- Oxford Handbooks of Literature
- [UNTITLED]
- Preface
- List of Contributors
- Introduction: The Limits and Openness of the Contemporary
- Modernist Survivors
- The Thirties Bequest
- The Unburied Past: Walking with Ghosts of the 1940s
- ‘Obscure and Doubtful’: Stevie Smith, F. T. Prince, and Legacy
- The Movement: Never and Always
- ‘In Different Voices’: Modernism Since the 1960s
- Two Poetries?: A Re-Examination Of The ‘Poetry Divide’ In 1970s Britain
- A Dog’s Chance: The Evolution of Contemporary Women’s Poetry?
- Cat-Scanning the Little Magazine
- Books and the Market: Trade Publishers, State Subsidies, and Small Presses
- ‘Space Available’: A Poet’s Decisions
- Contemporary Poetry and Close Reading
- ‘All Livin Language is Sacred’: Poetry and Varieties of English in these Islands
- Misremembered Lyric and Orphaned Music
- ‘The Degree of Power Exercised’: Recent Ekphrasis
- Cinema Mon Amour: How British Poetry Fell In Love With Film
- Singing Schools and Beyond: The Roles of Creative Writing
- Historical and Archaeological: The Poetry of Recovery and Memory
- London, Albion
- The ‘London Cut’: Poetry and Science
- ‘Dafter than We Care to Own’: Some Poets of the North of England
- Auden in Ireland
- ‘Other Modes of Being’: Nuala ní Dhomhnaill, Paul Muldoon, and Translation
- Writing [W]here: Gender and Cultural Positioning in Ireland and Wales
- The Altered Sublime: Raworth, Crozier, Prynne
- Dislocating Country: Post-War English Poetry and The Politics of Movement
- Multi-Ethnic British Poetries
- European Affinities
- Scottish Poetry in the Wider World
- The View from the Usa
- Audience and Awkwardness: Personal Poetry in Britain and New Zealand
- Speech Acts, Responsibility, and Commitment in Poetry
- ‘Is a Chat with me your Fancy?’: Address in Contemporary British Poetry
- ‘There Again’: Composition, Revision, and Repair
- Reparation, Atonement, and Redress
- Contemporary Poetry and Belief
- The Loneliness of the Long-Distance Poet
- Contemporary Poetry and Value
- Index
Abstract and Keywords
‘The Degree of Power Exercised’ considers one strand of the turn to ekphrasis in post-war British poetry. A close examination of individual poems by Charles Tomlinson, R. F. Langley, and Peter Riley demonstrates the ways in which these poets negotiate Pound’s visual aesthetic, and in particular its political implications, through consideration of a range of paintings. Paying particular attention to questions of the materiality of form and the role of the body of the viewer, this essay argues that recent ekphrasis contests the visual surfeit of contemporary culture through a patient and principled account of the act of looking.
Keywords: ekphrasis, modernism, poetry, painting, spectacle, subjectivity
CONOR CARVILLE is a Lecturer in English and Creative Writing at the University of Reading. He is the author of The Ends of Ireland: Criticism, Subjectivity, History (Manchester University Press, 2012) as well as many essays on Irish poetry, fiction and criticism. His first collection of poetry was published by Dedalus Press in 2012.
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- Oxford Handbooks of Literature
- [UNTITLED]
- Preface
- List of Contributors
- Introduction: The Limits and Openness of the Contemporary
- Modernist Survivors
- The Thirties Bequest
- The Unburied Past: Walking with Ghosts of the 1940s
- ‘Obscure and Doubtful’: Stevie Smith, F. T. Prince, and Legacy
- The Movement: Never and Always
- ‘In Different Voices’: Modernism Since the 1960s
- Two Poetries?: A Re-Examination Of The ‘Poetry Divide’ In 1970s Britain
- A Dog’s Chance: The Evolution of Contemporary Women’s Poetry?
- Cat-Scanning the Little Magazine
- Books and the Market: Trade Publishers, State Subsidies, and Small Presses
- ‘Space Available’: A Poet’s Decisions
- Contemporary Poetry and Close Reading
- ‘All Livin Language is Sacred’: Poetry and Varieties of English in these Islands
- Misremembered Lyric and Orphaned Music
- ‘The Degree of Power Exercised’: Recent Ekphrasis
- Cinema Mon Amour: How British Poetry Fell In Love With Film
- Singing Schools and Beyond: The Roles of Creative Writing
- Historical and Archaeological: The Poetry of Recovery and Memory
- London, Albion
- The ‘London Cut’: Poetry and Science
- ‘Dafter than We Care to Own’: Some Poets of the North of England
- Auden in Ireland
- ‘Other Modes of Being’: Nuala ní Dhomhnaill, Paul Muldoon, and Translation
- Writing [W]here: Gender and Cultural Positioning in Ireland and Wales
- The Altered Sublime: Raworth, Crozier, Prynne
- Dislocating Country: Post-War English Poetry and The Politics of Movement
- Multi-Ethnic British Poetries
- European Affinities
- Scottish Poetry in the Wider World
- The View from the Usa
- Audience and Awkwardness: Personal Poetry in Britain and New Zealand
- Speech Acts, Responsibility, and Commitment in Poetry
- ‘Is a Chat with me your Fancy?’: Address in Contemporary British Poetry
- ‘There Again’: Composition, Revision, and Repair
- Reparation, Atonement, and Redress
- Contemporary Poetry and Belief
- The Loneliness of the Long-Distance Poet
- Contemporary Poetry and Value
- Index
