(Women Writing) The Modernist Line
Of the five English-language poets who experimented most radically with the poetic line in the 1910s, four were women: Mina Loy, H.D., Marianne Moore, and to a lesser extent Gertrude Stein, since she rejected the poetic line altogether in Tender Buttons. The crucial moves away from Whitman’s ninetee...
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| Language: | English |
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Association Française d'Etudes Américaines
2017-01-01
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| Series: | Transatlantica |
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| Online Access: | https://journals.openedition.org/transatlantica/8065 |
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| author | Cristanne Miller |
| author_facet | Cristanne Miller |
| author_sort | Cristanne Miller |
| collection | DOAJ |
| description | Of the five English-language poets who experimented most radically with the poetic line in the 1910s, four were women: Mina Loy, H.D., Marianne Moore, and to a lesser extent Gertrude Stein, since she rejected the poetic line altogether in Tender Buttons. The crucial moves away from Whitman’s nineteenth-century aesthetic had to do with the line as seen, as independent of syntax and meter, as restructuring the possibilities of rhyme, and as a unit in tension with other aspects of form, narrative, and voice in a poem. In the hands of these women, the modernist line had appeared in almost every radical configuration of high modernism by the end of 1917. This paper explores the particular innovations of these women in relation to the structures of the modernist poetic line. |
| format | Article |
| id | doaj-art-812a81d6a3b248108f0227b7c9b5089b |
| institution | Kabale University |
| issn | 1765-2766 |
| language | English |
| publishDate | 2017-01-01 |
| publisher | Association Française d'Etudes Américaines |
| record_format | Article |
| series | Transatlantica |
| spelling | doaj-art-812a81d6a3b248108f0227b7c9b5089b2025-01-30T10:46:03ZengAssociation Française d'Etudes AméricainesTransatlantica1765-27662017-01-01110.4000/transatlantica.8065(Women Writing) The Modernist LineCristanne MillerOf the five English-language poets who experimented most radically with the poetic line in the 1910s, four were women: Mina Loy, H.D., Marianne Moore, and to a lesser extent Gertrude Stein, since she rejected the poetic line altogether in Tender Buttons. The crucial moves away from Whitman’s nineteenth-century aesthetic had to do with the line as seen, as independent of syntax and meter, as restructuring the possibilities of rhyme, and as a unit in tension with other aspects of form, narrative, and voice in a poem. In the hands of these women, the modernist line had appeared in almost every radical configuration of high modernism by the end of 1917. This paper explores the particular innovations of these women in relation to the structures of the modernist poetic line.https://journals.openedition.org/transatlantica/8065H.D.modernist poetryinnovationthe poetic lineformMina Loy |
| spellingShingle | Cristanne Miller (Women Writing) The Modernist Line Transatlantica H.D. modernist poetry innovation the poetic line form Mina Loy |
| title | (Women Writing) The Modernist Line |
| title_full | (Women Writing) The Modernist Line |
| title_fullStr | (Women Writing) The Modernist Line |
| title_full_unstemmed | (Women Writing) The Modernist Line |
| title_short | (Women Writing) The Modernist Line |
| title_sort | women writing the modernist line |
| topic | H.D. modernist poetry innovation the poetic line form Mina Loy |
| url | https://journals.openedition.org/transatlantica/8065 |
| work_keys_str_mv | AT cristannemiller womenwritingthemodernistline |