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By Geoffrey N. Leech

Seeks to illustrate that the research of English poetry is enriched via the insights of contemporary linguistic research, and that linguistic and significant disciplines will not be separate yet complementary. studying a variety of poetry, Professor Leech considers many elements of poetic sort, together with the language of previous and current, artistic language, poetic licence, repetition, sound, metre, context and ambiguity.

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Extra resources for A Linguistic Guide to English Poetry (English Language Series)

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The creation of imagined communities also depends upon the “piracy” of nation-state constitutional forms from one context to another. This is the part of Imagined Communities that tends to get short shrift in the discipline of literary studies, in which Anderson’s interest in novels and newspapers plays into an understandable VERNACULAR DISCOURSE FROM MAJOR TO MINOR 35 investment in the historical significance of the language arts. 29 In the imagined community, then, one sees not the victory of culture over politics, but a mixing of linguistic and political sovereignty that enables subsequent declarations of literary independence.

The third line of the play, in which Trudy describes an ambush, combines quasi-antique grammatical inflection with an elision of articles and pronouns that is reminiscent of Yorkshire dialect: “In Kettledale above Colefangs road passes where high banks overhang dangerous from ambush. To Colefangs had to go, would speak with Layard, Jerry and Hunter with him only. They must have stolen news, for Red Shaw waited with ten, so Jerry said, till for last time unconscious” (EA 1–2). The result is both dramatic and disorienting, with the play’s language unhinged at the level of geography and temporality.

I argue, instead, that the significance of Loy’s expatriate life and cross-cultural poetics would be betrayed by repatriating her to Britain, just as it has been by her absorption into multicultural Americanness. I therefore conclude with a reading of “Anglo-Mongrels and the Rose” (1923–25) as a document of adversarial cosmopolitanism, forged between a patriotism it would abjure and the impossibility of a location-less poetry. In this way, Nations of Nothing But Poetry ends as it began—by considering how twentieth-century literary history gets torn between bondage and abandon, how poems enact a freedom their writers do not always get to share, and how all of this is legible in the socially and aesthetically contradictory discourses of the vernacular.

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