Two for Flinching is a manuscript of forty-four poems broken into three sections. The first section is centered around family and nature, the second is centered around love and relationships, and the third section is mainly poems inspired by various mythologies.

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Robert Frost’s legendary description of “the sound of sense” to define his poetics has for decades sounded like little more than common sense. His idea is now taken to be fairly straightforward: the inflections of an utterance resulting from the tension between demotic speech and poetic form indicate its purport. However, our accepted notion of Frost’s formulation as simply the marriage of form and meaning misconstrues what is potentially revolutionary in it: if everyday speech and verse form generate tension, then Frost has described a method for mediating between reality, represented by speech, and art, represented by verse form. The merger is not passive: the sound of sense occurs when Frost “drag[s] and break[s] the intonation across the metre.” And yet Frost places speech and verse form in a working relationship. It is the argument of this dissertation that poets reckon with what is often understood as discord between poetry and reality by putting into correspondence forms of speech and the forms of poetry. The poets I examine–Seamus Heaney, Gwendolyn Brooks, Tony Harrison, and Lucille Clifton–are concerned with their positions in local communities that range from the family unit to ethnic, religious, racial, economic, and sexual groups, and they marshal forms of speech in poetic form to speak from those locales and to counter the drag and break of those located social and political realities. They utilize what I call their “local languages”–the speech of their particular communities that situates them geographically in local contexts and politically in social constructs–in various ways: they employ them as raw material; they thematize them; they invent idiosyncratic “local” languages to undermine expectations about the communities that speak those languages; they devise generalized languages out of standard and nonstandard constructions to speak not just to and from specific locations but to speak more broadly about human experience. How, these poets ask, can poetry respond to atrocities, deprivations, divisions, and disturbances without becoming programmatic or propagandistic and without reinforcing false preconceptions about the kinds of language suitable for poetry? They answer that question with the living speech of their immediate worlds.

Orientador: Eric Mitchell Sabinson / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-17T13:33:55Z (GMT). No. of bitstreams: 1 Franca_Vinicius_M.pdf: 830422 bytes, checksum: 184da193dee6256dc981c95090399492 (MD5) Previous issue date: 2011 / Resumo: O objetivo desta dissertação foi estudar a obra do poeta Philip Levine (1928- ). A partir de uma caracterização da poesia de Levine, que é tido como um dos mais importantes poetas em atividade nos E.U.A., foi estabelecida uma antologia traduzida e comentada de seus poemas. Para tanto, em um primeiro momento, buscou-se apontar os rumos que a poesia norte-americana tomou a partir de 1945. Em seguida, com o auxílio da leitura da crítica especializada, foi elaborada uma discussão do lugar que a obra de Levine ocupa na poesia norte-americana do pós-guerra, com o intuito de caracterizar e estabelecer um corpus representativo de sua produção poética, a partir de seus três primeiros livros que foram publicados entre 1963 e 1974 / Abstract: The goal of this thesis was to study the work of poet Philip Levine (1928- ). From a characterization of Levine?s poetry, who is regarded as one of the most important poets in activity in the U.S., a translated and annotated anthology of his poems was established. The direction that American poetry has taken since 1945 is described. After presenting a reading of the relevant criticism, we discuss Levine's place in postwar American poetry in order to characterize and establish a representative corpus of his poetry from his first three books, which were published between 1963 and 1974 / Mestrado / Teoria e Critica Literaria / Mentre em Teoria e História Literária

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