Book contents
- The New Wallace Stevens Studies
- Twenty-First-Century Critical Revisions
- The New Wallace Stevens Studies
- Copyright page
- Contents
- Contributors
- Abbreviations
- Introduction That Which Is Always Beginning
- Part I Emerging Concepts in Stevens Criticism
- Part II Recent Critical Methods Applied to Stevens
- Chapter 6 World Literature
- Chapter 7 Ecological Poetics
- Chapter 8 Urban Studies
- Chapter 9 Queer Studies
- Chapter 10 Intersectional Studies
- Chapter 11 Cognitive Literary Studies
- Part III Revisionary Readings of Stevens
- Index
- References
Chapter 11 - Cognitive Literary Studies
from Part II - Recent Critical Methods Applied to Stevens
Published online by Cambridge University Press: 18 June 2021
Book contents
- The New Wallace Stevens Studies
- Twenty-First-Century Critical Revisions
- The New Wallace Stevens Studies
- Copyright page
- Contents
- Contributors
- Abbreviations
- Introduction That Which Is Always Beginning
- Part I Emerging Concepts in Stevens Criticism
- Part II Recent Critical Methods Applied to Stevens
- Chapter 6 World Literature
- Chapter 7 Ecological Poetics
- Chapter 8 Urban Studies
- Chapter 9 Queer Studies
- Chapter 10 Intersectional Studies
- Chapter 11 Cognitive Literary Studies
- Part III Revisionary Readings of Stevens
- Index
- References
Summary
In recent years, the poetry of Wallace Stevens has begun to attract the attention of scholars in cognitive literary studies as well. Starr’s chapter offers a cognitive analysis of two aesthetic modes in Stevens’s poetry. The first of these is disruption, in which Stevens violates metrical expectations or creates perceptual or cognitive disorientation. The second involves the manipulation of pleasure (either that represented in the poem or that which might be generated in readers) to call attention to formal features of a poem, and at times to help new formal features emerge from a disorderly formal background.
Keywords
- Type
- Chapter
- Information
- The New Wallace Stevens Studies , pp. 148 - 158Publisher: Cambridge University PressPrint publication year: 2021
References
Works Cited
Andrews-Hanna, J. R., et al. “Functional-Anatomic Fractionation of the Brain’s Default Network.” Neuron, vol. 65, no. 4, 25 Feb. 2010, pp. 550–62.CrossRefGoogle ScholarPubMed
Armstrong, Tim. “Stevens’ ‘Last Poem’ Again.” The Wallace Stevens Journal, vol. 12, no. 1, Spring 1988, pp. 35–43.Google Scholar
Bashwiner, David M., et al. “Musical Creativity ‘Revealed’ in Brain Structure: Interplay between Motor, Default Mode, and Limbic Networks.” Nature Scientific Reports, vol. 6, no. 20482, 2016, www.nature.com/articles/srep20482.Google ScholarPubMed
Belfi, Amy M., et al. “Dynamics of Aesthetic Experience Are Reflected in the Default-Mode Network.” NeuroImage, vol. 188, 2019, pp. 584–97.CrossRefGoogle ScholarPubMed
Belfi, Amy M. “Individual Ratings of Vividness Predict Aesthetic Appeal in Poetry.” Psychology of Aesthetics, Creativity, and the Arts, vol. 12, no. 3, 2017, pp. 341–50.Google Scholar
Brielmann, Aenne A., and Pelli, Denis G.. “Beauty Requires Thought.” Current Biology, vol. 27, no. 10, 22 May 2017, pp. 1506–13.CrossRefGoogle ScholarPubMed
Carver, Charles S. “Pleasure as a Sign You Can Attend to Something Else: Placing Positive Feelings within a General Model of Affect.” Cognition and Emotion, vol. 17, no. 2, Mar. 2003, pp. 241–61.CrossRefGoogle ScholarPubMed
Coleridge, Samuel Taylor. Biographia Literaria. Edited by Engell, James and Bate, W. Jackson, Princeton UP, 1983.Google Scholar
de Vignemont, Frédérique. “Habeas Corpus: The Sense of Ownership of One’s Own Body.” Mind and Language, vol. 22, no. 4, 2007, pp. 427–49.CrossRefGoogle Scholar
Fredrickson, Barbara L. “The Role of Positive Emotions in Positive Psychology: The Broaden-and-Build Theory of Positive Emotions.” The American Psychologist, vol. 56, no. 3, Mar. 2001, pp. 218–26.CrossRefGoogle ScholarPubMed
Jackson, Virginia Walker. Dickinson’s Misery: A Theory of Lyric Reading. Princeton UP, 2005.Google Scholar
Kringelbach, Morten L. “The Human Orbitofrontal Cortex: Linking Reward to Hedonic Experience.” Nature Reviews Neuroscience, vol. 6, no. 9, Sep. 2005, pp. 691–702.CrossRefGoogle ScholarPubMed
Myklebust, Nicholas. “‘Bergamo on a Postcard’; or, A Critical History of Cognitive Poetics.” The Wallace Stevens Journal, vol. 39, no. 2, Fall 2015, pp. 142–56.CrossRefGoogle Scholar
Raichle, Marcus E. “The Brain’s Default Mode Network.” Annual Review of Neuroscience, vol. 38, no. 1, 8 July 2015, pp. 433–47.CrossRefGoogle ScholarPubMed
Starr, G. Gabrielle. “Aesthetics and Impossible Embodiment: Stevens, Imagery, and Disorientation.” The Wallace Stevens Journal, vol. 39, no. 2, Fall 2015, pp. 157–81.CrossRefGoogle Scholar
Starr, G. Gabrielle, and Belfi, Amy M.. “Pleasure.” Further Reading, edited by Rubery, Matthew and Price, Leah, Oxford UP, 2020, pp. 282–93.Google Scholar
Stevens, Wallace. Letters of Wallace Stevens. Edited by Stevens, Holly, U of California P, 1996.Google Scholar
Stevens, Wallace Wallace Stevens: Collected Poetry and Prose. Edited by Kermode, Frank and Richardson, Joan, Library of America, 1997.Google Scholar
Tartakovsky, Roi. “Acoustic Confusion and Medleyed Sound: Stevens’ Recurrent Pairings.” The Wallace Stevens Journal, vol. 39, no. 2, Fall 2015, pp. 233–48.CrossRefGoogle Scholar
Tsur, Reuven. Poetic Rhythm: Structure and Performance; An Empirical Study in Cognitive Poetics. Peter Lang, 1998.Google Scholar
Vessel, Edward A., et al. “Art Reaches Within: Aesthetic Experience, the Self and the Default Mode Network.” Frontiers in Neuroscience, vol. 7, no. 258, 30 Dec. 2013, p. 258.Google Scholar
Vessel, Edward A. “The Brain on Art: Intense Aesthetic Experience Activates the Default Mode Network.” Frontiers in Human Neuroscience, vol. 6, 20 Apr. 2012, p. 66.Google Scholar
Vessel, Edward A. “The Default-Mode Network Represents Aesthetic Appeal That Generalizes across Visual Domains.” Proceedings of the National Academy of Sciences, vol. 116, no. 38, 17 Sep. 2019, pp. 19155–64.CrossRefGoogle ScholarPubMed
Vessel, Edward A. “Stronger Shared Taste for Natural Aesthetic Domains Than for Artifacts of Human Culture.” Cognition, vol. 179, Oct. 2018, pp. 121–31.CrossRefGoogle ScholarPubMed