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256

Index

academic discourseand conventions of academic writing,

207and masculinist tendencies in, 225–6and shift to first- person mode, 226

Adams, Michael, 85Adorno, Theodor, 34–5, 38aesthetics

and literature, 17and neglect of aesthetic experience,

12and New Formalism, 8, 12and particularity of form, 43and relational aesthetics, 90

African American poets, see sonnets and the scholar-poet

agencyand aesthetic agency, 98, 112and different approaches to, xivand form, 60–2and New Formalism, viii

Alberti, Leon Battista, 143allegory, 173n4Altieri, Charles, 91Altman, Rick, 65Ambrogi, Stefan, 9–10anaphora, 165–6

in Moore’s Watchmen, 169–70Aristotle, 130

and mimesis, 122Armstrong, Paul B., 98Auerbach, Erich, x

and autonomy of text, 121, 123and mimesis, 121

Austen, Jane, and Northanger Abbey, 180autonomy

of the author, 100of the text, 121, 123

back- formation, 45, 52n49and reference, 45–6

Baez, Joan, 96Baker, Josephine, 82, 93n37Bakhtin, Mikhail, 100, 204, 205

Barolsky, Paul, 141, 143, 144–5Barthes, Roland, 189, 195n43Beardsley, M.C., 44Beat poets, 198–9Beethoven, Ludwig van, and Dove’s

Sonata Mulattica, 83–6belief, and constitution of meaning, 36Bell, Marvin, 200, 201Bellocq, E.J., and Tretheway’s Bellocq’s

Ophelia, 76–80Benjamin, Walter, 71, 74Bentley, Nancy, 56Berger, Harry, Jr, xv, 13Bernstein, Susan, 226Besant, Walter, 194n20bikini, 45Bizzaro, Patrick, 202Blake, William, 170Blanchot, Maurice, 55blending theory, 175n37bookmarking, 62–3Bradford, Richard, 161Bradstreet, Anne, 111Brecht, Bertolt, and the

Verfremdungseffekt, 161Bridgetower, George Polgreen Augustus,

and Dove’s Sonata Mulattica, 83–7Brooks, Cleanth, 223–4

and critical relativism, 224, 225and Herrick’s ‘Corinna’s Going

a-Maying’, 232, 233and ideal reader, 41, 224–5: critiques

of, 225–6; as Western ideal of an intellectual, 225

Brooks, Peter, 60Brower, Reuben A., xi, 229Brown, Marshall, ixBruster, Douglas, xiiBurke, Kenneth, 7, 32, 64Burns, Vincent G., 110Burt, Stephen, 76, 88Bush, Douglas, xiiButler, Judith, 226Bynner, Witter, 97, 105–6

Index 257

Caravaggio, Michelangelo Merisi da, 154Carew, Harold D, 107Cassill, R.V., 192Cassirer, Ernst, 35, 36Cavell, Stanley, 230Certeau, Michel de, 58–9Cervantes, Miguel de, 64character names, and formalist analysis

of, 187–9chiasmus, 166

in Moore’s Watchmen, 171Chicago School, viii, xiiChomsky, Noam, 163Cicero, 118, 119, 144Cisneros, Sandra, 185Clark, Michael, 221n28classroom teaching, and lyric formalism,

212–13and prepare for reading in classroom,

213and prepare students for experience of

language, 214and reading the poem, 214–15and reflection on the poem, 215–16and re- reading the poem, 216–17and Wright’s ‘Lying in a Hammock’,

217–19close reading, 5, 20

and analysis of text, 33–5and discovering meaning, 34as ethical imperative, 34as fundamental methodology, 16–17, 34and Herrick’s ‘Corinna’s Going

a-Maying’: New Critical approach to, 232, 233; New Formalist approach, 234–6; political readings of, 232–3

and multiplicity of meanings, 228and New Criticism, 239and New Formalism, 224, 239–40and reading like a writer, 183, 194n20and re- evaluation of, 98and rescuing texts from distortions of

paraphrase, 34–5and transformative power of, 229, 234as transgressive praxis, 224

cognitionand Kant’s argument about, 30and perspectives, 30–1

cognitive linguistics, 162, 163–4, 165

Cognitive Stylistics, 160and application to multimodal media,

164–5, 166–7, 172and approach of, 162and cognitive effects of literary texts,

161–2and cognitive linguistics, 162and ‘cognitive turn’, 162and context, 164and focus of, 162, 164and foregrounding, 165–6and form as pattern of thinking, 164,

165–6, 172–3and meaning- making through form,

163–4and metaphors, 167and narratology, 162and New Formalism, 172–3and organization of content, 164and roots, 161

Cohen, Stephen, ix, 18and early modern literature, 116and limitations of New Historicism,

11–12and ‘New Historicism and the Promise

of a Historical Formalism’, 14–15and Shakespeare and Historical

Formalism, 11, 14Cole, Nat King, 82, 93n37Colie, Rosalie L., xii, xiii

and literary ‘kinds’, 55–6comics

and Cognitive Stylistics, 164and features of, 164and horror comics, 159–60and metaphor, 167see also Moore, Alan, and Watchmen

Comics Code (1954), 159commonplace books, 63conceptual metaphor theory, 159, 167Confessional poetry, 199confessional writing, 226couplets, 109–10Cowley, Malcolm, 97Cox, MacNolia, and Jordan’s

M-A-C-N-O-L-I-A, 80–3craft

and conscious craft, 127and creative writing, 200and New Formalism, xvi–xvii

258 Index

creative writingand analytical questions about

creative work, 183–4and character names, 187–9as complement to literary/cultural

studies, 186and content and form, 187: Olsen’s

Anxious Pleasures, 189–91and contribution to English studies, 206and craft, 200and creative writing workshops,

184–5, 200–1: Jorie Graham, 210–12; lyric poet’s experience of the text, 206–9; multiple lens approach, 202; questions about the enterprise, 207; teaching methodology, 212–17

and decisions about form, 179and disciplinary norms, 207in English departments, 181–2and formal experimentation, 190–1and formalism, 205: antipathy towards,

198–200; close ties with, 200–1and formalist component of, 183and literary criticism, 191–2:

creative- critical experiments, 205; critifiction, 192; dialogic interaction with, 182, 192, 193, 205; hybridized forms of, 192–3

and literary politics, 185and literature- in-progress, 206–9and literature, nature of, 206–7and the lyric act, 208–9as mode of literary research, 182–3:

application to Chick Lit, 185–6; methods of, 183; pragmatic and active, 185

and new literary forms, 181and paradox, 208and pleasure of reading, 189: Olsen’s

Anxious Pleasures, 189–91and post- formalist precepts, hostility

towards, 201and reading like a writer, 183, 194n20:

as close reading, 183and use of form: Austen’s Northanger

Abbey, 180; Woolf’s Mrs Dalloway, 180–1

and value of work, 184critics and writers, relationship between,

xvi

critifiction, 192cross-reading

as augmentation of author- centered approaches, 112

and modern lyric poetry, 100and New Formalism, 97, 100, 113and publication networks, 97–8, 113and Sacco- Vanzetti poetry, 108,

111–12Crosswhite, James, 230Cullen, Countee, 97Culler, Jonathan, 43, 49n9, 90Culpeper, Jonathan, 164cultural studies, 7, 8, 10, 15, 16, 18, 71,

182cultural work, 186culture, as conscious and collective

activity, 64

Daniel, Stephen H., 30Davies, Mary Carolyn, 107Davis, Todd F., 202Dawson, Paul, 182, 194n20

and creative writing, 182–3and Iowa Writer’s Workshop, 200

deconstruction, and relationship of form and history, 55

defamiliarization, 161, 163de Man, Paul, ix, 44, 128, 133, 172

and critique of New Criticism, 227–9Dernavich, Drew, 57–8Derrida, Jacques, xii, 52n54, 56, 197,

204, 208Dimock, Wai- Chee, 56disciplines

and conventions of, 30and Kant’s argument about cognition,

30and perspectives, 30–1

Donoghue, Douglas, 43, 48Dos Passos, John, and ‘They Are Dead

Now’, 102Dove, Rita, and Sonata Mulattica, 72,

83–7, 89Dubrow, Heather, 13, 18, 48

Eagleton, Terry, 13, 99, 184, 232early modern literature, 116

see also Sidney, Sir Philip, and Defence of Poesy

Index 259

early modern studies, 55Eggers, Dave, 198elegy, and Renaissance understanding

of, 61Eliot, T.S., 200Ellis, John M., 29Emory, William Closson, 107empathy, 19, 83Empson, William, x, 228Engel, Monroe, xiEnglish departments, and growth of

creative writing, 181–2epiphora, in Moore’s Watchmen, 170

Feinstein, Martin, 106–7feminism

and confessional writing, 226and critique of the ideal reader, 225–6

feminist poetics, 90Ferguson, Margaret, 127Ficke, Arthur Davison, 97fictocriticism, 192, 204film studies, and renewed interest in

form, 55Fish, Stanley, 29

and formal units, 41, 43–4and Is There a Text in This Class, 31and meanings of a poem, 31

Fludernik, Monika, 162Forceville, Charles, 167foregrounding, 163, 165–6

in Moore’s Watchmen, 171form

as an activity, 19and agency, 60–2and appropriate use of, 179and communal form, 111–13and connection between textual and

everyday forms, 61as distinguishing characteristic of art,

43and expanding concept of, 182and foregrounding, 163and genre, 54and history, 54: as active social

performance, 55–6; failure to theorize relationship between, 55; relationship between, 56–8, 63, 64, 97, 98, 99, 134

and interpretation of, 42–3

and Levine’s definition of, 15and Marxist criticism, 99and meaning, 37, 43as metric of textual and social

developments, 59and myths surrounding, 17and New Formalism, 8, 17: renewed

emphasis on, 98and particularity of, 41–4as pattern of thinking, 162, 163, 164,

165–6, 172–3as practice, 60as primary property of history and

culture, 16and questions of use, 58, 60, 62–4and reading, 58–9and reconstructing historical cultural

fields, 63and shaping of users of, 60and significance of, 7as social construct, 7and wariness in return to, 99

formalismand activist and normative formalism,

135n7, 160–1and creative writers’ relationship with:

antipathy towards, 198–200; close ties between, 200–1

and criticism of practices of, ix, 186and goal of objective literary analysis,

162and misreadings of, xii–xiiiand necessity of, 47–9and New Criticism, xiiand politics, xiiiand professionalization of literary

studies, 48and reinvigoration of, 182and rejection of historical

interpretation, 43and value of practices of, 187and variety of approaches, xii–xiii

Fowler, Alastair, viiiFreeman, Donald C., 164Freud, Sigmund, 153Frye, Northrop, 39Fuller, Charles, 96, 101, 102, 105, 107

Gallup, Jane, 98Galvin, James, 198

260 Index

Gardner, Thomas, 211gender, and relational aesthetics, 90generative grammar, 163genre

and constructing in terms of process, 60

as continuously emergent, 55and dynamic nature of, 54, 59–60and emergent nature of, 65and engagement with, 55and everyday genre, 64–5and form, 54and genre ecologies, 59–64as non- linear recursive system, 56and questions of use, 58, 60, 62–4and reading, 58–9, 65and recycling of, 62and relationship of form and history,

54, 56–8, 63, 64: as active social performance, 55–6; failure to theorize, 55

and theoretical approach to, 55as transaction, 56–9, 65

Ginsberg, Allen, 198Gioia, Dana, 88, 89Gledhill, Christine, 55

and literary change, 56Gombrich, Ernst, and Vasari’s Lives,

141–2, 146, 147Goodenough, Carolyn Leonard, 106Goodman, Nelson, 30Gosson, Stephen, 119

and The School of Abuse, 116–17Graff, Gerald, xiGraham, Jorie, 199, 203–4, 209–10

and creating literature, 206and creative writing workshops, 210–12and text- as- live- drama, 206

Greenblatt, Stephen, xiii, 223and Hamlet in Purgatory, 12–13and the literary experience, 13and text and culture, 12

Greene, Roland, 4Group Phi, 20Guillén, Claudio, viiiGuthrie, Woody, 96Gutmann, Peter, 84

Hacker, Marilyn, 80Hadfield, Andrew, 127

Hale, Ruth, 101Halliwell, Stephen, 121Hamilton, A.C., 125, 136n25Hamlin, Will, 4–5Hardison, O.B., Jr, 126–7Harlem Renaissance, 71Harris, Jonathan Gil, 63Harrison, Henry, 104Hartman, Geoffrey, 34, 38Harvey, Gabriel, 124Heidegger, Martin, 221n26Helgerson, Richard, xiii–xivHerman, David, 162Hernadi, Paul, viiiHerrick, Robert, and close reading of,

231–6historical change, and models of, ix–xhistorical formalism, 14history

and African American poets, 88–9and dialectic between past and

present, 74and form, 54: as active social

performance, 55–6; failure to theorize relationship between, 55; relationship between, 56–8, 63, 64, 97, 98, 99, 134

and New Criticism, xi, 99see also Sacco- Vanzetti poetry; sonnets

and the scholar-poetHollander, John, 76Holmes, John Haynes, 110horror comics, 159–60Howe, Susan, 88Hughes, Langston, 85Hunt, Clay, viii, x–xiHunter, J. Paul, and couplets, 109–10Hutcheon, Linda, xivhysteron proteron, 166

in Moore’s Watchmen, 168–9

ideal reader, 41, 224–5and feminist critique of, 225–6and maintenance of patriarchal

culture, 226and rejection of critical relativism, 225and removing from New Criticism,

227–9as Western ideal of an intellectual,

225

Index 261

ideologyand activist formalism, 161and African American poets’ use of

the sonnet, 71–2and form, 17, 20, 99and questioning of, 204and Renaissance criticism, 12and skepticism towards, 240and value judgments, 184

intentionand concept of, 44–5and New Criticism, 227

intrinsic meaning, 29, 41, 48irony, 128, 133, 207–8Iser, Wolfgang, 205

Jakobson, Roman, 181–2Jameson, Fredric, 7–8, 55, 99Johnson, Barbara, 44Johnson, Mark, 163, 167Jordan, A. Van, and M- A- C- N- O- L- I- A,

72, 80–3, 89Joughlin, G. Louis, and Sacco- Vanzetti

poetry, 96–7

Kafka, Franz, and The Metamorphosis, 189, 190

Kalaidjian, Walter, 98–9Kalstone, David, xiKant, Immanuel, and nature of

knowledge, 29–30Kaufman, Robert, xiii, xvi, 48Keating, John, 199–200Keen, Suzanne, 186–7

and character names, 187–8Keller, Josh, 192, 193Kernan, Mary Plowden, 107Kinzie, Mary, and the sonnet, 74–6Knapp, Steven, 44, 49n9Knopper, Laura, 56knowledge

and belief’s role in constitution of meaning, 36

and nature of, 29–30and point of view, 29–30, 41and role of language, 35and role of symbols, 35, 36

Kress, Gunther, 164Kreutzer, Rudolphe, 84Krieger, Murray, 204, 209

Kuhn, Thomas, 31Kundera, Milan, 179

Lahiri, Jhumpa, and ‘This Blessed House’, 188–9

Lakoff, George, 163, 167Landrum, David, 234–5Langacker, Ronald, 165Langer, Susanne, 35Language poets, 199Latour, Bruno, 60–1Lehnhof, Kent, 117Leighton, Angela, 48Levinas, Emmanuel, 230Levine, Caroline

and cultural studies, 15and form, 15and New Formalism as movement, 16and post- post- structuralist formalism,

15and social change, 15–16and ‘Strategic Formalism’, 13–14,

15–16Levine, George, 13, 18Levinson, Marjorie, ix, 13, 48, 55

and activist and normative formalism, 135n7, 160

and close reading, 239and criticism of New Formalism, 240and form as effect of reading, 43and pleasure of reading, 189and ‘What is New Formalism?’, 5, 6,

88, 135n3, 239linguistics, and Chomskyan linguistics,

163literary criticism

and centrality of language, 36–7and choice of critical method, 31–2:

impact on constitution of a text, 32and creative writing, 191–2:

creative- critical experiments, 205; critifiction, 192; dialogic interaction with, 182, 192, 193, 205

and critical orientations, 31and critifiction/fictocriticism, 192and formalist analysis, 33and hybridized forms of, 192–3and interpretive conventions and

expectations, 31and lyric poetry, 198

262 Index

literary criticism – continuedand relationship to literature, 39, 40as response to creative use of

language, 33literary experience, and neglect of

aspects of, 12–13literary studies

and author- centered inquiry, 112as distinct domain, 19and diversity of, 19

literary theory, and destabilization of, 4literary work, as central and serious

concern, 88literature

and aesthetic experience, 12, 17and creating, 206and creative writing, 206–7and distinctive feature of, 49n9and Eagleton’s ‘What is Literature?’,

184and new respect for institution of, 48–9and specialness, 206–7and teaching of, 3, 6–7, 8, 181–2

Liu, Alan, xiiiLodge, David, 33, 36Loesberg, Jonathan, 48logical positivism, and New Criticism,

227–8London, and archeological find in, 8–11Lorca, Federico Garcia, 197Lowell, Robert, 199

and blank sonnets, 74, 75lyric formalism, 198

and classroom approach to, 212–13: prepare for reading in the classroom, 213; prepare students for experience of language, 214; reading the poem, 214–15; reflection on the poem, 215–16; re- reading the poem, 216–17; Wright’s ‘Lying in a Hammock’, 217–19

and creative- critical experiments, 205and creative writers’ relationship

with formalism: antipathy towards, 198–200; close ties between, 200–1

and creative writing workshops, Jorie Graham, 210–12

and critical bodies, 203and different modes of analysis, 204and the lyric act, 208–9

and lyric poet’s experience of the text, 206–9

and making criticism like literature, 203–5

and methodology, 212–13and multiple lens approach of, 202:

problems with, 202–3as punk formalism, 203

lyric poetryand characteristics of, 100and cross- reading, 100and literary criticism, 198and modern notion of, 90

Magill, A.B., 106Magritte, René, 185Manilius, Marcus, 124Mao, Douglas, 38–9Marcus, Ben, 187Marotti, Arthur L., xivMarsyas, 143Martin, Charles, and sonnets by, 73, 75Marxist criticism, and form, 99Maslen, R.W., 127–8, 132Matz, Robert, 117McGann, J., 219MacLeish, Archibald, and what a poem

should be, 39–40McLuhan, Marshall, 202meaning

and belief’s role in constitution of, 36and close reading, 34and cognitive linguistics, 162and context, 47and form, 37, 43as product of interpretation, 31, 38,

39, 41, 43, 44Medusa, 143, 152, 153–4metafiction, 204metaphors

in comics, 167and conceptual metaphor theory, 159,

167and culture, 163–4in Moore’s Watchmen, 168and rupture between everyday and

poetic usage, 167Michaels, Walter Benn, 35–6, 44Mikics, David, 76Mill, John Stuart, 39

Index 263

Millay, Edna St Vincent, 97, 101Miller, J. Hillis, 42, 51n32mimesis, 121

and Aristotle, 122and different approaches to, 122and idealization, 141and Plato, 122and Sidney’s Defence of Poesy, 117,

118, 119, 120, 133: distinguishing imitative and creative, 123; emerging form of, 122–3

mimetic idealism, and Vasari’s Lives, 142analysis in terms of myths, 143–4fearful desire, 153–4necessity of violence, 146role of patrons in emergence of, 142

Modern American Poetry Site, 113Modern Language Quarterly, ixModernist Journals Project, 113Montrose, Louis A., xiiiMoore, Alan, and Watchmen, 159

and activist formalism account of, 161and figures of speech, 164–5and foregrounding, 165–6, 171and form and content, 172and metaphorical matching, 159, 160and narrative arc, 167–8and normative formalism account of,

161and patterns of thinking in, 167–71and stylistic devices, 167: anaphora,

165–6, 169–70; chiasmus, 166, 171; epiphora, 170; extended metaphor, 164; hysteron proteron, 166, 168–9; match- cut, 168; metaphors, 168; symmetry theme, 170–1

Morgan, Edmund M., and Sacco- Vanzetti poetry, 96–7

Morton, Timothy, 88Mukarovský, Jan, 165Mullaney, Steven, 116, 135n1Myrick, Kenneth O., and Sidney’s

Defence of Poesy, 117, 118, 119, 121–2, 133

Nabokov, Vladimir, 179, 181–2Narcissus, 143narratology, 162Nelson, Cary, 100 neo- formalist poets

and Charles Martin, 73and conservative appeal of, 88and criticism of, 73–4, 89and return to basics, 88and the sonnet, 72–3

New Criticismand attacks on, xii: as ahistorical, xi;

as apolitical, xiand Beat poets, 198–9and breaking from assumptions of, 29and close reading, 16, 239: Herrick’s

‘Corinna’s Going a-Maying’, 232, 233

and constructivist dimension of, 35and criticized by the Left, 98–9and early formalism of, 33and formalism, xiiand goal of objective literary analysis,

162and history, xi, 99and independence of literary studies,

48and intention, 227and irony and paradox, 207–8as limiting tool of inquiry, 20and logical positivism, 227–8and misreadings of, x–xiiand representations of, xand resistance to and rejection of,

xi–xiiand text- object model, 39and variety of approaches, x–xisee also Brooks, Cleanth

New Formalismand activist and normative formalism,

135n7, 160–1and aesthetics, 8, 12and agency, viiiand anecdotal illustration (London

archeological find), 8–11and approach of, 187and aspirations of, 160and autonomy of author, 100and challenge facing, 12and close reading, 239–40and Cognitive Stylistics, 172–3and communal form, 113and craft, xvi–xviiand criticism of, 240and cross- reading, 97, 100, 113

264 Index

New Formalism – continuedand development of, ix, 13–14:

Cohen’s Shakespeare and Historical Formalism, 14; Levine’s ‘Strategic Formalism’, 13–14, 15–16

and early modern literature, 116and first use of term, 13, 18and form, 8, 17: as pattern of

thinking, 172–3; renewed emphasis on, 98

and history and form, 98, 99and inner tensions within, 6and interaction of form, content and

context, 172and meaning, 41as a movement, 16, 240and multiple lens approach of, 202:

problems with, 202–3and nature of New Formalist criticism,

33and necessity of, 47–9and need for theory, 16–17and New Criticism, breaking from

assumptions of, 29and pleasure of reading, 189and poetry’s central role, 91and predecessors of: balanced

approach to, xiv–xv; dangers of comparing and contrasting with, ix–xiv

and questions raised by, viiiand relationship between critics and

writers, xviand roots of, viii–ix, 7

New Formalist pedagogyand argumentative essays, 238–9and assessing students, 236and close reading, 224, 234–6,

239–40: limitations of New Critical approach, 232, 233; limitations of political readings, 232–3; transformative power of, 229, 234; as transgressive praxis, 224

and cultural relativism, 229and difficulties in writing about, 223and formal analysis, 237–8and meaning- making, 224and New Criticism: influence of,

223–4: removing the ideal reader, 227–9

and preparatory exercises and assignments, 236–7

and questions at issue, 233–4and relationship between text and

reader, 231and response writings, 237and role of argumentation in the

classroom, 230–1, 233–4and teaching a way of thinking, 236

New Historicismas alternative to New Criticism, ixand anecdotal illustration (London

archeological find), 8–10and centrality to re- shaping literary-

cultural theory, 15and Cohen’s reformulation of, 14–15and disillusionment with, 3–4and early modern literature, 116and exhaustion of, 12and King Lear, opposition of two

world views, 3–4and limitations of, 11–12and misreadings of, xiii–xivand relationship of form and history,

55Newman, John Henry, Cardinal, 43new media, 192Nietzsche, Friedrich, 204

Olsen, Lanceand Anxious Pleasures, 189and Fiction’s Present, 192–3

Ong, Walter J., 34Owens, Jesse, 82, 93n37

palimpsested time, 63Panofsky, Erwin, 141parabasis, 128–30paradox, 207–8

and creative writing, 208pedagogy, see classroom teaching, and

lyric formalism; creative writing; New Formalist pedagogy

Peirce, C.S., 137n40Pennanen, Esko, 45Percy, Thomas, 58Perloff, Marjorie, 181Plath, Sylvia, 199Plato, 120, 122, 204plot, as structuring operation, 60

Index 265

Plotkin, David George, 107poems and poetry

and central role for New Formalists, 91and classroom approach to,

212–13: prepare for reading in the classroom, 213; prepare students for experience of language, 214; reading the poem, 214–15; reflection on the poem, 215–16; re- reading the poem, 216–17; Wright’s ‘Lying in a Hammock’, 217–19

and composition of, 36–7and dialogic model, 100and form and content, 43and MacLeish on what a poem should

be, 39–40and meaning, 31and muteness of text, 40–1and poets’ relationship with

formalism: antipathy towards, 198–200; close ties between, 200–1

and political poetry of 1930s, 100and reference, 46–7and Valéry on bad poems, 35see also Sacco- Vanzetti poetry; Sidney,

Sir Philip, and Defence of Poesy; sonnets and the scholar-poet

Poirier, Richard, viiiPollan, Michael, 59Poovey, Mary, 48Pope, Alexander, 42 post- Marxism, and relationship of form

and history, 55 post- structuralist theory, 201Poulet, Georges, 38Press, Max, 107Prose, Francine, 183, 194n20Pryor, Richard, 82, 93n37publication networks

and cross- reading, 97–8and shared form, 113

Puttenham, George, 60, 128–30, 133Pygmalion, 143

Quintilian, 118, 119

race, see sonnets and the scholar-poetRaitiere, Martin, 127Rambuss, Richard, 139n68Randolph, A. Philip, 82, 93n37

Rasmussen, Mark David, ix, 12, 18reading

and form, 58–9and genre, 58–9, 65like a writer, 183, 194n20and pleasure of, 189see also close reading

reality, and generation by literary texts, 46–7

reference, 45–7and back- formation, 45–6and interpretation, 47and referentiality, 52n53

Reich, Henry, Jr, 105Ricks, Christopher, 48Ridge, Lola, 97, 105Riffaterre, Michael, 58Roach, Joseph R., 78Robinson, William ‘Bojangles’, 82, 83Rogers, John, 63Rogers, Paul, 192romance, and different uses of, 62Romanticism, 55Rooney, Ellen, 13, 48, 182Root, E. Merrill, 97, 107–8Rorty, James, 97, 101–2Royle, Nicholas, 4Russian formalism, xii

Sacco, Ferdinando Nicola, 96 Sacco- Vanzetti case, 96

and cultural responses to, 96and importance for the Left, 102

Sacco- Vanzetti Defense Committee, 101 Sacco- Vanzetti poetry

and America Arraigned, 102, 103–4, 105, 106

and Burns’ ‘Who are the Criminals?’, 110

and Bynner’s ‘Once More, O Commonwealth’, 105–6

and Carew’s ‘Justice is Dead’, 107and common critical approach to, 97and common formal elements, 108–9:

ballad stanza, 110–11; couplets, 109–10; stanzaic form, 109–11

and common imagery and themes, 104: Christian martyrdom, 106–8; labor, 104–5; Massachusetts, 105–6; witch- hunting and burning, 105–6

266 Index

Sacco- Vanzetti poetry – continuedand communal form, 111–13and cross- reading, 108, 111–12and Davies’s ‘The Rulers’, 107and Dos Passos’s ‘They Are Dead

Now’, 102and Emory’s ‘Another Pilate’, 107and historical consequences of, 111and Holmes’s ‘The Ballad of

Charleston Gaol’, 110and Joughlin and Morgan’s

assessment of, 96–7and Kernan’s ‘Death Watch’, 107and literary significance, 112and Magill’s ‘Murder at Midnight’,

106and Millay’s ‘Justice Denied in

Massachusetts’, 101and New Critical approach to, 97and periodical and anthology

publication, 101–4, 113: contemporary anthologies, 102–4; Leftist periodicals, 101–2; newspapers, 101

and Plotkin’s ‘Demonstration’, 107as political intervention, 102, 103–4and Press’s ‘To Gov. Allan T Fuller’,

107and Reich’s ‘On the Removal of Sacco

and Vanzetti’, 105and Root’s ‘Eucharist’, 107–8and Rorty’s ‘Gentlemen of

Massachusetts’, 101–2and Sacco- Vanzetti Anthology of Verse,

102–3, 104and Simmons’s ‘The Way’, 106and Squires’s ‘Massachusetts

1667–1927’, 106and Trent’s ‘To Bishop Lawrence’, 106and Whitaker’s ‘The Culprit’, 111and Wood’s ‘Golgotha in

Massachusetts’, 106and Zorn’s ‘The Poets to Sacco and

Vanzetti’, 107Sadoff, Ira, 73–4Schlegel, Friedrich, 128 scholar- poets, see sonnets and the

scholar-poetScott, James C., 76, 77Scott, Walter, 58

Semino, Elena, 164Sexton, Ann, 199Shahn, Ben, 96Shakespeare, William, and King Lear,

3–4Shapiro, Alan, 89Shklovsky, Victor, 161Shohet, Lauren, 63Sidney, Sir Philip, and Defence of Poesy, x

as challenging text, 133–4and chronology of composition,

126–7and difficulties in reading, 120and digression on state of English

poetry, 126, 130–1: arguing with himself, 131; attack on the English stage, 131; connections to main body of the work, 132; digression into oratory, 128–9; intention, 132–3; introduction to, 132; limits of the Defence’s argument, 131–2; problematic form of, 126–30; Sidney’s apologies for, 127–8

and divine poetry, 121: as mimetic poetry, 123

and early modern formalism, 116–17and imitation, 120–1and mimetic poetry, 117, 118, 119,

120, 121, 133: distinguishing imitative and creative, 123; divine poetry, 123; emerging form of, 122–3; philosophical poetry, 124; right poetry, 124–5

and Myrick’s analysis of, 117, 118, 119, 121–2: paradox in, 122, 133

and New Formalist re- reading of, 117–18

and philosophical poetry, 121, 123–4: as mimetic poetry, 124

and poetry as ideal literary form, 117and poets as subject of, 120and right poetry, 120, 124–5: contrast

with divine and philosophical poetry, 124–5; creativity, 121, 125; focus on, 121–2; as mimetic practice, 122; possibility- figuring power of, 125, 126

as seven- part classical oration, 118, 134: digressio, 126–31; exordium, 118–19; narratio, 119, 120; partitio, 119–20,

Index 267

126, 130; peroratio, 126; propositio, 118, 119, 125, 133; refutatio, 126

and taxonomy of poetry, 119–20, 122

Simmons, Laura, 106Smethurst, James, 71Snodgrass, W.D., 199sonnets and the scholar-poet

and African American poets, 71–2: community building, 91; history, 88–9; racial tensions, 89–90

and cultural memory, 72and double- voiced nature of poems,

72, 75, 90–1and Dove’s Sonata Mulattica, 72, 83–7,

89and flexibility of sonnet form, 90and historical settings of poetry, 71and impulses behind, 71and Jordan’s M- A- C- N- O- L- I- A, 72,

80–3, 89and modifications of sonnet form, 74:

Kinzie’s blank sonnet, 74–5and neo- formalist poets of 1970s and

1980s, 72–3: Charles Martin, 73, 75; conservative appeal of, 88; criticism of, 73–4, 89; return to basics, 88

and paradox of the sonnet cycle, 80

and recovering lost or unheard voices, 72, 75, 90, 91

and Tretheway’s Bellocq’s Ophelia, 72, 76–80, 89: structure, 77

Sörbom, Göran, 122Spivak, Gayatri, 15, 98Squires, Edith Lombard, 106Stallybrass, Peter, xiiiStearns, Peter N., 83Stephenson, Roy, 9–10Stevens, Wallace, 46–7Stewart, Susan, 88Stillman, Robert, 117Stockwell, Peter, 162, 163storyworlds, 173n2Stowe, Harriet Beecher, 186Strier, Richard, ix, x, 13Stuart, Garrett, 48stylistics, and double pattern of, 161Summers, Claude J., 231–3

Swardson, H.R., 225symbols, and role in production of

knowledge, 35, 36

Tate, Allen, 200technology, and new literary forms, 181,

192–3Temple, Shirley, 83text

and autonomy of, 121, 123and close reading, 33–5and generation of reality, 46–7and impact of choice of critical

method, 32and independent identity, 36and intention, 44–5and interpretation of, 38, 39as language, 33–7as linguistic object, 33and literary texts, 36and the mute text, 38–41and recovering verbal specificity of,

33–4, 38and reference, 45–7and text- object model of New

Criticism, 39Thayer, Webster, 96, 101, 102, 105,

107Theile, Verena, viiTodorov, Tzvetan, 65Tolkien, J.R.R., 46Tompkins, Jane, 186Trent, Lucia, 105, 106Tretheway, Natasha, and Bellocq’s

Ophelia, 72, 76–80, 89Tsur, Reuven, 162, 163, 167Tucker, Herbert, 13, 16turn, and concept of, viiTurner, Henry, 124Turner, Mark, 167Tuve, Rosemond, xii

Valéry, Paul, 35, 43van Leeuwen, Theo, 164Vanzetti, Bartolomeo, 96Vasari, Giorgio, and Lives

and Gombrich’s reading of, 141–2, 146, 147

and homosocial vision of art practice and progress, 153

268 Index

Vasari, Giorgio, and Lives – continuedand improvements in graphic

technology of representation, 141and Leonardo: as charismatic

figure, 150, 155; contradictory characteristics, 150–1; contrast with Michelangelo, 146, 155–6; dark side of, 146–7; description of Mona Lisa, 144–5; eulogizing conclusion, 150; figure of Medusa, 152, 153–4; hubris, 147; hyperbole of opening sentence, 156–7; impatience with, 152–3; indirect discourse, 148, 149, 154; painting terrifying monster on buckler, 151–2; parody of narrator’s ideals, 154–5; rationalization of unfinished work, 154; relationship with Verrocchio, 146–7; sarcastic about, 149–50; status of Vasari’s relation with, 155; as uncanny, 157; unfinished works, 147–9, 152

and life- cycle metaphor, 145–6and metaphors of rebirth or

resurrection, 145–6and Michelangelo, 145, 155–6:

unfinished works, 148and mimetic idealism, 142: analysis in

terms of myths, 143–4; fearful desire, 153–4; necessity of violence, 146; role of patrons in emergence of, 142

and misogynistic theory of art history, 145

and narrative scheme of art development, 140–1: idealization, 141; mimesis, 141

and naturalism, criticism of, 141and tension between mimesis and

idealization, 141and Verrocchio, 146–7

Vendler, Helen, viiiVerrocchio, Andrea del, 146–7

Waller, Thomas ‘Fats’, 82Warner, Susan, 186Warren, Austin, 41Warren, Robert Penn, 200Weinsheimer, Joel, 50n28Wellek, René, 41Wenger, Deidre, 211Whitaker, Robert, 111Wilde, Oscar, 110Wilson, Thomas, 118Wimsatt, W.K., 44Wölfflin, Heinrich, 141Wolfson, Susan J., ix, 13, 48

and formal elements of a poem, 75

and form and history, 98Wolosky, Shira, 90Womack, Kenneth, 202Wood, Clement, 106Woolf, Virginia, and Mrs Dalloway,

180–1Wordsworth, William, and

‘Resolution and Independence’, 46, 47

Wright, James, 213and ‘Lying in a Hammock’,

classroom approach to, 217–19

writers and critics, relationship between, xvi

Yates, Julian, 59Yeats, W.B., 39

Zeuxis, 143–4, 152Zorn, Gremin, 107