see articulated powerfully in Alice Oswald’s river-poem ..