The Norton introduction to literature:
"The most trusted guide for helping students read critically and write carefully. The Norton Introduction to Literature presents an engaging, balanced selection of literature to suit any course. Offering a thorough treatment of historical and critical context, the most comprehensive media packa...
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| Format: | Book |
| Language: | English |
| Published: |
New York ; London
W. W. Norton & Company
[2016]
|
| Edition: | Twelfth edition |
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Summary: | "The most trusted guide for helping students read critically and write carefully. The Norton Introduction to Literature presents an engaging, balanced selection of literature to suit any course. Offering a thorough treatment of historical and critical context, the most comprehensive media package available, and a rich suite of tools to encourage close reading and thoughtful writing, the Twelfth Edition is unparalleled in its guidance of understanding, analyzing, and writing about literature."... |
| Item Description: | Hier auch später erschienene, unveränderte Nachdrucke |
| Physical Description: | xli, 1382, A38 Seiten Illustrationen |
| ISBN: | 9780393623567 |
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| 245 | 1 | 0 | |a The Norton introduction to literature |c Kelly J. Mays, University of Las Vegas, Nevada |
| 250 | |a Twelfth edition | ||
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Record in the Search Index
| _version_ | 1804178257956831232 |
|---|---|
| adam_text | Contents
Preface for Instructors xxvii
Introduction 1
What Is Literature? 1
What Does Literature Do? 3
JOHN KEATS, On First Looking into Chapmans Homer 4
What Are the Genres of Literature? 4
Why Read Literature? 6
Why Study Literature? 8
FICTION: READING, RESPONDING, WRITING 12
ANONYMOUS, The Elephant in the Village of the Blind 13
READING AND RESPONDING TO FICTION 16
LINDA BREWER, 20/20 16
SAMPLE WRITING: Annotation and Notes on “20/20” 17
MARJANE SATRAPI, The Shahhat (from Persepolis) 20
WRITING ABOUT FICTION 31
RAYMOND CARVER, Cathedral 32
SAMPLE WRITING: WESLEY RUPTON, Notes on Raymond Carvers
“Cathedral” 43
SAMPLE WRITING: WESLEY RUPTON, Response Paper on Raymond
Carver’s “Cathedral” 46
SAMPLE WRITING: BETHANY QUALLS, A Narrator’s Blindness in
Raymond Carvers “Cathedral” 49
; A ; * jA:. • at: 53
SHERMAN ALEXIE, Flight Patterns 54
GRACE PALEY, A Conversation with My Father 67
AUTHORS ON THEIR WORK: Grace Paley 72
TIM O BRi EN, The Lives of the Dead 72
vi CONTENTS
UNDERSTANDING THE TEXT 85
PLOT 85
JACOB AND WILHELM GRIMM, The Shroud 87
JAMES BALDWIN, Sonny’s Blues 93
EDITH WHARTON, Roman Fever 115
JOYCE CAROL OATES, Where Are You Going, Where Have
You Been? 125
AUTHORS ON THEIR WORK: Joyce Carol Oates 137
SAMPLE WRITING: ANN WARREN, The Tragic Plot of
“A Rose for Emily 1 139
i ,1A i K t i • •::: C:; f ‘ ‘ . ..... 145
TONI CADE BAM BARA, The Lesson 146
AUTHORS ON THEIR WORK: Toni Cade Bambara 152
ALICE MUNRO, Boys and Girls 152
JOHN UPDIKE, A ■ P 163
AUTHORS ON THEIR WORK: John Updike 168
NARRATION AND POINT OF VIEW 169
EDGAR ALLAN POE, The Cask of Amontillado 173
JAMAICA KINCAID, Girl 179
GEORGE SAUNDERS, Puppy 181
AUTHORS ON THEIR WORK: George Saunders 187
CHARACTER 189
WILLIAM FAULKNER, Barn Burning 196
TONI MORRISON, Recitatif 209
AUTHORS ON THEIR WORK: Toni Morrison 223
DAVID FOSTER WALLACE, Good People 224
ALICE NUTTING, Model’s Assistant 230
r ! . ,V:: h , 239
MARGARET ATWOOD, Lusus Naturae 240
KAREN RUSSELL, St. Lucy s Home for Girls Raised by Wolves 245
JORGE LUIS BORGES, The House of Asterion 257
AUTHORS ON THEIR WORK: Jorge Luis Borges 260
SETTING 262
ITALO CALVINO, from Invisible Cities 264
MARGARET MITCHELL, from Gone with the Wind 264
ALICE RANDALL, from Wind Done Gone 266
CONTENTS
AiNTON CHEKHOV, The Lady with the Dog 268
AMY TAN, A Pair of Tickets 280
JUDITH ORTIZ COFER, Volar 294
SAMPLE WRITING: STEVEN MATVIEW, How Setting Reflects
Emotions in Anton Chekhov’s “The Lady with the Dog 297
i ? A • : /.;.■! -i303
william GIBSON, The Gernshack Continuum 304
AUTHORS ON THEIR WORK: William Gibson 313
RAY BRADBURY, The Veldt 314
AUTHORS ON THEIR WORK: Ray Bradbury 325
ZADIE SMITH, Meet the President! 326
JENNIFER EGAN, Black Box 335
AUTHORS ON THEIR WORK: Jennifer Egan 358
SYMBOL AND FIGURATIVE LANGUAGE 360
NATHANIEL HAWTHORNE, The Birth-Mark 365
A. S. BYATT, The Thing in the Forest 377
EDWIDGE DANTICAT, A Wall of Fire Rising 392
SAMPLE WRITING: CHARLES COLLINS, Symbolism in
“The Birth-Mark” and The Thing in the Forest” 405
THEME 409
AESOP, The Two Crabs 409
STEPHEN CRANE, The Open Boat 413
GABRIEL GARCIA MÁRQUEZ, A Very Old Man with Enormous
Wings: A Tale for Children 431
YASUNARI kawabata, The Grasshopper and the
Bell Cricket 436
JUNOT DIAZ, Wildwood 439
■ •• 1;;. :-f 4 .* . v M “S. If Í |V; f .11 l | Á - * ^ -LLi 457
BHARATI mUKI-iERJEE, The Management of Grief 458
AUTHORS ON THEIR WORK: Bharati Mukherjee 471
JHUMPA LAHIRI, Interpreter of Maladies 472
AUTHORS ON THEIR WORK: Jhumpa Lahiri 487
DAVID SEDARIS, Jesus Shaves 488
THE LONGER WORK 493
HERMAN MELVILLE, Bartleby, the Scrivener: A Story of Wall
Street 496
FRANZ KAFKA, The Metamorphosis 522
viii CONTENTS
EXPLORING CONTEXTS 558
THE AUTHOR’S WORK AS CONTEXT:
FLANNERY O’CONNOR 558
THREE STORIES BY FLANNERY O’CONNOR 561
A Good Man Is Hard to Find 561
Good Country People 572
Everything That Rises Must Converge 586
PASSAGES FROM FLANNERY O’CONNOR S ESSAYS AND LETTERS 597
CRITICAL EXCERPTS 601
MARY GORDON, from Flannery s Kiss 601
ann E. REUMAN, from Revolting Fictions: Flannery O’Connor s
Letter to Her Mother 604
EILEEN POLLACK, from Flannery O’Connor and the New
Criticism 607
THE AUTHOR’S WORK AS CONTEXT:
JAMES JOYCE’S DUBLINERS 610
THREE STORIES BY JAMES JOYCE 614
Araby 614
Eveline 619
The Dead 623
PASSAGES FROM JAMES JOYCE’S EARLY WRITINGS 656
CRITICAL EXCERPT 661
PATRICK A. MCCARTHY, from Rejoycing: New Readings
of Dubliners 661
CULTURAL AND HISTORICAL CONTEXTS: WOMEN
IN TURN-OF-THE-CENTURY AMERICA 666
KATE CHOPIN, The Story of an Hour 670
CHARLOTTE PERKINS GILMAN, The Yellow Wallpaper 673
SUSAN GLASPELL, A Jury of Her Peers 684
CONTEXTUAL EXCERPTS 701
CHARLOTTE PERKINS GILMAN, from Similar Cases 701
from Women and Economics 702
BARBARA BOYD, from Heart and Home Talks: Politics and Milk 703
MRS. ARTHUR LYTTELTON, from Women and Their Work 703
rheta CHILDE DORR, from What Eight Alillion Women Want 704
THE NEW YORK TIMES, from Mrs. Delong Acquitted 705
THE WASHINGTON POST, from The Chances of Divorce 705
CONTENTS
CHARLOTTE PERKINS GILMAN, from Why I Wrote “The Yellow
Wall-paper” 706
THE WASHINGTON POST, The Rest Cure 706
from Egotism of the Rest Cure 706
CRITICAL CONTEXTS: TIM O’BRIEN’S
“THE THINGS THEY CARRIED” 709
TIM O BRIEN, The Things They Carried 711
CRITICAL EXCERPTS 724
STEVEN KAPLAN, The Undying Uncertainty of the Narrator
in Tim O Briens The Things They Carried 724
LORRIE N. SMITH, “The Things Aden Do”: The Gendered
Subtext in Tim O’Brien s Esquire Stories 729
SUSAN FARRELL, Tim O Brien and Gender: A Defense
of The Things They Carried 739
READING MORE FICTION 746
MARGARET ATWOOD, Happy Endings 746
AMBROSE BIERCE, An Occurrence at Owl Creek Bridge 749
RALPH ELLISON, King of the Bingo Game 755
LOUISE ERDRiCH, Love Medicine 762
william Faulkner, A Rose for Emily 778
ERNEST HEMINGWAY, Hills Like White Elephants 784
FRANZ KAFKA, A Hunger Artist 788
D. H. LAWRENCE, The Rocking-Horse Winner 795
URSULA K, LE GUIN, The Ones Who Walk Away from Ornelas 806
BOBBIE ANN MASON, Shiloh 811
GUY DE MAUPASSANT, The Jewelry 821
TILLIE OLSEN, l Stand Here Ironing 827
AMY PROULX, Job History 833
EUDORA WELTY, Why I Live at the P.O. 838
POETRY: READING, RESPONDING, WRITING 850
DEFINING POETRY 851
LYDIA DAVIS, Head, Heart 852
AUTHORS ON THEIR CRAFT: Billy Collins 853
POETIC SUBGENRES AND KINDS 854
CONTENTS
EDWIN ARLINGTON ROBINSON, Richard. Cory 855
THOMAS HARDY, The Ruined Maid 856
WILLIAM WORDSWORTH, [I wandered lonely as a cloud] 857
FRANK O HARA, Poem [Lana Turner has collapsed] 858
PHILLIS WHEATLEY, On Being Brought from Africa
to America 859
EMILY DICKINSON, [The Sky is low—the Clouds are mean] 860
BILLY COLLINS, Divorce 860
BRUCE SPRINGSTEEN, Nebraska 86]
ROBERT HAYDEN, A Letter from Phillis Wheatley 862
RESPONDING TO POETRY 864
aphra BEHN, On Her Loving Two Equally 864
WRITING ABOUT POETRY 871
SAMPLE WRITING: Names in “On Her Loving Two Equally 872
SAMPLE WRITING: Multi-plying by Dividing in Aphra Behn’s On Her
Loving Two Equally” 874
Tiiii ACT • V vi • ■} S OTTKV: ArT Al.iCJiA 879
EMILY DICKINSON, [I dwell in Possibility—] 879
ARCHIBALD MACLEISH, Ars Poética 880
CZESLAW MILOSZ, Ars Poética? 881
AUTHORS ON THEIR WORK: Czeslaw Milosz 882
ELIZABETH ALEXANDER, Ars Poética #100: I Believe 882
MARIANNE MOORE, Poetry 883
JULIA ALVAREZ, Poetry Makes Nothing Happen ? 884
BILLY COLLINS, Introduction to Poetry 885
UNDERSTANDING THE TEXT 887
¿ SPEAKER: WHOSE VOICE DO WE HEAR? 887
NARRATIVE POEMS AND THEIR SPEAKERS 887
X. J. KENNEDY, In a Prominent Bar in Secaucus One Day 887
SPEAKERS IN THE DRAMATIC MONOLOGUE 889
ROBERT browning, Soliloquy of the Spanish Cloister 889
THE LYRIC AND ITS SPEAKER 891
MARGARET ATWOOD, Death of a Young Son by Drowning 892
AUTHORS ON THEIR CRAFT: Billy Collins and Sharon Olds 893
WILLIAM WORDSWORTH, She Dwelt among the Untrodden
Ways 894
DOROTHY PARKER, A Certain Lady 894
CONTENTS xi
POEMS FOR FURTHER STUDY 895
WALT WHITMAN, [I celebrate myself, and sing myself] 895
LANGSTON HUGHES, Ballad of the Landlord 896
E. E. CUMMINGS, [next to of course god america i] 897
GWENDOLYN BROOKS, We Real Cool 897
AUTHORS ON THEIR WORK: Gwendolyn Brooks 898
LUCILLE CLIFTON, creflm o/wiiefli 898
i.AriLHtiiH i AW 901
RICHARD LOVELACE, Song: To Lucasta, Going to the Wars 902
MARY, LADY CHUDLEIGH, To the Ladies 902
WILFRED OWEN, Disabled 903
ELIZABETH BISHOP, Exchanging Hats 904
DAVID WAGONER, My Father’s Garden 905
JUDITH ORTIZ COFER, The Changeling 906
MARIE HOWE, Practicing 907
AUTHORS ON THEIR WORK: Marie Howe 908
TERRANCE HAYES, Mr. T— 909
BOB HICOK, O my pa-pa 910
STACEY WAITE, The Kind of Man I Am at the DMV 911
SITUATION AND SETTING: WHAT HAPPENS? WHERE? WHEN? 913
SITUATION 914
RITA DOVE, Daystar 914
LINDA PASTAN, To a Daughter Leaving Home 914
THE CARPE DIEM POEM 915
JOHN DONNE, The Flea 916
Andrew MARVELL, To His Coy Mistress 916
SETTING 918
MATTHEW ARNOLD, Dover Beach 918
THE OCCASIONAL POEM 919
MARTIN ESPADA, Litany at the Tomb of Frederick Douglass 920
AUTHORS ON THEIR WORK: Martin Espada 921
THEAUBADE 921
JOHN DONNE, The Good-Morrow 922
JONATHAN SWIFT, A Description of the Morning 922
ONE POEM, MULTIPLE SITUATIONS AND SETTINGS 923
LI-YOUNG LEE, Persimmons 923
JAMES DICKEY, Cherrylog Road 926
xii CONTENTS
POEMS FOR FURTHER STUDY 929
NATASHA TRETHEWEY, Pilgrimage 929
KELLY CHERRY, Alzheimer’s 930
MAHMOUD DARWISH, Identity Card 931
YEHUDA AMICHAI, [On Yom Kippur in 1967 . . .] 933
YUSEF KOMUNYAKAA, Tu Do Street 934
AUTHORS ON THEIR WORK: Yusef Komunyakaa 935
¡Ksjvli f.AMiiS: AN Ai.iiUM 939
MAYA ANGELOU, Africa 939
AUTHORS ON THEIR WORK: Maya Angelou 940
DEREK WALCOTT, A Far Cry from Africa 940
AUTHORS ON THEIR WORK: Derek Walcott 942
JUDITH ORTIZ COFER, The Latin Deli: An Ars Poetica 943
CATHY SONG, Heaven 944
AG HA SHAHID ALI, Postcard from Kashmir 945
ADRIENNE SU, Escape from the Old Country 946
In THEME AND TONE 948
TONE 948
W. D. SNODGRASS, Leaving the Motel 949
THEME 950
MAXINE KUMIN, Woodchucks 950
ADRIENNE RICH, Aunt Jennifer s Tigers 951
AUTHORS ON THEIR WORK: Adrienne Rich 952
THEME AND CONFLICT 953
ADRIENNE SU, On Writing 954
AUTHORS ON THEIR WORK: Adrienne Su 955
POEMS FOR FURTHER STUDY 955
WILLIAM BLAKE, London 955
PAUL LAURENCE DUNBAR, Sympathy 956
W. H. AUDEN, [Stop all the clocks, cut off the telephone] 956
SHARON OLDS, Last Night 957
KAY RYAN, Repulsive Theory 958
TERRANCE HAYES, Carp Poem 959
C. K. WILLIAMS, The Economy Rescued by My Mother
Returning to Shop 960
SAMPLE WRITING: STEPHEN BORDLAND, Response Paper on
W. H. Auden’s “Stop all the clocks, cut off the telephone 963
CONTENTS xiii
TAM SLY; AM ALBUM 967
SIMON j. ORTIZ, My Father’s Song 967
ROBERT HAYDEN, Those Winter Sundays 968
ELLEN BRYANT VOIGT, My Mother 968
MARTIN ESPADA, Of the Threads That Connect the Stars 970
EMILY GROSHOLZ, Eden 970
PHILIP LARKIN, This Be the Verse 971
AUTHORS ON THEIR WORK: Philip Larkin 972
JIMMY SANTIAGO BACA, Green Chile 972
PAUL MARTINEZ POMPA, The Ahuelita Poem 973
CHARLIE SMITH, The Business 974
ANDREW HUDGINS, Begotten 975
S LANGUAGE: WORD CHOICE AND ORDER 976
PRECISION AND AMBIGUITY 976
SARAH CLEGHORN, [The golf links lie so near the mill] 976
MARTHA COLLINS, Lies 977
DENOTATION AND CONNOTATION 977
WALTER DE la MARE, Slim Cunning Hands 978
THEODORE ROETHKE, My Papa’s Waltz 979
WORD ORDER AND PLACEMENT 979
SHARON OLDS, Sex without Love 981
AUTHORS ON THEIR WORK: Sharon Olds 982
POEMS FOR FURTHER STUDY 982
GERARD MANLEY HOPKINS, Pied Beauty 982
william CARLOS WILLIAMS, The Red Wheelbarrow 983
This Is Just to Say 983
AUTHORS ON THEIR WORK: William Carlos Williams 984
KAY RYAN, Blandeur 985
MARTHA COLLINS, [white paper #24] 985
A. E. STALLINGS, Shoulda, Woulda, Coulda 986
VISUAL IMAGERY AND FIGURES OF SPEECH 988
RICHARD WILBUR, The Beautiful Changes 989
LYNN POWELL, Kind of Blue 990
METAPHOR 991
WILLIAM SHAKESPEARE, [That time of year thou mayst
in me behold] 991
LINDA PASTAN, Marks 992
CONTENTS
PERSONIFICATION 992
EMILY DICKINSON, [Because I could not stop for Death—] 993
SIMILE AND ANALOGY 993
ROBERT BURNS, A Red, Red Rose 994
TODD BOSS, My Love for You Is So Embarrassingly 994
ALLUSION 995
AMIT MAJMUDAR, Dothead 996
PATRICIA LOCKWOOD, What Is the Zoo for What 996
POEMS FOR FURTHER STUDY 998
WILLIAM SHAKESPEARE, [Shall I compare thee to a
summer’s day?] 998
ANONYMOUS, The Twenty-Third Psalm 999
JOHN DONNE, [Batter my heart, three-personed God] 999
RANDALL Jarrell, The Death of the Ball Turret Gunner 1000
JOHN BREHM, Sea of Faith 1000
¿¿L -TOri; !.-,, •• . ; -P ‘ :/ V ■ j,J ; r:i ., ■ ,4,*; /.; ’ 1003
CHRISTOPHER MARLOWE, The Passionate Shepherd to
His Love 1004
SIR WALTER RALEIGH, The Nymph s Reply to the Shepherd 1005
RICHARD WILBUR, Love Calls Us to the Things of This World 1006
SHERMAN alexie, Grief Calls Us to the Things of This World 1007
ANTHONY HECHT, Dover Bitch 1008
ANNIE FINCH, Coy Mistress 1009
ANNE LAUINGER, Marvell Noir 1009
KIM ADDONIZIO, First Line Is the Deepest 1010
ANNE SEXTON, Cinderella 1012
AGHA shahid ALI, The Wolf’s Postscript to “Little Red
Riding Hood 1015
U. A. FANTHORPE, from Not My Best Side 1016
SYMBOL 1018
THE INVENTED SYMBOL 1018
JAMES DICKEY, The Leap 1019
THE TRADITIONAL SYMBOL 1021
EDMUND WALLER, Song 1021
DOROTHY PARKER, One Perfect Rose 1022
THE SYMBOLIC POEM 1023
WILLIAM BLAKE, The Sick Rose 1023
CONTENTS xv
POEMS FOR FURTHER STUDY 1024
JOHN KEATS, Ode to a Nightingale 1024
ROBERT FROST, The Road Not Taken 1026
HOWARD NEMEROV, The Vacuum 1027
ADRIENNE RICH, Diving into the Wreck 1028
ROO BORSON, After a Death 1030
BRIAN TURNER, Jundee Ameriki 1030
AUTHORS ON THEIR WORK: Brian Turner 1031
SHARON OLDS, Bruise Ghazal 1032
THE SOUNDS OF POETRY 1033
RHYME 1033
ONOMATOPOEIA, ALLITERATION, ASSONANCE, AND
CONSONANCE 1035
ALEXANDER POPE, from The Rape of the Lock 1036
SOUND POEMS 1036
HELEN CHASIN, The Word Plum 1037
KENNETH FEARING, Dirge 1037
ALEXANDER POPE, Sound and Sense 1038
POETIC METER 1041
SAMUEL TAYLOR COLERIDGE, Metrical Feet 1043
ANONYMOUS, [There was a young girl from St. Paul] 1045
ALFRED, LORD TENNYSON, from The Charge of the
Light Brigade 1045
JANE TAYLOR, The Star 1046
ANNE BRADSTREET, To My Dear and Loving Husband 1047
JESSIE POPE, The Call 1047
WILFRED OWEN, Dulce et Decorum Est 1048
POEMS FOR FURTHER STUDY 1049
WILLIAM SHAKESPEARE, [Like as the waves m.ake towards
the pebbled shore] 1049
GERARD MANLEY HOPKINS, Spring and Fall 1050
WALT WHITMAN, Beat! Beat! Drums! 1050
KEVIN YOUNG, Ode to Pork 1051
PAUL CELAN, Deathfugue 1052
THE TRANSLATOR ON HIS WORK: John Felstiner 1054
7 1059
THOMAS CAMPION, When to Her Lute Corinna Sings 1059
CONTENTS
ANONYMOUS, Sir Patrick Spens 1060
DUDLEY RANDALL, Ballad of Birmingham 1061
AUGUSTUS MONTAGUE TOPLADY, A Prayer, Living
and Dying 1062
ROBERT HAYDEN, Homage to the Empress of the
Blues 1063
MICHAEL HARPER, Dear John, Dear Coltrane 1064
BOB DYLAN, The Times They Are A-Changin’ 1065
LINDA PASTAN, Listening to Boh Dylan, 2005 1066
MOS DEF, Hip Hop 1067
JOSE B. GONZALEZ, Elvis in the Inner City 1069
INTERNAL STRUCTURE 1071
DIVIDING POEMS INTO “PARTS” 1071
pat mora, Sonrisas 1071
INTERNAL VERSUS EXTERNAL OR FORMAL “PARTS” 1073
GALWAY KINNELL, Blackberry Eating 1073
LYRICS AS INTERNAL DRAMAS 1073
SEAMUS HEANEY, Punishment 1074
SAMUEL TAYLOR COLERIDGE, Frost at Midnight 1076
SHARON OLDS, The Victims 1078
MAKING ARGUMENTS ABOUT STRUCTURE 1079
POEMS WITHOUT “PARTS” 1079
WALT WHITMAN, I Hear America Singing 1079
POEMS FOR FURTHER STUDY 1080
WILLIAM SHAKESPEARE, [Th expense of spirit in a waste
of shame] 1080
PERCY BYSSHE SHELLEY, Ode to the West Wind 1081
PHILIP LARKIN, Church Going 1083
AUTHORS ON THEIR WORK: Philip Larkin 1085
KATIE FORD, Still-Life 1086
SAMPLE WRITING: LINDSAY GIBSON, Philip Larkin’s
Church Going” 1087
EXTERNAL FORM 1091
STANZAS 1091
TRADITIONAL STANZA FORMS 1091
RICHARD WILBUR, Terza Rima 1092
TRADITIONAL VERSE FORMS 1093
CONTENTS xvi
FIXED FORMS OR FORM-BASED SUBGENRES 1094
TRADITIONAL FORMS . POEMS FOR FURTHER STUDY 1095
DYLAN THOMAS, Do Not Go Gentle into That Good Night 1095
NATASHA TRETHEWEY, Myth 1096
ELIZABETH BISHOP, Sestina 1096
CIARA SHUTTLEWORTH, Sestina 1098
E. E. CUMMINGS, [1(a) 1098
[Buffalo Bill’s] 1099
CONCRETE POETRY 1099
MAY SWENSON, Women 1100
GEORGE HERBERT, Easter Wings 1101
I HE, SOi’iMn : AW /u.aUm 1103
FRANCESCO PETRARCH, [Upon the breeze she spread her
golden hair] 1104
HENRY CONSTABLE, [My lady’s presence makes the roses red] 1105
WILLIAM SHAKESPEARE, [My mistress’ eyes are nothing like
the sun] 1105
[Not marble, nor the gilded monuments] 1106
[Let me not to the marriage of true minds] 1106
JOHN MILTON, [When I consider how my light is spent] 1107
william WORDSWORTH, Nuns Fret Not 1107
ELIZABETH BARRETT BROWNING, How Do I Love Thee? 1108
CHRISTINA ROSSETTI, In an Artist’s Studio 1108
EDNA ST. VINCENT MILLAY, [What lips my lips have kissed,
and where, and why] 1109
[Women have loved before as I love now] 1109
[J, being born a woman and. distressed] 1109
[I will put Chaos into fourteen lines] 1110
ROBERT FROST, Range-Finding 1110
Design 1111
GWENDOLYN brooks, First Fight. Then Fiddle. 1111
GWEN HARWOOD, In the Park 1112
JUNE JORDAN, Something Like a Sonnet for Phillis
Miracle Wheatley 1112
billy COLLINS, Sonnet 1113
HARRYETTE MULLEN, Dim Lady 1113
SHERMAN ALEXIE, The Facebook Sonnet 1114
MAiKU: AW A .A* 1117
CHIYOJO, [Whether astringent] 1117
xviii CONTENTS
basho, [A village without bells—] 1118
[This road—] 1118
BUSON, [Coolness—] 1118
[Listening to the moon] 1118
LAFCADIO HEARN, [Old pond----] 1118
CLARA A. WALSH, [An old-time pond] 1118
EARL MINER, [The still old pond] 1119
ALLEN GINSBERG, [The old pond] 1119
ALLEN GINSBERG, [Looking over my shoulder] 1119
RICHARD WRIGHT, [In the falling snow] 1119
ETHERIDGE KNIGHT, from [Eastern guard tower] 1119
[The falling snow flakes] 1119
[Making jazz swing in] 1120
AUTHORS ON THEIR WORK: Etheridge Knight 1120
MARK JARMAN, Haiku 1120
SONIA SANCHEZ, from 9 Haiku 1121
EZRA POUND, In a Station of the Metro 1121
SUE STANDING, Diamond Haiku 1121
LINDA PASTAN, In the Har-Poen Tea Garden 1122
THE LONGER WORK 1124
JOHN MILTON, from Paradise Lost 1128
SAMUEL TAYLOR COLERIDGE, The Rime of the Ancient
Mariner 1132
CHRISTINA ROSSETTI, Gohlin Market 1148
T.S. ELIOT, The Love Song of J. Alfred Prufrock 1161
SAMPLE WRITING: DAN DOUGLAS, The Form of The Rime of the
Ancient Mariner 1166
EXPLORING CONTEXTS 1170
THE AUTHOR’S WORK AS CONTEXT: ADRIENNE RICH 1172
POEMS BY ADRIENNE RICH 1176
At a Bach Concert 1176
Storm Warnings 1176
Living in Sin 1177
Snapshots of a Daughter-in-Law 1177
AUTHORS ON THEIR WORK: Adrienne Rich 1181
Planetarium 1182
For the Record 1183
CONTENTS x
[My mouth hovers across your breasts] 1184
History 1184
Transparencies 1185
Tonight No Poetry Will Serve 1186
PASSAGES FROM RICH’S ESSAYS 1187
from When We Dead Awaken: Writing as Re-Vision 1187
from A Communal Poetry 1188
from Why I Refused the National Medal for the Arts 1189
from Poetry and the Forgotten Future 1192
SAMPLE WRITING: MELISSA MAKOLIN, Out-Sonneting Shakespeare:
An Examination of Edna St. Vincent ¡Millay’s Use of the Sonnet
Form 1199
LMii.V Xu.iTsi aM ; LL lIv! 1205
[Tell all the truth hut tell it slant—] 1206
[I stepped from Plank to Plank] 1206
[Wild Nights—Wild Nights!] 1207
[My Life had stood—a Loaded Gun—] 1207
[After great pain, a formal feeling comes—] 1208
[A narrow Felloiv in the Grass] 1208
WENDY COPE, Emily Dickinson 1209
HART CRANE, To Emily Dickinson 1209
billy COLLINS, Taking Off Emily Dickinson s Clothes 1210
W. :.i. YAAi S: AG /v hi LX 1215
The Lake Isle of Innisfree 1217
AUTHORS ON THEIR WORK: W. B. Yeats 1218
All Things Can Tempt Me 1218
Easter 1916 1219
The Second Coming 1221
Leda and the Swan 1222
Sailing to Byzantium 1222
W. H. AUDEN, In Memory of W. B. Yeats 1224
AUTHORS ON THEIR WORK: W. H. Auden 1226
■A A. 1231
Elena 1232
Gentle Communion 1233
Mothers and Daughters 1233
La Migra 1234
Ode to Adobe 1235
1
XX CONTENTS
THE AUTHOR’S WORK AS CONTEXT: WILLIAM BLAKE S SONGS
OF INNOCENCE AND OF EXPERIENCE 1239
COLOR INSERT: FACSIMILE PAGES FROM SONGS OF INNOCENCE AND
OF EXPERIENCE follows 1244
WILLIAM BLAKE’S SONGS OF INNOCENCE AND OF EXPERIENCE 1239
SONGS OF INNOCENCE, Introduction 1240
The Ecchoing Green 1241
Holy Thursday 1242
The Lamb 1242
The Chimney Sweeper 1243
SONGS OF EXPERIENCE, Introduction 1243
The Tyger 1244
The Garden of Love 1244
The Chimney Sweeper 1245
Holy Thursday 1245
KEVIN YOUNG: AN AU’.UM 1249
Rue 1250
Charity 1252
Wintering 1253
Expecting 1254
Quickening 1255
Breaking Water 1256
Greening 1257
It s death there] 1258
24 CULTURAL AND HISTORICAL CONTEXTS:
THE HARLEM RENAISSANCE 1260
POEMS OF THE HARLEM RENAISSANCE 1270
ARNA BONTEMPS, A Black Man Talks of Reaping 1270
COUNTEE CULLEN, Yet Do I Marvel 1270
Saturday s Child 1271
From the Dark Tower 1271
ANGELINA GRIMKIi, The Black Finger 1272
Tenebris 1272
LANGSTON HUGHES, Harlem 1272
The Weary Blues 1273
The Negro Speaks of Rivers 1274
I, Too 1274
HELENE JOHNSON, Sonnet to a Negro in Harlem 1275
CONTENTS xxi
CLAUDE MCKAY, Harlem Shadows 1275
If We Must Die 1276
The Tropics in New York 1276
The Harlem Dancer 1276
The White House 1277
CONTEXTUAL EXCERPTS 1277
JAMES WELDON JOHNSON, from the preface to The Book of
American Negro Poetry 1277
ALAIN LOCKE, from The New Negro 1279
RUDOLPH FISHER, from The Caucasian Storms
Harlem 1283
W. E. B. DU BOIS, from Two Novels 1287
ZORA NEALE HURSTON, How It Feels to Be Colored Me 1288
LANGSTON HUGHES, from The Big Sea 1291
SAMPLE WRITING: IRENE MORSTAN, “They’ll See How Beautiful
I Am : “I, Too and the Harlem Renaissance 1297
CRITICAL CONTEXTS: SYLVIA PLATH’S “DADDY” 1302
SYLVIA PLATH, Daddy 1303
CRITICAL EXCERPTS 1307
GEORGE STEINER, from Dying Is an Art 1307
A. ALVAREZ, from Sylvia Plath 1310
IRVING HOWE, from The Plath Celebration: A Partial
Dissent 1311
JUDITH KROLL, from Rituals of Exorcism: “Daddy” 1313
MARY LYNN BROE, from Protean Poetic 1314
MARGARET HOMANS, from A Feminine Tradition 1316
PAMELA J, ANNAS, from A Disturbance in Mirrors 1317
STEVEN GOULD AXELROD, from Sylvia Plath: The Wound
and the Cure of Words 1319
LAURA FROST, from “Every Woman Adores a Fascist”:
Feminist Visions of Fascism from Three Guineas to
Fear of Flying 1326
READING MORE POETRY 1332
W. H. AUDEN, Musée des Beaux Arts 1332
ROBERT BROWNING, Porphyrias Lover 1333
My Last Duchess 1334
SAMUEL TAYLOR COLERIDGE, Kubla Khan 1335
E. E. CUMMINGS, [in Just-] 1337
xxii CONTENTS
JOHN DONNE, [Death, he not proud] 1338
Song 1338
The Sun Rising 1339
A Valediction: Forbidding Mourning 1339
PAUL LAURENCE DUNBAR, We Wear the Mask 1340
ROBERT FROST, Flome Burial 1341
Stopping by Woods on a Snowy Evening 1344
allen ginsberg, The Velocity of Money 1344
thomas HARDY, Convergence of the Twain 1345
ROBERT HAYDEN, Frederick Douglass 1346
SEAMUS HEANEY, Digging 1347
GERARD MANLEY HOPKINS, God s Grandeur 1348
The Windhover 1348
BEN jonson, On My First Son 1349
JOHN KEATS, Ode on a Grecian Urn 1349
To Autumn 1350
ETHERIDGE KNIGHT, Hard Rock Returns to Prison from
the Hospital for the Criminal Insane 1351
YUSEF KOMUNYAKAA, Facing It 1352
AUTHORS ON THEIR WORK: Yusef Komunvakaa 1353
EMMA LAZARUS, The New Colossus 1354
ANDREW MARVELL, On a Drop of Dew 1354
LINDA PASTAN, love poem 1355
MARGE PIERCY, Barbie Doll 1356
SYLVIA PLATH, Lady Lazarus 1357
Morning Song 1359
EDGAR ALLAN POE, The Raven 1359
EZRA POUND, The River-Merchant’s Wife: A Letter 1362
THEODORE ROETHKE, Root Cellar 1363
PERCY BYSSHE SHELLEY, Ozymandias 1363
WALLACE STEVENS, Anecdote of the Jar 1364
The Em.peror of Ice-Cream 1364
ALFRED, LORD TENNYSON, Tears, Idle Tears 1365
Ulysses 1365
WALT whitman, Facing West from California’s Shores 1367
A Noiseless Patient Spider 1367
WILLIAM CARLOS WILLIAMS, The Dance 1368
Landscape with the Fall of Icarus 1368
william WORDSWORTH, [The world is too much with ms] 1369
[A slumber did my spirit seal] 1369
BIOGRAPHICAL SKETCHES: POETS 1370
CONTENTS
DRAMA: READING, RESPONDING, WRITING 1388
READING DRAMA 1388
SUSAN GLASPELL, Trifles 1391
RESPONDING TO DRAMA 1401
SAMPLE WRITING: Annotation o/Trifles 1401
SAMPLE WRITING: Reading Notes 1404
WRITING ABOUT DRAMA 1407
SAMPLE WRITING: JESSICA ZEZULKA, Trifles Plot
Response Paper 1409
SAMPLE WRITING: STEPHANIE ORTEGA, A Journey
of Sisterhood 1411
UNDERSTANDING THE TEXT 1414
A ELEMENTS OF DRAMA 1414
AUGUST WILSON, Fences 1423
AUTHORS ON THEIR WORK: August Wilson 1474
QUIARA ALEGRÍA HUDES, Water by the Spoonful 1475
TRAGEDY AND COMEDY 1524
SOPHOCLES, Oedipus the King 1526
OSCAR WILDE, The Importance of Being Earnest 1566
EXPLORING CONTEXTS 1612
* ‘ THE AUTHOR’S WORK AS CONTEXT:
WILLIAM SHAKESPEARE 1612
THE LIFE OF SHAKESPEARE: A BIOGRAPHICAL MYSTERY 1612
EXPLORING SHAKESPEARE’S WORK: A MIDSUMMER NIGHT’S DREAM
AND HAMLET 1614
A Midsummer Night s Dream 1618
Hamlet 1674
CULTURAL AND HISTORICAL CONTEXTS: LORRAINE
HANSBERRY’S RAISIN IN THE SUN 1770
LORRAINE HANSBERRY, A Raisin in the Sun 1780
AUTHORS ON THEIR WORK: Lorraine Hansberry 1844
CONTEXTUAL EXCERPTS 1847
RICHARD WRIGHT, from Twelve Million Black Voices 1847
XXIV
CONTENTS
ROBERT GRUENBERG, from Chicago Fiddles While Trumbull
Park Burns 1851
GERTRUDE SAMUELS, from Even More Crucial Than in the
South 1853
WILMA DYKEMAN AND JAMES STOKELY, from New Southerner:
The Middle-Class Negro 1856
martin LUTHER king, JR., from Letter from Birmingham
Jail 1858
ROBERT C. WEAVER, from The Negro as an American 1860
earl E. THORPE, from Africa in the Thought of Negro
Americans 1864
PHAON GOLDMAN, from The Significance of African Freedom
for the Negro American 1865
BRUCE NORRIS, from Clyhourne Park 1868
* CRITICAL CONTEXTS: SOPHOCLES’S ANTIGONE 1873
Sophocles, Antigone 1875
CRITICAL EXCERPTS 1908
RICHARD C. JEBB, from The Antigone of Sophocles 1908
MAURICE BOWRA, from Sophoclean Tragedy 1909
BERNARD KNOX, from Introduction to Antigone 1911
MARTHA C. NUSSBAUM, from Sophocles’ Antigone: Conflict, Vision,
and Simplification 1918
PHILIP HOLT, from Polis and the Tragedy in the Antigone 1923
SAMPLE WRITING: JACKIE IZAWA, The Two Faces of Antigone 1933
READING MORE DRAMA 1940
ANTON CHEKHOV, The Cherry Orchard 1940
HENRIK IBSEN, A Doll House 1978
JANE MARTIN, Two Monologues from Talking With . . . 2028
ARTHUR MILLER, Death of a Salesman 2033
AUTHORS ON THEIR WORK: Arthur Miller 2100
WOLE SOYINKA, Death and the King’s Horsemen 2101
TENNESSEE WILLIAMS, A Streetcar Named Desire 2151
WRITING ABOUT LITERATURE 2219
! BASIC MOVES: PARAPHRASE, SUMMARY,
AND DESCRIPTION 2220
THE LITERATURE ESSAY 2224
CONTENTS xxv
THE WRITING PROCESS 2244
THE LITERATURE RESEARCH ESSAY 2257
QUOTATION, CITATION, AND DOCUMENTATION 2268
SAMPLE RESEARCH ESSAY
SARAH ROBERTS, “Only a Girl’’? Gendered Initiation in
Alice Munro s Boys and Girls 2295
CRITICAL APPROACHES 2305
GLOSSARY Al
Permissions Acknowledgments A14
Index of Authors A31
Index of Titles and First Lines A38
Index of Literary Terms A47
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| spelling | The Norton introduction to literature Kelly J. Mays, University of Las Vegas, Nevada Twelfth edition New York ; London W. W. Norton & Company [2016] xli, 1382, A38 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Hier auch später erschienene, unveränderte Nachdrucke "The most trusted guide for helping students read critically and write carefully. The Norton Introduction to Literature presents an engaging, balanced selection of literature to suit any course. Offering a thorough treatment of historical and critical context, the most comprehensive media package available, and a rich suite of tools to encourage close reading and thoughtful writing, the Twelfth Edition is unparalleled in its guidance of understanding, analyzing, and writing about literature."... Literatur Literature Collections Englisch (DE-588)4014777-0 gnd rswk-swf Literatur (DE-588)4035964-5 gnd rswk-swf Literaturwissenschaft (DE-588)4036034-9 gnd rswk-swf (DE-588)4151278-9 Einführung gnd-content (DE-588)4002214-6 Anthologie gnd-content Englisch (DE-588)4014777-0 s Literatur (DE-588)4035964-5 s Literaturwissenschaft (DE-588)4036034-9 s DE-604 1\p DE-604 Mays, Kelly J. edt Digitalisierung UB Passau - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030143597&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
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| title | The Norton introduction to literature |
| title_auth | The Norton introduction to literature |
| title_exact_search | The Norton introduction to literature |
| title_full | The Norton introduction to literature Kelly J. Mays, University of Las Vegas, Nevada |
| title_fullStr | The Norton introduction to literature Kelly J. Mays, University of Las Vegas, Nevada |
| title_full_unstemmed | The Norton introduction to literature Kelly J. Mays, University of Las Vegas, Nevada |
| title_short | The Norton introduction to literature |
| title_sort | the norton introduction to literature |
| topic | Literatur Literature Collections Englisch (DE-588)4014777-0 gnd Literatur (DE-588)4035964-5 gnd Literaturwissenschaft (DE-588)4036034-9 gnd |
| topic_facet | Literatur Literature Collections Englisch Literaturwissenschaft Einführung Anthologie |
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