Search results
Results from the WOW.Com Content Network
Yvor Winters' memorable prose is highly polished, formal, and exacting. He was a fine stylist and a strikingly scrupulous interpreter of literary artworks. He was often and sometimes still is mistakenly considered one of the New Critics because of his many careful readings of individual works of poetry, fiction, and drama.
Winters's critical style was comparable to that of F. R. Leavis, and in the same way he created a school of students (of mixed loyalty).His affiliations and proposed canon, however, were quite different: Edith Wharton's The Age of Innocence above any one novel by Henry James, Robert Bridges above T. S. Eliot, Charles Churchill above Alexander Pope, Fulke Greville and George Gascoigne above ...
In the 1950s, American author Hisaye Yamamoto sympathized with Melville’s interpretation of character Babo, as noted in her exchange of letters with Stanford English Professor Yvor Winters. Winters declared the character as an “embodiment of evil”, protesting Yamamoto’s “root” for Babo.
Created Date: 8/30/2012 4:52:52 PM
The early critical reception of the Objectivists was generally hostile, particularly in reviews by Morris Schappes and Yvor Winters, as well as Harriet Monroe's already-mentioned unfavorable reaction to the Poetry special issue. However, they did have an immediate impact, especially on the work of their two Imagist mentors, Williams and Pound.
Some troops leave the battlefield injured. Others return from war with mental wounds. Yet many of the 2 million Iraq and Afghanistan veterans suffer from a condition the Defense Department refuses to acknowledge: Moral injury.
In high school, he first corresponded with Yvor Winters who was then a graduate student at Stanford University and who later became an influential poet and critic. The death of Cunningham's father in an accident and the family's resulting financial hardship prevented Cunningham from continuing immediately to college.
Yvor Winters, a poet and literary critic, explained the plain style was an alternate canon of the Elizabethan style of poetry. The way in which it was compared to the high style was that "one was plain, the other ornate and decorative". [ 5 ]