This book argues that the theory of force elaborated in Immanuel Kant's aesthetics (and in particular, his theorization of the dynamic sublime) is of decisive importance to poetry in the nineteenth century and to the connection between poetry and philosophy over the last two centuries. Inspired by his deep engagement with the critical theory of Walter Benjamin, who especially developed this Kantian strain of thinking, Kevin McLaughlin uses this theory of force to illuminate the work of three of the most influential nineteenth-century writers in their respective national traditions: Friedrich Hölderlin, Charles Baudelaire, and Matthew Arnold. The result is a fine elucidation of Kantian theory and a fresh account of poetic language and its aesthetic, ethical, and political possibilities.

This book explores the much debated relation of language and bodily experience (i.e. the 'flesh'), considering in particular how poetry functions as revelatory discourse and thus relates to the formal horizon of theological inquiry. The central thematic focus is around a 'phenomenology of the flesh' as that which connects us with the world, being the site of perception and feeling, joy and suffering, and of life itself in all its vulnerability. The voices represented in this collection reflect interdisciplinary methods of interpretation and broadly ecumenical sensibilities, focusing attention on such matters as the revelatory nature of language in general and poetic language in particular, the function of poetry in society, the question of Incarnation and its relation to language and the poetic arts, the kenosis of the Word, and human embodiment in relation to the word 'enfleshed' in poetry.

This dissertation reconsiders the key importance of violence as an aesthetic, political, and cultural category in Seamus Heaney's poetry and translations. The dissertation begins by asking how the relation between violence, literature, and nationalism might be understood in the Irish postcolonial context. The author details how specific explosions of postcolonial violence as well as broader cultural manifestations and perceptions of violence have motivated and informed some of the key aesthetic developments and major projects in this poet's career. By examining a wide range of representations from his oeuvre, he details Heaney's deft negotiation of the related problems of violence and decolonization through a complex and compelling poetic of violence. Specifically, he examines Heaney's conception and development of the lyric as a field of force, his employment of the pastoral as an anticolonial mode of resistance, and his translations of canonical texts as acts of counterviolence carried out at the level of the vernacular and form. Through close readings of Heaney's verse, translations, prose, and journalism, the author demonstrates how many of his writings can be profitably read as part of an ongoing attempt to intervene textually in a Northern Irish culture of violence. He also argues that Heaney's often conflicted, occasionally uneven, and frequently brilliant attempts to outface violence through writing have necessitated a remarkable degree of experimentation and adaptation at the level of form, language, and genre. By bringing into interactive and critical focus a study of poetics and postcolonial criticism, the author attempts to demonstrate that a particular set of violent conditions and perceptions (which are endemic to postcolonial situations) have, to a remarkable degree, informed Heaney's highly innovative transformations of inherited cultural materials. (3 figures, 185 refs.).

How to Read (and Write About) Poetry invites students and others curious about poetry to join the critical conversation about a genre many find a little mystifying, even intimidating. In an accessible, engaging manner, this book introduces the productive questions, reading strategies, literary terms, and secondary research tips that will empower readers to participate in literary analysis. Holbrook explicates a number of poems, initiating readers into critical discourse while highlighting key poetic terms. The explications are followed by selections of related works, so the book thus offers what amounts to a brief anthology, ideal for a poetry unit or introductory class on poetry and poetics. A chapter on meter illuminates the rhythmic dimension of poetry and guides readers through methods of scansion. The second edition is updated throughout and includes a fresh selection of poems and the latest MLA citation guidance.