Limericks Naughty & Gay

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Even the word 'gluepot' suggests the inadequacy of resources to the task. Leavis, "Fiction and the Reading Public", p.212 "Poetry cannot afford to lose its fundamentally self-delighting inventiveness, its joy in being a process of language as well as a representation of things in the world", Seamus Heaney, "The Redress of Poetry", Faber 1995, p.5 "I think of the personal and Irish pieties as vowels, and the literary awarenesses nourished on English as consonants", Seamus Heaney, "" "Epistemology and theories of language ... have become as central to contemporary lyric as psychoanalysis in the later 1950s, myth and politics in the late '60s", Stephen Burt, Close Calls with Nonsense, p.346 "in late antiquity, [...] stress replaced length as a salient feature of European speech and [...] meters based on accent and/or fixed syllable count eventually supplanted the quantitative meters of classical poetry (Another such transformation occurred in the wake of the Norman Conquest, when, along with other developments, the flexional forms of Old English broke down under the influence of French, and the largely falling rhythms of Anglo-Saxon prosody gave way to the principally rising rhythms of Middle and Modern English verse)", Timothy Steele, "Able Muse Anthology", 2010, p.xiv "the appearance of prepositions, conjunctions and verbs at the end of lines has a purpose: to increase the language's fluidity and that sense of recreated feeling", Will Daunt, "Envoi", issue 150 "the language of poetry is the language of paradox", Cleanth Brooks, "The Well-Wrought Urn: Studies in the Structure of Poetry", Harcourt Brace, 1947, p.3 "Grammar as repressive mechanism, regulates free circulation of meaning (the repression of polysemeity into monosemeity and guided towards a sense of meaning as accumulated, as surplus value of signification)", McCafferty, "Notebooks", p.160 "[the open text] invites participation, rejects the authority of the writer over the reader and thus, by analogy, the authority implicit in other (social, economic, cultural) hierachies", Lyn Hejinian, "The Rejection of Closure", p.272 "The poetic text exists in the field of intersection of many semantic systems, many 'languages.' Information about the language of a communication, its reconstruction by the hearer, the 'schooling' of the hearer in a type of belletristic modeling new to him often constitutes the text's basic information", Yury Lotman, "Analysis of the Poetic Text", Ardis, 1976, p.107 "Do not tenses, must they not also be kicked around anew, in order that time, that other governing absolute [with space] must be kept, as must the space-tensions of a poem, immediate, contemporary to the acting-on-you of the poem?", "Projective Verse", Olson, p.56 "Like a demonstrative, the impersonal pronoun 'it' must always send the reader back or forward to some other noun or phrase.

Pages: 60

Publisher: Factor Press (August 1, 1998)

ISBN: 0962653195

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