American History Cofer Essay Frankenstein Essay Prompts

The book concludes with a “Coda” where the author returns to the personal investment involved in these “lyric encounters” and argues for a “pedagogy” that has room for a redemptive lyricism, as it were.The strength of this monograph lies in this juncture of lyricism, pedagogy, and responsible reading.In nine studies of individual poems that are implicitly or explicitly dialogical, Daniel Morris sets out to read lyricism as an interpersonal, communicative trope beyond what critics have established as the fundamentally “monological nature” of lyric poetry (1).Citing Helen Vendler as a case in point, Morris argues that critics who read lyricism as a trope of expression of private feelings posit a condition of empathy and/or implied identity between the writer and the reader that, Daniel Morris contends, interpretation of the relationship between self and other” (1).

Ginsberg’s “lyric encounter” with mainstream America and with the history of radicalism is, Morris suggests, put in the service of a cultural criticism that is at the same time undercut by an ironic attitude.

Morris focuses on how “the structural techniques that enable the reversal of two figures and roles in “themes,” unsettle “a hierarchy of pedagogical power” (15).

By examining how the uses of irony get entwined with the question of pedagogy in Hughes’s poem, Morris examines how racial representation is mediated through the lyrical attitude in the imaginary dialogue with the teacher.

Unlike Lazarus’s late nineteenth-century precedent, Cofer, as Morris notes, “points towards the “inassimilable remnants of a contemporary immigrant experience that Lazarus understood as only available to the state of becoming American by excising visible signs of difference” (72).

Harper’s ‘Dear John, Dear Coltrane,’” Morris revisits how Harper’s “conjoin[ing] the personal and the social” (82) is mediated through In this chapter, Morris examines how “an elegiac love letter to a man who is still alive at the time of the composition” (84) combines personal attachment and cultural critique; mourning and anxiety over the dismembered body, as well as a sustained reflection on the trajectory of the artist who “through drug injection and alcohol- and racially inflected violence…becomes transformed, via a process of desexualisation and reengendering, into a mythic figure” (84).

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