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| Acknowledgments | |
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| Introduction | |
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| 1900-1920 | |
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| The Symbolism of Poetry (1900) | |
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| Three Letters (1903, 1907, 1925) | |
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| Creative Writers and Day-dreaming (1908) | |
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| Romanticism and Classicism (1911) | |
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| Technical Manifesto of Futurist Literature (1912) | |
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| Poet Yeats (1912) | |
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| Robert Frost (1914) | |
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| Poetry as a Spoken Art (1917) | |
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| The New Spirit and the Poets (1917) | |
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| A Retrospect (1918) | |
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| Note on Poetry (1919) | |
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| On Poetry and On Contemporary Poetry (1919, 1920) | |
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| Tradition and the Individual Talent and Reflections on Contemporary Poetry (1919) | |
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| Preface to New Poems (1920) | |
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| Prologue to Kora in Hell (1920) | |
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| The Chinese Written Character as the Medium for Poetry (1920) | |
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| 1920-1940 | |
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| Modern Poetry (1925) | |
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| General Aims and Theories (1925) | |
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| The Negro Artist and the Racial Mountain (1926) | |
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| How Are Verses Made? (1926) | |
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| Science and Poetry (1926) | |
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| A Survey of Modernist Poetry (1927) | |
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| Seven Types of Ambiguity (1930) | |
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| The Poetic Process (1931) | |
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| Poetry's Evidence and The Automatic Message (1932, 1933) | |
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| New Bearings in English Poetry (1932) | |
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| Play and Theory of the Duende (1933) | |
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| Poetry and Grammar (1935) | |
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| Poets with History and Poets without History (1935) | |
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| Modernism (1938) | |
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| The Figure a Poem Makes (1939) | |
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| Poetry and Abstract Thought (1939) | |
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| 1940-1960 | |
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| Three Lectures on Poetry (1941, 1944, 1946) | |
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| The Noble Rider and the Sound of Words (1942) | |
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| The End of the Line (1942) | |
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| Poetry and Knowledge (1945) | |
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| Projective Verse (1950) | |
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| A Statement for Poetry (1950) | |
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| Is There Any Poetic Writing? (1953) | |
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| The Concrete Universal (1954) | |
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| Excerpts from Seminars and Papers (1954, 1955, 1957) | |
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| What is Modern Poetry and The Reek of the Human (1955)? | |
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| Mallarme's Experience (1955) | |
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| The Pleasure Principle and Writing Poems (1957, 1964) | |
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| On Lyric Poetry and Society (1957) | |
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| Closing Statement: Linguistics and Poetics (1960) | |
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| 1960-1980 | |
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| What I See in The Maximus Poems (1961) | |
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| Personism: A Manifesto (1961) | |
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| When the Mode of the Music Changes and Abstraction in Poetry (1961, 1962) | |
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| The Poet and the City (1962) | |
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| Hunting Is Not Those Heads on the Wall and State/Meant (1964, 1965) | |
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| A Sense of Measure (1964) | |
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| The Invisible Avant-Garde (1968) | |
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| Closure and Anti-closure in Modern Poetry (1968) | |
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| Poetic Language, Poetics of Language (1969) | |
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| Intentional Structure of the Romantic Image (1970) | |
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| The Muse of History (1974) | |
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| The Ethics of Linguistics (1974) | |
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| A Modest Proposal (1976) | |
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| Continuity in Language (1978) | |
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| Poetry as "Menace" and "Atonement" (1978) | |
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| 1980-2000 | |
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| The Poe-etic Effect (1980) | |
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| The Dollar Value of Poetry (1983) | |
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| On Hope (1983) | |
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| Blood, Bread, and Poetry (1984) | |
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| Prologue: The Deed of Writing (1987) | |
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| "Even under the Rine of Terror..." (1988) | |
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| Che cos'e la poesia? (1988) | |
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| The Homosexual Lyric (1990) | |
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| Avant-Garde or Endgame? (1991) | |
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| The Woman Poet: Her Dilemma (1995) | |
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| The Redress of Poetry (1995) | |
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| Introduction, Soul Says (1995) | |
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| Chronology | |
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| Select Bibliography | |
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| Thematic Index | |
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| Index | |