Generic Extensions in Contemporary British Poetry

This contribution analyses two complex examples of the generic extension of lyric poetry in recent British literature. Tony Harrison’s film poem “The Shadow of Hiroshima” (1995) expands the lyric text into the visual dimension; Glyn Maxwell’s collection “The Sugar Mile” (2005) arranges a large numbe...

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Autor principal:	Peter Hühn
Formato:	article
Lenguaje:	DE EN
Publicado:	Universität Trier 2021
Materias:	lyric poetry drama narrativity film poem sequentiality generic transgression generic extension speaker speech situation voice multiperspectivity novel in poems visual narration fictionality factuality Language and Literature P
Acceso en línea:	https://doaj.org/article/ffe516622047452d805160d895638ceb
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spelling	oai:doaj.org-article:ffe516622047452d805160d895638ceb2021-11-19T13:26:23ZGeneric Extensions in Contemporary British Poetry 10.25353/ubtr-izfk-8ecb-870f2698-492X2698-4938https://doaj.org/article/ffe516622047452d805160d895638ceb2021-04-01T00:00:00Zhttps://izfk.uni-trier.de/index.php/izfk/article/view/IZfK-Vol-2-Generic-Extensions-in-Contemporary-British-Poetryhttps://doaj.org/toc/2698-492Xhttps://doaj.org/toc/2698-4938This contribution analyses two complex examples of the generic extension of lyric poetry in recent British literature. Tony Harrison’s film poem “The Shadow of Hiroshima” (1995) expands the lyric text into the visual dimension; Glyn Maxwell’s collection “The Sugar Mile” (2005) arranges a large number of individual lyric poems into a dramatic scenario. In both cases the generic transition is coupled with a further generic extension – the elaboration of a distinctly narrative sequentiality. In two important aspects the generic extension of these examples affects the rendering of a particular experience, namely the perception of and reaction to massive violence and destruction. One aspect concerns the organization of speech situation and perspective, especially the relation between a superordinate authorial voice and possible subordinate voices, the other aspect pertains to the status of the represented experience in the ambiguity between factuality and fictionality, characteristic of the stance of the lyric utterance in various periods throughout the history of poetry. In both respects the generic expansion in Harrison’s “The Shadow of Hiroshima” and in Maxwell‘s “The Sugar Mile” can be shown to utilize the representational potentials of lyric poetry in distinctly alternative directions.Peter HühnUniversität Trierarticlelyric poetrydramanarrativityfilm poemsequentialitygeneric transgressiongeneric extensionspeakerspeech situationvoicemultiperspectivitynovel in poemsvisual narrationfictionalityfactualityLanguage and LiteraturePDEENInternationale Zeitschrift für Kulturkomparatistik, Vol 2, Pp 119-131 (2021)
institution	DOAJ
collection	DOAJ
language	DE EN
topic	lyric poetry drama narrativity film poem sequentiality generic transgression generic extension speaker speech situation voice multiperspectivity novel in poems visual narration fictionality factuality Language and Literature P
spellingShingle	lyric poetry drama narrativity film poem sequentiality generic transgression generic extension speaker speech situation voice multiperspectivity novel in poems visual narration fictionality factuality Language and Literature P Peter Hühn Generic Extensions in Contemporary British Poetry
description	This contribution analyses two complex examples of the generic extension of lyric poetry in recent British literature. Tony Harrison’s film poem “The Shadow of Hiroshima” (1995) expands the lyric text into the visual dimension; Glyn Maxwell’s collection “The Sugar Mile” (2005) arranges a large number of individual lyric poems into a dramatic scenario. In both cases the generic transition is coupled with a further generic extension – the elaboration of a distinctly narrative sequentiality. In two important aspects the generic extension of these examples affects the rendering of a particular experience, namely the perception of and reaction to massive violence and destruction. One aspect concerns the organization of speech situation and perspective, especially the relation between a superordinate authorial voice and possible subordinate voices, the other aspect pertains to the status of the represented experience in the ambiguity between factuality and fictionality, characteristic of the stance of the lyric utterance in various periods throughout the history of poetry. In both respects the generic expansion in Harrison’s “The Shadow of Hiroshima” and in Maxwell‘s “The Sugar Mile” can be shown to utilize the representational potentials of lyric poetry in distinctly alternative directions.
format	article
author	Peter Hühn
author_facet	Peter Hühn
author_sort	Peter Hühn
title	Generic Extensions in Contemporary British Poetry
title_short	Generic Extensions in Contemporary British Poetry
title_full	Generic Extensions in Contemporary British Poetry
title_fullStr	Generic Extensions in Contemporary British Poetry
title_full_unstemmed	Generic Extensions in Contemporary British Poetry
title_sort	generic extensions in contemporary british poetry
publisher	Universität Trier
publishDate	2021
url	https://doaj.org/article/ffe516622047452d805160d895638ceb
work_keys_str_mv	AT peterhuhn genericextensionsincontemporarybritishpoetry
_version_	1718420109597343744

Generic Extensions in Contemporary British Poetry

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