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The Sounds Of Poetry

Author: Robert Pinsky
Publisher: Farrar, Straus and Giroux
ISBN: 1466878495
Size: 70.71 MB
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The Poet Laureate's clear and entertaining account of how poetry works. "Poetry is a vocal, which is to say a bodily, art," Robert Pinsky declares in The Sounds of Poetry. "The medium of poetry is the human body: the column of air inside the chest, shaped into signifying sounds in the larynx and the mouth. In this sense, poetry is as physical or bodily an art as dancing." As Poet Laureate, Pinsky is one of America's best spokesmen for poetry. In this fascinating book, he explains how poets use the "technology" of poetry--its sounds--to create works of art that are "performed" in us when we read them aloud. He devotes brief, informative chapters to accent and duration, syntax and line, like and unlike sounds, blank and free verse. He cites examples from the work of fifty different poets--from Shakespeare, Donne, and Herbert to W. C. Williams, Frost, Elizabeth Bishop, C. K. Williams, Louise Glück, and Frank Bidart. This ideal introductory volume belongs in the library of every poet and student of poetry.

The Sound Of Poetry The Poetry Of Sound

Author: Marjorie Perloff
Publisher: University of Chicago Press
ISBN: 0226657442
Size: 44.52 MB
Format: PDF, ePub
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Sound—one of the central elements of poetry—finds itself all but ignored in the current discourse on lyric forms. The essays collected here by Marjorie Perloff and Craig Dworkinbreak that critical silence to readdress some of thefundamental connections between poetry and sound—connections that go far beyond traditional metrical studies. Ranging from medieval Latin lyrics to a cyborg opera, sixteenth-century France to twentieth-century Brazil, romantic ballads to the contemporary avant-garde, the contributors to The Sound of Poetry/The Poetry of Sound explore such subjects as the translatability of lyric sound, the historical and cultural roles of rhyme,the role of sound repetition in novelistic prose, theconnections between “sound poetry” and music, between the visual and the auditory, the role of the body in performance, and the impact of recording technologies on the lyric voice. Along the way, the essaystake on the “ensemble discords” of Maurice Scève’s Délie, Ezra Pound’s use of “Chinese whispers,” the alchemical theology of Hugo Ball’s Dada performances, Jean Cocteau’s modernist radiophonics, and an intercultural account of the poetry reading as a kind of dubbing. A genuinely comparatist study, The Sound of Poetry/The Poetry of Sound is designed to challenge current preconceptions about what Susan Howe has called “articulations of sound forms in time” as they have transformed the expanded poetic field of the twenty-first century.

The Sound Sense Of Poetry

Author: Peter Robinson
Publisher: Cambridge University Press
ISBN: 1108422969
Size: 35.12 MB
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Robinson explains how poetry makes things happen through the interaction of its chosen words and forms with the reader's responses.

The Sound Of Poetry

Author: Mary C. Austin
Size: 64.34 MB
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Hundreds of rhymes and poems for reading to young children. Kindergarten - Grade 4.

The River Sound

Author: W. S. Merwin
Publisher: Knopf
Size: 24.27 MB
Format: PDF
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A poet known for his lyrics adds three long narrative poems to his collection--"Lament for the Makers," a tribute to fellow poets; "Testimony," an autobiographical work; and "Suite in the Key of Forgetting," about memories and memory. Reprint.

What Yellow Sounds Like

Author: Linda Susan Jackson
Publisher: Tia Chucha
Size: 62.65 MB
Format: PDF, Mobi
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What is most compelling about Linda Susan Jackson's debut collection of poems, What Yellow Sounds Like, is the extraordinary self-possession of its young female narrator as she seeks to answer?who am I and to whom do I belong? These poems are about the process of shaping the identity of one girl who comes from "a line of technicolor women" who have "honey/suckle buried freely in the folds of their flesh," a girl who comes from "men who bit their tongues,/ate dirt, dust and their pride. Worked anywhere," and could "soar off the ground." The terrain of Jackson's poems is particular, perilous, loving, humorous, passionate, uncompromising, contradictory--in other words, vastly human. The language is varied and inflected with the blues, and like the blues, pulls readers in through images and details that are both concrete and symbolic. Poem after poem charts the stages of this young girl's development through her relationships with her family, her history, and the America into which she is born that is defined by race, skin color, gender, and class. The narrator develops a profound and essential connection to the legendary singer, Etta James, the "canary colored blues woman" and she recognizes the power in the sound of words as she recollects how Etta James "churned up her roar/to keep other women from dying." Near the end of the book, her great-grandmother tells her "Everything don't need to be told. Some things must." In this moment, the narrator is empowered to decide what to tell and to tell it in her own voice. These poems celebrate the sheer will and determination of the self to seek out and find who or what it needs to grow and prosper. Because she was homesick for the smell of Virginia tobacco and pit-roasted hog; because she longed to hear her big brother scratch out blues on his box; because she craved the feel of corn silk and had six stair-step children before she was twenty-five, she went to the funerals of strangers. -from Family Outing

Sound And Form In Modern Poetry

Author: Harvey Seymour Gross
Publisher: University of Michigan Press
ISBN: 9780472065172
Size: 19.60 MB
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An updated and expanded version of a classic and essential text on prosody.