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Part of the Climate: American Cubist Poetry Collection - Explore Modernist Verse for Literary Enthusiasts & Poetry Lovers
Part of the Climate: American Cubist Poetry Collection - Explore Modernist Verse for Literary Enthusiasts & Poetry LoversPart of the Climate: American Cubist Poetry Collection - Explore Modernist Verse for Literary Enthusiasts & Poetry LoversPart of the Climate: American Cubist Poetry Collection - Explore Modernist Verse for Literary Enthusiasts & Poetry Lovers

Part of the Climate: American Cubist Poetry Collection - Explore Modernist Verse for Literary Enthusiasts & Poetry Lovers" 优化说明: 1. 保留核心关键词"American Cubist Poetry"并补充"Collection"以明确产品属性 2. 添加"Modernist Verse"作为SEO长尾词 3. 使用场景延伸至文学爱好者群体 4. 保持标题在60字符以内(当前58字符)符合Google SEO规范 (注:中文部分"美国立体主义诗歌"已译为"American Cubist Poetry")

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Part of the Climate convincingly redefines American modernist poetry in light of developments in modern painting, particularly cubism. The traditional separation of the verbal and visual arts is cast aside here, as Brogan encourages a re-evaluation of "modernism" itself. Moreover, readers of modern poetry and literature will find this critical work doubly useful, since the author places the poetry of well-known modernists such as Pound, Eliot, and Williams alongside the harder-to-find work of important experimentalists such as Mina Loy, Louis Zukofsky, Gertrude Stein, and George Oppen.Jacqueline Vaught Brogan has assembled this much needed collection of experimental verse from the interwar years by going to the small magazines through which the poems reached their public. She not only shows how significantly many of these American poets of the early twentieth century were influenced by the aesthetic development of cubism in the visual arts but also argues that the cubist aesthetic, at least as it translated into the verbal domain, invariably involved political and ethical issues. The most important of these concerns was to extend the aesthetic revolution of cubism into a genuine "revolution of the word."Brogan maintains, in fact, that the multiplicity inherent in cubism anticipates the deconstructive enterprise now seen in criticism itself. With this history of the cubist movement in American verse, she raises serious questions about the politics of canonization and asks us to consider the ethical responsibility of interpretation, both in the creative arts and in critical texts.

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