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Difficult language in the poetry of ...

Finley, Robert Stuart Martin.

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Difficult language in the poetry of W. S. Merwin.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Difficult language in the poetry of W. S. Merwin./
作者:	Finley, Robert Stuart Martin.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1988,
面頁冊數:	231 p.
附註:	Source: Dissertation Abstracts International, Volume: 53-02, Section: A, page: 4980.
Contained By:	Dissertation Abstracts International53-02A.
標題:	American literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NN65834
ISBN:	9780315658349

Difficult language in the poetry of W. S. Merwin.
Finley, Robert Stuart Martin.

Difficult language in the poetry of W. S. Merwin. - Ann Arbor : ProQuest Dissertations & Theses, 1988 - 231 p.

Source: Dissertation Abstracts International, Volume: 53-02, Section: A, page: 4980.

Thesis (Ph.D.)--University of Toronto (Canada), 1988.

The thesis is concerned with the difficult language of Merwin's books from The Moving Target to The Compass Flower. It shows the necessary development of that language out of the early poetry and it develops a strategy for reading it through an examination of its enlargement of figurative processes.

ISBN: 9780315658349Subjects--Topical Terms:

523234
American literature.

Difficult language in the poetry of W. S. Merwin.
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245 1 0 $a Difficult language in the poetry of W. S. Merwin.
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300 $a 231 p.
500 $a Source: Dissertation Abstracts International, Volume: 53-02, Section: A, page: 4980.
500 $a Supervisor: J. E. Chamberlin.
502 $a Thesis (Ph.D.)--University of Toronto (Canada), 1988.
520 $a The thesis is concerned with the difficult language of Merwin's books from The Moving Target to The Compass Flower. It shows the necessary development of that language out of the early poetry and it develops a strategy for reading it through an examination of its enlargement of figurative processes.
520 $a Merwin's early poems are preoccupied with the middle ground between the self and an other. This preoccupation is treated thematically in the journey poems and in the poems explicitly concerned with man's relationship to nature. Their subject is remoteness itself. But the poems are written in a language which names, and, for Merwin, to name a thing can destroy its otherness, its mystery, by drawing it into a coherent and knowable human structure.
520 $a Merwin's attack on conventional naming begins in the books after The Drunk in the Furnace as an attack on the orphic role of the poet as a maker of discrete fictions. The usual guides of the narrative are gradually removed, as are punctuation and other syntactic signals. The poems become inflated with ambiguity and multiple readings. They lead the reader into the "nonsense moment" of the riddle, the moment at the middle of conceptual change when all knowledge is uncertain.
520 $a The thematically expressed preoccupation with otherness in the first books is translated into the destructive formal initiatives of those that follow. This is demonstrated in the thesis by a single formula, the simplest formula for metaphor, which is appropriate to the structures of both the initial thematic and the later formal aspects of the poetry. Adjustments to this formula show how the reader is engaged in the ongoing and active generation of meaning.
520 $a In the final chapter we see how Merwin, in Finding the Islands and Opening the Hand, turns away from the difficult poetry of his middle books. The preoccupation with otherness remains in these poems, but is accounted for by a new faith in the ability of language to contain its true subject.
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