The Poetic Eye: Occasional Writings 1982-2012: Cross/Cultures, cartea 194
Autor Michael Sharkeyen Limba Engleză Hardback – 16 noi 2016
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Specificații
ISBN-13: 9789004336438
ISBN-10: 9004336435
Dimensiuni: 155 x 235 mm
Greutate: 1.09 kg
Editura: Brill
Colecția Brill
Seria Cross/Cultures
ISBN-10: 9004336435
Dimensiuni: 155 x 235 mm
Greutate: 1.09 kg
Editura: Brill
Colecția Brill
Seria Cross/Cultures
Cuprins
Editor’s Preface
Introduction
PART 1 (1979–90)
Romantic Hangover in Australian Poetry?
Out of Time
New Zealand City Streets and Gipsies on the Road
Interview with Alan Wearne
Pulling in a Trojan Horse
The Politics of Poetry
Beyond the Jindyworobaks
Storming the Teacups (Again)
Fading Shadows
Clear, Timeless Opus
Minority Groups Like the Living
Imperial Nigrescences
The Persistence of Mallarmé
Starting from Ulverstone
The Myth of the New and Others
Interview with Geoff Goodfellow
Something to Contribute: A Conversation
Cold Turkey in the Cantina
Poetry: The Melbourne Alternative
Old Tricks Transformed
First Thoughts on Everyday Rhetoric
An Interview with Eric Beach
VIP and Business-Class Poetry
The Great Singer, Icon, and Enigma
A Caution to Reviewers
The Australian Fascisti
The Jokes Just Get Verse and Verse
An Interview with Shelton Lea
Poetical Atlas of Political Diversity
Passionate Complexity Among the Loco-Poetic
Diverse Flights, Ethereal and Grounded
You’re Imagining It
PART 2 (1990–2003)
Stepping Back: A Word of (Auto)Biography
Zora Cross’s Entry into Australian Literature
From Duty to Tribute
The Poetry of Gwen Harwood
David McKee Wright, Maorilander
Mudrooroo Narogin and William Hart–Smith
The Province of Every Person
Cheer Up and Take It Lightly
McCuaig Made Poetry Talk
A Salom Course
Ern Burial
Black Stump or Burning Bush?
This is Not a Review
Celebrating the Poetry of the Ballad
Voyaging Through Depths and Shallows
In Celebration of Gwen Harwood
Harris’s Pavane
Compassionate Intensity
Goodfellow’s Semaphore and Other Messages
L’Chaim to Life
Far Away From How it Looks at Home
Dransfield Among the Biographers
New Music
Reviewing Now
Parody and Co.
Defending the Line of Wit
More About Wit
Poetic Voice
The Ventriloquial Muse
How Poetry Lines Up
PART 3 (2004–2012)
The Question in Poetry
Poetry and the Human Comedy
The Poetry of Lauren Williams
Byron’s ‘Deluge’
John Tranter’s “Australia Day”
How Poets Work: A Personal Note (Because I Was Asked)
How Do Poems Sound?
“But Who Considers Woman Day by Day?”
Starting from Melbourne
A Touchstone in Auckland
After Jerusalem
Subtle Conversation
Page’s Primer
Moving and Memorable
Inhabiting a Poem
Trans-Tasman Literary Relations
The Rapture Endures
PART 4 (THE PHOTOGRAPH AS POEM)
“Something of Value”: An Introduction to John Fields’ ‘Signature’ Photographs
Onomastic Index
Introduction
PART 1 (1979–90)
Romantic Hangover in Australian Poetry?
Out of Time
New Zealand City Streets and Gipsies on the Road
Interview with Alan Wearne
Pulling in a Trojan Horse
The Politics of Poetry
Beyond the Jindyworobaks
Storming the Teacups (Again)
Fading Shadows
Clear, Timeless Opus
Minority Groups Like the Living
Imperial Nigrescences
The Persistence of Mallarmé
Starting from Ulverstone
The Myth of the New and Others
Interview with Geoff Goodfellow
Something to Contribute: A Conversation
Cold Turkey in the Cantina
Poetry: The Melbourne Alternative
Old Tricks Transformed
First Thoughts on Everyday Rhetoric
An Interview with Eric Beach
VIP and Business-Class Poetry
The Great Singer, Icon, and Enigma
A Caution to Reviewers
The Australian Fascisti
The Jokes Just Get Verse and Verse
An Interview with Shelton Lea
Poetical Atlas of Political Diversity
Passionate Complexity Among the Loco-Poetic
Diverse Flights, Ethereal and Grounded
You’re Imagining It
PART 2 (1990–2003)
Stepping Back: A Word of (Auto)Biography
Zora Cross’s Entry into Australian Literature
From Duty to Tribute
The Poetry of Gwen Harwood
David McKee Wright, Maorilander
Mudrooroo Narogin and William Hart–Smith
The Province of Every Person
Cheer Up and Take It Lightly
McCuaig Made Poetry Talk
A Salom Course
Ern Burial
Black Stump or Burning Bush?
This is Not a Review
Celebrating the Poetry of the Ballad
Voyaging Through Depths and Shallows
In Celebration of Gwen Harwood
Harris’s Pavane
Compassionate Intensity
Goodfellow’s Semaphore and Other Messages
L’Chaim to Life
Far Away From How it Looks at Home
Dransfield Among the Biographers
New Music
Reviewing Now
Parody and Co.
Defending the Line of Wit
More About Wit
Poetic Voice
The Ventriloquial Muse
How Poetry Lines Up
PART 3 (2004–2012)
The Question in Poetry
Poetry and the Human Comedy
The Poetry of Lauren Williams
Byron’s ‘Deluge’
John Tranter’s “Australia Day”
How Poets Work: A Personal Note (Because I Was Asked)
How Do Poems Sound?
“But Who Considers Woman Day by Day?”
Starting from Melbourne
A Touchstone in Auckland
After Jerusalem
Subtle Conversation
Page’s Primer
Moving and Memorable
Inhabiting a Poem
Trans-Tasman Literary Relations
The Rapture Endures
PART 4 (THE PHOTOGRAPH AS POEM)
“Something of Value”: An Introduction to John Fields’ ‘Signature’ Photographs
Onomastic Index
Notă biografică
MICHAEL SHARKEY, editor of the Australian Poetry Journal and author of more than a dozen collections of poems, is a former Associate Professor of Literature and Communication Studies at the University of New England (Armidale, NSW) and Chair (1993–2012) of the New England Writers Centre.
GORDON COLLIER, co-editor of the book series Cross/Cultures and the African studies journal Matatu, has also edited or co-edited several critical collections on postcolonial literatures and has published widely in the same field, including a study of Patrick White and an edition of Derek Walcott’s journalism.
GORDON COLLIER, co-editor of the book series Cross/Cultures and the African studies journal Matatu, has also edited or co-edited several critical collections on postcolonial literatures and has published widely in the same field, including a study of Patrick White and an edition of Derek Walcott’s journalism.