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The Princeton Encyclopedia of Poetry and Poetics: Fourth Edition

By Princeton University Press. Through three editions over more than four decades, The Princeton Encyclopedia of Poetry and Poetics has built an unrivaled reputation as the most comprehensive and authoritative reference for students, scholars, and poets on all aspects of its subject: history, movements, genres, prosody, rhetorical devices, critical terms, and more. Now this landmark work has been thoroughly revised and updated for the twenty-first century.

Compiled by an entirely new team of editors, the fourth edition--the first new edition in almost twenty years--reflects recent changes in literary and cultural studies, providing up-to-date coverage and giving greater attention to the international aspects of poetry, all while preserving the best of the previous volumes.

At well over a million words and more than 1, entries, the Encyclopedia has unparalleled breadth and depth. Entries range in length from brief paragraphs to major essays of 15, words, offering a more thorough treatment--including expert synthesis and indispensable bibliographies--than conventional handbooks or dictionaries.

Based on the original edition. Alex Preminger, editor, Frank J. Warnke and O. Hardison, Jr. Cover art: Jiri Kolar, Love Poem , , collage. Photo: Jiri Lammel. Brogan, co-editors; Frank J.

Warnke, O. ISBN cloth: alk. Poetry—History and criticism. Greene, Roland Arthur. Cushman, Stephen, III. Cavanagh, Clare.

Ramazani, Jahan, — V. Rouzer, Paul F. Feinsod, Harris. Marno, David. Slessarev, Alexandra. Princeton encyclopedia of poetry and poetics. Poetics, the theoretical and practical study of poetry, is among the oldest disciplines in the West, one of those founded by Aristotle along with ethics, logic, and political science.

The Princeton Encyclopedia of Poetry and Poetics is the comprehensive guide to this rich field. This edition of the Encyclopedia significantly develops the past three editions of , , and Of the more than 1, articles, some incorporate and expand their antecedents in those editions, bringing their topics into the present with fresh scholarship and new perspectives.

Some entries are entirely new, in response to the changes that poetry and poetics have undergone in the last twenty years. Most articles on major topics have been not only made current but reconceived, in most cases to accommodate a closer attention to poetics.

The scope of the Encyclopedia has always been worldwide, concerning as the original editors put it the history, theory, technique, and criticism of poetry from earliest times to the present. The solid foundation of the previous editions has offered us the opportunity to enhance coverage without compromising the traditional attention to European and especially English-language poetry and poetics.

This edition expands coverage of international poetries, avant-gardes and movements, and the many phenomena, from cognitive poetics to poetry slams to digital poetry that have gained momentum since Latin America, East and South Asia, Africa, and Eastern Europe are represented here by an infusion of new entries and specialist contributors who present not only the broad canvas of national and regional literary history but the granular detail of informed scholarship.

For instance, to complement the general article on the poetry of the United States, new entries address such topics as the Black Mountain school, the Fireside poets, confessional poetry, and the San Francisco Renaissance. Spanish America is represented by a general essay on the hemispheric tradition in poetry as well as by discrete entries on the poetries of Mexico, Peru, Argentina, Chile, and many other countries. The coverage of India now involves not only a general entry on the poetry of the subcontinent but many more articles on the history and tradition of poetic forms and styles in various languages from Hindi to Gujarati to Sanskrit.

Africa and Eastern Europe see a new measure of attention to countries, languages, movements, and styles. This wave of locality and specificity changes the character of the Encyclopedia , and brings into the book a wide-ranging cast of contributors, new approaches, and topics of different dimensions.

It permitted us to reduce the size and scope of many of the larger entries on national poetries. Free of the obligation to define every episode and movement, the authors of articles on topics such as the poetry of England or the poetry of Spain have been encouraged to delineate a literary history in bold strokes; their narratives are complemented by new items on the particular histories of such topics as Georgianism and neo-Gongorism, respectively.

The perspectives of omnibus entries on the poetry of Spanish America or of India still have an important place in this edition, offering the reader both a wide view and a close focus.

Moreover, we have challenged the tacit assumption of many handbooks that general poetic terms may be treated through English-language examples only. A large number of general entries here are written by scholars of poetries other than English—a Hispanist on pastoral, a scholar of the French Renaissance on epideixis, a Persianist on panegyric.

The Encyclopedia includes five kinds of entries: terms and concepts; genres and forms; periods, schools, and movements; the poetries of nations, regions, and languages; and poetry in relation to other cultural forms, disciplines, and social practices such as linguistics, religion, and science.

It does not contain entries on poets or works, but discusses these in the context of the larger topics to which they are related. While the A-to-Z format tends to obscure the integrity of these five categories, each one entails certain obligations and challenges.

Terminology makes for one of the most technically exacting aspects of the project. The Encyclopedia remains the authoritative source for brief definitions of particular terms or expansive treatments of broad topics, such as the exhaustive treatment of rhyme.

Entries on concepts such as structuralism or speech act theory are designed to engage with poetry over other kinds of literature or writing. This category is home to transhistorical terms such as cento, eclogue, and gai saber; fundamental topics in the history of criticism such as emotion and imagination; and critical concepts of wide application such as ethnopoetics and organicism. From its entries one could assemble a history of ideas in and about poetry.

The rubrics of genre and form often shade into one another, but at the same time they tend to follow complementary logics of openness and limitation, respectively.

Most entries on genres, such as those on the alba and the paraclausithyron , follow the evolution of their objects to the present day, while many entries on forms locate them in their original settings of language, epoch, and culture. Nonetheless, the reader will encounter a number of entries that do both, as well as bracing new essays on the concepts of genre and form.

Coverage of periods, schools, and movements has been deepened for this edition, both as a category in itself and within the other categories. Again, the focus is on poetics. Our entry on naturalism, skewed toward the poetic application of that concept, is very different from an article of the same title in a handbook of general literary criticism or theory.

The fourth category, the poetries of nations, regions, and languages, is a customary strength of the Encyclopedia; many readers have found the past editions a reliable source for introductions to unfamiliar literatures. In this edition we have tried to devise topics that accommodate the histories of national poetries while taking account of local or transnational differences, and that follow languages out of national borders.

The results for our nomenclature are described below. Multiple language traditions found within a nation or region are treated as much as is practical, though never fully enough to trace the poetic complexity of modern, multicultural societies. Finally, the articles concerned with poetry in relation to disciplines, culture, and society—for titles, such entries often take the form of religion and poetry or science and poetry —have been focused on the implications for the history of poetry as opposed to history in a more general sense.

Of course, these five rubrics are provisional, and many items could move among them. All of the main categories now include entries that reflect on category making, such as colonial poetics and national poetry. A longstanding rubric, Western poetics, has been answered not by a corresponding omnibus entry for the non-Western world but by new articles on Chinese, Japanese, Sanskrit, and other poetics. Many items are tacitly engaged with one another and might be read in counterpoint e.

Several other entries continue that overview under various titles: poetry as commodity in Frankfurt school and as object of faith in belief and poetry, and the several entries on terms such as poem, text, and work.

And many important items, such as politics and poetry, postcolonial poetics, and of course poetry, straddle the divisions of the book. As every reader will notice, this book has been conceived to enable cross-coverages and contradictions insofar as these facts register the current condition of poetry studies. The reader will find these and many other topics in several articles, often from the perspectives of distinctive fields or interests.

An index, the first in the history of the Encyclopedia , makes such collations part of the experience of this book.

As the fourth edition of a book that has been in print since , this project carries its history within itself; many entries include the names of past contributors whose entries have been augmented and brought up to date.

Every item in the edition was evaluated by the team of editors. Some were dropped, while many more were assigned to readers and prospective contributors who were invited to assess the received material. In some cases an old entry stands on its substance while requiring only a new bibliography, which the editors have provided. In others, we publish a collaboration between past and present contributors that could take place only between the covers of this Encyclopedia.

The majority of articles, and nearly all of the most prominent ones, have been entirely reconceived by new contributors. Some six years in the making, this project is also the portrait of a discipline—the worldwide field of poetry studies—in the process of development. No doubt in twenty years the values of this fourth edition will appear in a historical light, but in any case we have chosen both to acknowledge and to transcend the present moment as far as possible.

Finally, however, such a project can be only what its population of authors—a cross-section of scholars of poetry around the world—want it to be. One of the longstanding strengths of the Encyclopedia is its coverage of the poetries of the world.

The present edition attempts to make a distinction between poetries that are based in nations or territories and those that are based in language, international cultures, or diasporas—no doubt sometimes an ambiguous difference, but nonetheless one that seems worth making. The entry on the poetry of France is discrete from those on the various francophone poetries of Africa, Canada, or the Caribbean, while Persian poetry is best approached as a single topic with international ramifications.

The poetry of England and the poetry of the United States as topics are preferable to English or American poetry, with their uncertain but expansive outlines. In its coverage of the British Isles, the former entry is complemented by articles on Welsh, Scottish, and Irish poetries, while the latter is cross-referenced to companion pieces on U. An entry such as German poetry takes a linguistic rather than a national approach, but is complemented by entries on Austria, Switzerland, and the Low Countries that follow geopolitical contours and discuss discrete languages within those outlines.

In many cases the contributors made the final determination of what to call their entries, which no doubt produces some asymmetries that reflect the differences in the fields represented here.

For example, Walther von der Vogelweide, a poet who wrote in Middle High German, is treated in German poetry as the first important political poet in the language, in poetry of Austria for his residence in Vienna and service to Duke Frederick I, in Minnesang and Spruchdichtung for his generic affiliations, in Meistersinger for his influence—and in biography and poetry as the subject of one of the first biographies of a medieval poet.

Translations are generally given within parentheses, without quotation marks if no other words appear in the parenthetical matter, but set off within quotation marks when some qualification is needed, as in the form of many etymologies: e.

Translated titles generally appear in the most comprehensive articles, such as those on national poetries or important developments such as modernism ; entries of smaller scope often give original titles without translation, although contributors have the discretion to translate titles where it clarifies the argument to do so.

We tolerate inconsistency that reflects to some degree the field at hand: thus some major entries, such as baroque or Renaissance poetics, do not translate titles at all; others such as love poetry give only translated titles. Translated titles of books are given in italics when the title refers to an actual English translation: e.

For poems, translated titles are given with quotation marks when the translation has been published under that title, but without quotation marks when the translated title is ad hoc. We believe that the value of indicating an extant translation outweighs the occasional infelicity. At the same time, it is likely we have overlooked some published translations, and many new ones will appear over the life of this book.

Dates of the lives and works of poets and critics often appear in the most comprehensive entries on a given topic e. Dates of works in the age of print refer to publication unless otherwise indicated.

the princeton encyclopedia of poetry and poetics: fourth edition pdf

There was something on the skyline that had not been there before. Given the few landmarks in the desert, Duke thought at first that what he was seeing was still. The Princeton Encyclopedia of Poetry and Poetics is an excellent, worthy addition to anyones collection. This fully indexed Encyclopedia is user friendly and of immense interests to poets, editors, scholars and everyone interested in poetry. Anyone who ever trained a dog knew the basics. She bent to throw on another log.

Through three editions over more than four decades, The Princeton Encyclopedia of Poetry and Poetics has built an unrivaled reputation as the most comprehensive and authoritative reference for students, scholars, and poets on all aspects of its subject: history, movements, genres, prosody, rhetorical devices, critical terms, and more. Now this landmark work has been thoroughly revised and updated for the twenty-first century. Compiled by an entirely new team of editors, the fourth edition--the first new edition in almost twenty years--reflects recent changes in literary and cultural studies, providing up-to-date coverage and giving greater attention to the international aspects of poetry, all while preserving the best of the previous volumes. At well over a million words and more than 1, entries, the Encyclopedia has unparalleled breadth and depth. Entries range in length from brief paragraphs to major essays of 15, words, offering a more thorough treatment-including expert synthesis and indispensable bibliographies-than conventional handbooks or dictionaries.

the princeton encyclopedia of poetry and poetics pdf

By Princeton University Press. Through three editions over more than four decades, The Princeton Encyclopedia of Poetry and Poetics has built an unrivaled reputation as the most comprehensive and authoritative reference for students, scholars, and poets on all aspects of its subject: history, movements, genres, prosody, rhetorical devices, critical terms, and more. Now this landmark work has been thoroughly revised and updated for the twenty-first century. Compiled by an entirely new team of editors, the fourth edition--the first new edition in almost twenty years--reflects recent changes in literary and cultural studies, providing up-to-date coverage and giving greater attention to the international aspects of poetry, all while preserving the best of the previous volumes. At well over a million words and more than 1, entries, the Encyclopedia has unparalleled breadth and depth.

Through three editions over more than four decades, The Princeton Encyclopedia of Poetry and Poetics has built an unrivaled reputation as the At well over a million words and more than 1, entries, the Encyclopedia has unparalleled breadth and depth. Entries range in length from brief. First published in , the Princeton Encyclopedia of Poetry and Poetics is a reference volume for poetry enthusiasts and literary scholars alike. Last year, a significantly revised fourth edition appeared, covering nations, regions, and languages, and with new entries on subjects ranging f Through three editions over more than four decades,The Princeton Encyclopedia of Poetry and Poeticshas built an unrivaled reputation as the most comprehensive a This is a book that no reader or writer of poetry will want to be without. Through three editions over more than four decades, The Princeton Encyclopedia of Poetry and Poetics has built an unrivaled reputation as the most comprehensive and authoritative reference for students, scholars, and poets on all aspects of its subject: history, movements, genres, prosody Slessarev, Alexandra.

Phone or email. Don't remember me. The readers page. Le coin des lecteurs. Roland Greene, Clare Cavanagh, Stephen Cushman, Jahan Ramazani, Paul Rouzer The Princeton Encyclopedia of Poetry and Poetics, 4th Edition Through three editions over more than four decades, The Princeton Encyclopedia of Poetry and Poetics has built an unrivaled reputation as the most comprehensive and authoritative reference for students, scholars, and poets on all aspects of its subject: history, movements, genres, prosody, rhetorical devices, critical terms, and more.

 - И он положил конверт на стойку. Консьерж взглянул на конверт и что-то грустно пробормотал себе под нос. Еще один любитель молоденьких девочек, - подумал. - Ну. Сеньор?.

 Меган! - завопил он, грохнувшись на пол. Острые раскаленные иглы впились в глазницы. Он уже ничего не видел и только чувствовал, как тошнотворный комок подкатил к горлу. Его крик эхом отозвался в черноте, застилавшей. Беккер не знал, сколько времени пролежал, пока над ним вновь не возникли лампы дневного света.

 - Он обошел систему Сквозь строй. - Да… и… - слова застревали у нее в горле. Он убил Дэвида. Бринкерхофф положил руку ей на плечо. - Мы почти приехали, мисс Флетчер.

Poetry and Poetics | Department of English

Программное обеспечение ТРАНСТЕКСТА по раскрытию кодов должно храниться в Федеральной резервной системе и министерстве юстиции. Это должно было гарантировать, что АНБ не сможет перехватывать частную переписку законопослушных граждан во всем мире. Однако когда настало время загрузки программного обеспечения, персоналу, работавшему с ТРАНСТЕКСТОМ, объявили, что планы изменились. В связи с чрезвычайной обстановкой, в которой обычно осуществляется антитеррористическая деятельность АНБ, ТРАНСТЕКСТ станет независимым инструментом дешифровки, использование которого будет регулироваться исключительно самим АНБ.

Беккер кивнул. - Так, значит, вы не по поводу моей колонки. - Нет, сэр.

Не видно, чтобы он пользовался электронной картой у главного входа. Поэтому он определенно. Бринкерхофф с облегчением вздохнул: - Ну, если он здесь, то нет проблем, верно. Мидж задумалась. - Может .

The Princeton Encyclopedia of Poetry and Poetics: Fourth Edition

К человеку в моем положении часто приходят с… ну, вы понимаете.

 Спасибо, - улыбнулся Беккер и повернулся, собираясь уходить. Консьерж бросил внимательный взгляд в его спину, взял конверт со стойки и повернулся к полке с номерными ячейками. Когда он клал конверт в одну из ячеек, Беккер повернулся, чтобы задать последний вопрос: - Как мне вызвать такси. Консьерж повернул голову и .

 - Подожди. Меган с силой толкнула стенку секции, но та не поддавалась. С ужасом девушка увидела, что сумка застряла в двери. Она наклонилась и что было сил потянула ее, стараясь высвободить застрявшую часть.

Взломщики шифров были самым ценным достоянием АНБ, и никто не хотел, чтобы они сгорали на работе. Сьюзан посмотрела на корпус ТРАНСТЕКСТА, видневшийся справа. Шум генераторов, расположенных восемью этажами ниже, звучал сегодня в ее ушах необычайно зловеще.

The Princeton encyclopedia of poetry and poetics

 Танкадо. Сьюзан едва заметно кивнула: - Он требовал, чтобы мы сделали признание… о ТРАНСТЕКСТЕ… это стоило ему… - Признание? - растерянно прервал ее Бринкерхофф.  - Танкадо требует, чтобы мы признали существование ТРАНСТЕКСТА. Но он несколько опоздал. Сьюзан хотела что-то сказать, но ее опередил Джабба: - Значит, Танкадо придумал шифр-убийцу.

Сьюзан огляделась. Третий узел был пуст, свет шел от работающих мониторов. Их синеватое свечение придавало находящимся предметам какую-то призрачную расплывчатость. Она повернулась к Стратмору, оставшемуся за дверью. В этом освещении его лицо казалось мертвенно-бледным, безжизненным.

Это абсолютно исключено. - Спасибо. Джабба выдавил из себя смешок и попытался обратить все в шутку. - Если только Стратмор не придумал что-то особенное и не обошел мои фильтры.

Princeton Encyclopedia Of Poetry And Poetics

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The Princeton Encyclopedia of Poetry and Poetics goes far beyond a beginner's guide to poetry, and the new Fourth Edition is a worthy update to an already excellent encyclopedia series.

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Through three editions over more than four decades, The Princeton Encyclopedia of Poetry and Poetics has built an unrivaled reputation as the most comprehensive and authoritative reference for students, scholars, and poets on all aspects of its subject: history, movements, genres, prosody, rhetorical devices, critical terms, and more.

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