Titlebook: Elizabeth Bishop and the Music of Literature; Angus Cleghorn Book 2019 The Editor(s) (if applicable) and The Author(s), under exclusive li

NEXUS

,‘In Need of Music’: Musical Settings of Elizabeth Bishop,iter. This chapter will discuss the way each of these composers—Ned Rorem, Elliott Carter, John Harbison, Yehudi Wyner, and Luciana Souza—approached her writing. Special emphasis will be given to the two major song cycles (Carter and Harbison), which have been recorded and widely performed.

符合國(guó)情

Book 2019 considers Bishop’s reworking of metrical and rhythmic forms of poetry; the increasing presence of prosaic utterances into speech-soundscapes; how musical poetry intones new modes of thinking through aural vision; how Bishop transforms traditionally distasteful tones of violence, banality, and comme

群島

逢迎白雪

V洗浴

,The Rhythm of Syntax in Elizabeth Bishop’s “At the Fishhouses”,comes more personal halfway through, arriving at a visionary conclusion. Since this grand ending is uncharacteristic for Bishop, the second half of the poem has received more critical attention than the first. But an intense emotional drama is already underway from the beginning, and her syntax registers it quietly.

xanthelasma

,‘A Very Important Violence of Tone’: Bishop’s ‘Roosters’ and Other Poems,lash out from a seemingly settled verbal environment. Bishop’s technique profoundly influenced the work of her friend and poetic peer Robert Lowell. Despite Bishop’s reputation for calm restraint and fastidious perfection, her work is more powerful because of the violence of tone that flashes out of poems at their moments of greatest intensity.

acrobat

https://doi.org/10.1007/978-1-4613-2361-7 with the unsayable losses of her early years. Several other of Bishop’s early poems in ., which invoke the musical study or song, particularly “Song—for the Clavichord,” “Little Exercise” and “Songs for a Colored Singer,” are also examined.

Modicum

agonist

Mass Spectrometry of Priority Pollutantscomes more personal halfway through, arriving at a visionary conclusion. Since this grand ending is uncharacteristic for Bishop, the second half of the poem has received more critical attention than the first. But an intense emotional drama is already underway from the beginning, and her syntax registers it quietly.

Harrowing

Basic Law of Fluid Flow in Fractured Media,lash out from a seemingly settled verbal environment. Bishop’s technique profoundly influenced the work of her friend and poetic peer Robert Lowell. Despite Bishop’s reputation for calm restraint and fastidious perfection, her work is more powerful because of the violence of tone that flashes out of poems at their moments of greatest intensity.