By M. Dowdy
"In this research, Dowdy uncovers and analyzes the first rhetorical suggestions, rather figures of voice, in American political poetry from the Vietnam War-era to the current. by means of advancing a theoretical version that foregrounds how poems enact politically-engaged voices, the publication cuts throughout serious reviews equipped by means of id classification and subject material. Combining theories of business enterprise and cultural experiences, this accomplished account of latest American verse makes use of shut readings of canonical and lesser recognized poets, bilingual poets, and hip-hop artists so as to chart American poetry's specified voices. This e-book should be necessary to these attracted to twentieth-century poetry, poetics, hip-hop tradition, literature and politics, cultural reports, and African-American and Latina/o cultures."--Jacket. Read more...
summary: "In this learn, Dowdy uncovers and analyzes the first rhetorical suggestions, quite figures of voice, in American political poetry from the Vietnam War-era to the current. by means of advancing a theoretical version that foregrounds how poems enact politically-engaged voices, the e-book cuts throughout severe reports prepared by way of identification classification and subject material. Combining theories of supplier and cultural experiences, this finished account of latest American verse makes use of shut readings of canonical and lesser recognized poets, bilingual poets, and hip-hop artists with the intention to chart American poetry's designated voices. This publication may be integral to these attracted to twentieth-century poetry, poetics, hip-hop tradition, literature and politics, cultural reviews, and African-American and Latina/o cultures."--Jacket
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Extra resources for American political poetry in the 21st century
Giddens suggests that human practices—the habitual acts we engage in on a daily basis—rather than roles “should be regarded as the points of articulation between actors and structures” (117), a principle that leads away from understanding agents in poems as occupying essential or representative roles (as an African American, as a poor person, as a dictator, and so on); instead, subjects, speakers, and characters in poems are better understood by their practices, language, and their actions and consequences.
It no longer scares politicians, pundits, or parents because it can seem ludicrous on its surface and because it implicitly supports many dominant American values concerning consumption and the pursuit of individual wealth. However, hip-hop culture is richer, more varied, and much more complex than mainstream radio and cable television suggest. Many hip-hop artists make incisive, creative, and sociopolitically conscious music; these artists, I would argue, have their fingers on the pulse of the nation’s multicultural urban spaces more so than poets who work in print.
Vernon Shetley, for his part, suggests that the modernist legacy of “difficult” poetry has been inherited by post-WWII poets and audiences (14). Potential audiences may avoid poetry because they see it as difficult and inaccessible, a perception that has opened a gap between poets and audiences, a gap that hip-hop artists have seized upon. It is not outrageous to claim that teenagers and college students may have read poetry in the 1960s, but now listen to hip-hop. Even so, Shetley argues that poetry should become more difficult.
American political poetry in the 21st century by M. Dowdy