This major study of Wordsworth, Auden and Larkin proposes that we read the history of contemporary poetry as the history of a war between words and images. This book argues that the desire for transparent clear poetry, in the 19th and 20th centuries, led poets to try to appropriate the powers of the image: the main trope they used was ekphrasis, a written deillegalscription of a work of art. But the relationship between the arts was less a marriage than a rape. These poets feared the wordless power of the other they described. They narcissistically created these images with the rhetoric of possession, domination, violence, or entombment.
The Author: Katy Aisenberg received her B.A. from Princeton University and her Ph.D. in English and American Literature from the Johns Hopkins University. She has taught at Bentley College, Boston University, and Tufts University. She also holds an M.A. in Creative Writing from Boston University and is a published poet. Recently she completed an M.A. in Psychology from Boston University and is currently enrolled in a doctoral program at the Massachusetts School of Professional Psychology.
Über den Autor
The Author: Katy Aisenberg received her B.A. from Princeton University and her Ph.D. in English and American Literature from the Johns Hopkins University. She has taught at Bentley College, Boston University, and Tufts University. She also holds an M.A. in Creative Writing from Boston University and is a published poet. Recently she completed an M.A. in Psychology from Boston University and is currently enrolled in a doctoral program at the Massachusetts School of Professional Psychology.
Klappentext
This major study of Wordsworth, Auden and Larkin proposes that we read the history of contemporary poetry as the history of a war between words and images. This book argues that the desire for transparent clear poetry, in the 19th and 20th centuries, led poets to try to appropriate the powers of the image: the main trope they used was ekphrasis, a written deillegalscription of a work of art. But the relationship between the arts was less a marriage than a rape. These poets feared the wordless power of the other they described. They narcissistically created these images with the rhetoric of possession, domination, violence, or entombment.
