Lecture 16 - William Carlos Williams
recorded by: Yale University
published: July 1, 2010, recorded: February 2007, views: 554
released under terms of: Creative Commons Attribution No Derivatives (CC-BY-ND)
Report a problem or upload filesIf you have found a problem with this lecture or would like to send us extra material, articles, exercises, etc., please use our ticket system to describe your request and upload the data.
Enter your e-mail into the 'Cc' field, and we will keep you updated with your request's status.
The poetry of William Carlos Williams is presented and analyzed. His use of enjambment to surprise and transform is examined in order to highlight Williams's interest in depicting creative and cognitive processes. The Imagist qualities of much of Williams's poetry is considered alongside his engagement with modernist art--particularly the preoccupation of Duchamps and Cubist painters with the process of representing sensual perception. His free verse, which includes the innovative use of white space and carefully, visually balanced lines, establishes his position as one of the most visually-oriented poets in all of modernism.
William Carlos Williams: "Danse Russe," "Queen-Ann's-Lace," "The Great Figure," "Spring and All," "To Elsie," "The Red Wheelbarrow," "This is Just to Say," "Death," "The Yachts," "Burning the Christmas Greens," "From Paterson," "The Ivy Crown," "Asphodel," "That Greeny Flower"; Norton: Prologue to Kora in Hell (pp. 954-59)
Link this pageWould you like to put a link to this lecture on your homepage?
Go ahead! Copy the HTML snippet !