March 7, 2017

American political poetry in the 21st century by M. Dowdy

By M. Dowdy

"In this learn, Dowdy uncovers and analyzes the first rhetorical thoughts, rather figures of voice, in American political poetry from the Vietnam War-era to the current. by way of advancing a theoretical version that foregrounds how poems enact politically-engaged voices, the publication cuts throughout severe reports geared up by way of identification type and subject material. Combining theories of organisation and cultural reports, this Read more...

summary: "In this research, Dowdy uncovers and analyzes the first rhetorical suggestions, relatively figures of voice, in American political poetry from the Vietnam War-era to the current. by way of advancing a theoretical version that foregrounds how poems enact politically-engaged voices, the e-book cuts throughout serious stories prepared via id classification and material. Combining theories of organization and cultural reports, this complete account of latest American verse makes use of shut readings of canonical and lesser identified poets, bilingual poets, and hip-hop artists as a way to chart American poetry's designated voices. This e-book may be integral to these drawn to twentieth-century poetry, poetics, hip-hop tradition, literature and politics, cultural reports, and African-American and Latina/o cultures."--Jacket

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American political poetry in the 21st century

"In this learn, Dowdy uncovers and analyzes the first rhetorical techniques, fairly figures of voice, in American political poetry from the Vietnam War-era to the current. through advancing a theoretical version that foregrounds how poems enact politically-engaged voices, the booklet cuts throughout serious reviews equipped by means of id classification and material.

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He writes, “It is ‘experience’ that gives life to the law demonstrating . . that the law must be compatible with how people actually arrange their lives. The way law stays alive is by keeping in touch with social contracts pieced together among real people on the ground” (108). I begin this chapter with de Soto because of his words’ striking parallels with the modus operandi of the poems of embodied agency. One need only substitute “poetry” for “the law” to make de Soto’s claim about on-the-ground experience a perfect gateway into the poetry of this chapter.

At the end of the chapter, I discuss at length a poem that successfully joins the strategies of both experiential and authoritative agency. Poems of equivocal agency, which I analyze in chapter 2, challenge poems of experience while maintaining a strategic political engagement, showing that political poetry need not rely exclusively on referentiality or experience. Whereas the problems of memory are complicated by the poems in chapter 1, those in chapter 2 rely on a different model of agency. Often influenced by surrealism, magic realism, and Native American traditions, the poems I examine here problematize notions of direct experience, while foregrounding equivocation, paradox, strangeness, irony, and parodic voices.

Hip-hop lyrics, which embody a range of implicit and explicit political values, are mostly in strict form with rhyming couplets, straight rhyme, assonance, and as one book puts it, “the verse’s syntax and meter often tortured for rhythmic gain” (Costello and Wallace 24). Hip-hop, then, is more formal than most contemporary poetry, and it is often much more explicitly political. ” He claims that a free verse poem does not have an imposed “specific character” so poets often “make a character in it” by working hard to establish a distinctive tone (Twentieth 71).

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