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Synthetic vernacular poetry and tran...

Hart, Matthew.

Synthetic vernacular poetry and transatlantic modernism, 1922--2002 (T. S. Eliot, Hugh MacDiarmid, Scotland, Basil Bunting, Kamau Brathwaite, Barbados, Melvin B. Tolson, Harryette Romell Mullen).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Synthetic vernacular poetry and transatlantic modernism, 1922--2002 (T. S. Eliot, Hugh MacDiarmid, Scotland, Basil Bunting, Kamau Brathwaite, Barbados, Melvin B. Tolson, Harryette Romell Mullen).
Author:	Hart, Matthew.
Description:	309 p.
Notes:	Source: Dissertation Abstracts International, Volume: 65-06, Section: A, page: 2191.
Notes:	Supervisor: Robert Perelman.
Contained By:	Dissertation Abstracts International65-06A.
Subject:	Literature, Comparative.
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3138017
ISBN:	049685187X

Synthetic vernacular poetry and transatlantic modernism, 1922--2002 (T. S. Eliot, Hugh MacDiarmid, Scotland, Basil Bunting, Kamau Brathwaite, Barbados, Melvin B. Tolson, Harryette Romell Mullen).
Hart, Matthew.

Synthetic vernacular poetry and transatlantic modernism, 1922--2002 (T. S. Eliot, Hugh MacDiarmid, Scotland, Basil Bunting, Kamau Brathwaite, Barbados, Melvin B. Tolson, Harryette Romell Mullen). - 309 p.

Source: Dissertation Abstracts International, Volume: 65-06, Section: A, page: 2191.

Thesis (Ph.D.)--University of Pennsylvania, 2004.

The concept of synthetic vernacular poetry offers a new critical framework for understanding writing at the intersection of the vernacular and modernist traditions: poetries of race, region, and nation that conform to neither established notions of dialectal authenticity or modernist cosmopolitanism. When analyzed via this concept, the literary history of British, Caribbean, and American poetic modernism must be altered in order to make room for both local and cosmopolitan languages and ideologies. This analysis, in turn, leads to a more positive re-assessment of the relationship between the transatlantic modernism typified by T. S. Eliot and the poetry of several non-canonical poets: Hugh MacDiarmid (Scotland), Basil Bunting (Northumbria), E. K. Brathwaite (Barbados), and Melvin B. Tolson and Harryette Mullen (United States). Synthetic vernacular language is first distinguished from standard accounts of vernacular poetry; modernist vernacular experiments are then reconnected to the poetic deployment of common speech from Dante to Wordsworth. Chapter I analyses MacDiarmid's "synthetic Scots" poetry, which is seen as an imaginary solution to the contradictions between his joint commitments to Scottish nationalist and revolutionary socialist politics. Chapter II turns to the later poems of Bunting, detailing his rejection of dialect orthography and reading his musical "dialect of one" as a Northumbrian nationalism that goes against the grain of both metropolitan Britishness and the dominant trends of Northern English regionalist politics. Chapter III explains T. S. Eliot's influence upon the Bajan poet, Edward Kamau Brathwaite, tracking the modernist roots of postcolonial "nation language" in Brathwaite's poems and essays. Finally, Chapter IV examines the poetry of Melvin B. Tolson and Harryette Mullen---two Black American poets whose reception and self-representation testifies to the usefulness of an idea of synthetic vernacular poetry in defining the problematic category of African-American modernism. The idea of synthetic vernacular poetry is both a freestanding critical and linguistic tool and a response to the outworn privileging of internationalist currents in the literary history of modernism.

ISBN: 049685187XSubjects--Topical Terms:

178247
Literature, Comparative.

Synthetic vernacular poetry and transatlantic modernism, 1922--2002 (T. S. Eliot, Hugh MacDiarmid, Scotland, Basil Bunting, Kamau Brathwaite, Barbados, Melvin B. Tolson, Harryette Romell Mullen).
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245 1 0 $a Synthetic vernacular poetry and transatlantic modernism, 1922--2002 (T. S. Eliot, Hugh MacDiarmid, Scotland, Basil Bunting, Kamau Brathwaite, Barbados, Melvin B. Tolson, Harryette Romell Mullen).
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520 # $a The concept of synthetic vernacular poetry offers a new critical framework for understanding writing at the intersection of the vernacular and modernist traditions: poetries of race, region, and nation that conform to neither established notions of dialectal authenticity or modernist cosmopolitanism. When analyzed via this concept, the literary history of British, Caribbean, and American poetic modernism must be altered in order to make room for both local and cosmopolitan languages and ideologies. This analysis, in turn, leads to a more positive re-assessment of the relationship between the transatlantic modernism typified by T. S. Eliot and the poetry of several non-canonical poets: Hugh MacDiarmid (Scotland), Basil Bunting (Northumbria), E. K. Brathwaite (Barbados), and Melvin B. Tolson and Harryette Mullen (United States). Synthetic vernacular language is first distinguished from standard accounts of vernacular poetry; modernist vernacular experiments are then reconnected to the poetic deployment of common speech from Dante to Wordsworth. Chapter I analyses MacDiarmid's "synthetic Scots" poetry, which is seen as an imaginary solution to the contradictions between his joint commitments to Scottish nationalist and revolutionary socialist politics. Chapter II turns to the later poems of Bunting, detailing his rejection of dialect orthography and reading his musical "dialect of one" as a Northumbrian nationalism that goes against the grain of both metropolitan Britishness and the dominant trends of Northern English regionalist politics. Chapter III explains T. S. Eliot's influence upon the Bajan poet, Edward Kamau Brathwaite, tracking the modernist roots of postcolonial "nation language" in Brathwaite's poems and essays. Finally, Chapter IV examines the poetry of Melvin B. Tolson and Harryette Mullen---two Black American poets whose reception and self-representation testifies to the usefulness of an idea of synthetic vernacular poetry in defining the problematic category of African-American modernism. The idea of synthetic vernacular poetry is both a freestanding critical and linguistic tool and a response to the outworn privileging of internationalist currents in the literary history of modernism.
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