A Study Guide for John Ashbery's "Paradoxes and Oxymorons," excerpted from Gale's acclaimed Poetry for Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Poetry for Students for all of your research needs.
A Study Guide for Alice Fulton's "Art Thou the Thing I Wanted," excerpted from Gale's acclaimed Poetry for Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Poetry for Students for all of your research needs.
Understanding Rhetoric: A Guide to Critical Reading and Argumentation is a composition textbook that outlines three essential skills – rhetoric, argument, and source-based writing – geared towards newcomers and advanced students alike. Though comprehensive in its coverage, the book’s focus is a simple one: how to move beyond a "gut reaction" while reading to an articulation of what is effective and what is not, while explicitly answering the most important question of "Why?" This text gets at this central concern in two fundamental ways. First, the text teaches composition as a cumulative process, coaching you how to question, challenge, and expand on not just the readings you hold in your hands, but also how to interrogate the internal processes of writing and thinking. The book's blend of composition methods detail the cross-point of product and process to turn reading and writing from a matter of coming up with answers to questions to learning what type of questions need to be asked in the first place. The "right" questions, the text argues, are fundamentally rhetorical in nature. Second, the content of the practice-based chapters is framed into a larger mesh of intellectual history to show how the writing and thinking you are doing today is continuous with a long history of writing instruction that goes back to the ancient world. This book provides equal representation from classical and contemporary theory with the recognition that theory cannot be fully grasped without practice, and practice cannot be fully understood without its theoretical antecedent. After all, you can’t write "outside the box" until you know where the box is and what it looks like.
A captivating experiment in traditional poetic form, from one of the most untraditional American poets ever to set pen to paper At first glance, John Ashbery’s Shadow Train seems to embrace the constraints of traditional poetic form—but closer reading reveals that this work is Ashbery at his revolutionary best. In fifty poems, each consisting solely of four connected quatrains, Ashbery apparently plays by the rules while simultaneously violating every single one. Over and over again, the familiar, almost sonnet-like sixteen-line form creates an outline of a poem within which, one would expect, poetry is meant to arrive—as a station waits for a train. And yet, as with many of the world’s greatest poems, the act of creating poetry also relies on the reading and the reader—in other words, as this collection’s signature poem “Paradoxes and Oxymorons” puts it, “the poem is / you.” In Shadow Train, Ashbery demonstrates how language influences our experience of reality, creating it and sustaining it while also remaining mysterious and ineffable: constantly arriving, but impossible to catch.
From one of our most important modern poets comes an essential early collection, including the famous long poems “The Skaters” and “Clepsydra” When Rivers and Mountains was published in 1966, American poetry was in a state of radical redefinition, with John Ashbery recognized as one of the leading voices in the New York School of poets. Ashbery himself had just returned to America from ten years abroad working as an art critic in France, and Rivers and Mountains, his third published collection of poems, is now considered by many critics to represent a pivotal transition point in his artistic career. The poet who would gain widespread acclaim with his multiple-award-winning Self-Portrait in a Convex Mirror (1975) is, in this collection, still very much engaged in the intimate, personal project of taking his poetry apart and putting it back together again, interrogating not just the act of writing but poetry itself—its purpose, its composition, its fundamental parts. Nominated for a National Book Award by a panel of judges that included W. H. Auden and James Dickey, Rivers and Mountains includes two of Ashbery’s most studied and admired works. “Clepsydra,” which takes its name from an ancient device for measuring the passage of time, echoes both the physical form and the philosophical weight of a water clock in its contemplation of the experience of time as it passes. “The Skaters,” the long poem that closes the collection, was immediately praised as a masterpiece of modern American poetry, and is the work that perhaps most clearly introduces the voice for which Ashbery is now well known and loved: generous, restless, wide-ranging, and human.
This book examines the ambiguities inherent in the concept of the agon as a motivating, conflictual force behind creative and social expression. The notion of agonistics extends far beyond the literary fame lent it by Harold Bloom to embrace all aspects of culture. The editors blend theoretical sophistication with an interdisciplinary approach and reposit the agon in a new, broad context for postmodern inquiry. Taking their inspiration from Friedrich Nietzsche's essay "Homer's Contest," Lungstrum and Sauer trace the evolution of the agon: from its vital function in ancient Greece, through modernity, and onward.
