By E. E. Cummings

E.e. cummings is with no query one of many significant poets of this century, and this quantity, first released in 1959, is quintessential for each lover of contemporary lyrical verse. It comprises 100 of cummings’s wittiest and so much profound poems, harvested from thirty-five of the main considerably artistic years in modern American poetry. those poems express the entire amazing lyricism, playfulness, technical ingenuity, and compassion for which cummings is known. They exhibit superbly his extrapolations from conventional poetic constructions and his departures from them, in addition to the original synthesis of lavish imagery and acute creative precision that has received him the adulation and appreciate of critics and poetry fanatics everywhere.

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Homogeneous.  Increasingly, literary trends and movements are invoked as evidence of the typological facets of periodization and the periodological facets of literary types.  The research is at a much more preliminary state in the area of literary historiography in general, and theories of periodization in particular, yet primarily within this framework the discussion of the literary trend takes shape.  10 The views I present below played an important role in setting in motion a process of radically rethinking the traditional conceptions of period and periodization, a process in which literary historians are still very much engrossed today.

It is therefore possible for me to argue, in Chapter 2, against any essentialist view of modernism and, at the same time, to advocate the prototype model as a functional construct which allows people to zero in on relevant segments of a heterogeneous category.  When, as Wittgenstein has already pointed out, the category itself has unclear boundaries (unlike birds but like red or tall things), we can distinguish not just a centrality gradience within the category but also a membership gradience marking degrees of membership in that category (Lakoff, 1987:12–13).

All this rather complicates the tasks of both literary theory and prototype semantics, but I believe complexity should not deter rigorous investigation.  Instead, we may want to talk about hierarchies of context­dependent specific types and degrees of centrality or marginality, and about aunts and nieces and a variety of other family members. Third, as the example of modernism suggests, we need to make our semantic and historical models more messy and nuanced and less mechanistic and predictable.

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