In an invitation to expand and liberate your creative voice in floral design, Jenny Thomasson (AIFD, PFCI, EMC) generously unfolds her artistic process that has made her a rising star in the industry through 40+ beautifully shot compositions. The delicacy, intensity, and cyclical temporality of flowers mirror our deepest emotions--making them a potent source of inspiration and innovation. In over 200 lustrous color photos, Thomasson shares how she uses emotion to push the boundaries of contemporary floral design. Infused with hand-drawn conceptual sketches and notes, and incorporating a wide breadth of techniques, forms, and materials, this warmly personal guide offers an intimate insight into the evolution of a professional floral arrangement. Perishable Poetics is a beautifully photographed artwork as well as a radiant, invaluable creative resource for those who work in, are inspired by, or are finding their voice in floral design.

In Making the Miscellany Megan Heffernan examines the poetic design of early modern printed books and explores how volumes of compiled poems, which have always existed in practice, responded to media change in sixteenth- and seventeenth-century England. Heffernan's focus is not only the material organization of printed poetry, but also how those conventions and innovations of arrangement contributed to vernacular poetic craft, the consolidation of ideals of individual authorship, and centuries of literary history. The arrangement of printed compilations contains a largely unstudied and undertheorized archive of poetic form, Heffernan argues. In an evolving system of textual transmission, compilers were experimenting with how to contain individual poems within larger volumes. By paying attention to how they navigated and shaped the exchanges between poems and their organization, she reveals how we can witness the basic power of imaginative writing over the material text. Making the Miscellany is also a study of how this history of textual design has been differently told by the distinct disciplines of bibliography or book history and literary studies, each of which has handled—and obscured—the formal qualities of early modern poetry compilations and the practices that produced them. Revisiting these editorial and critical approaches, this book recovers a moment when compilers, poets, and readers were alert to a poetics of organization that exceeded the limits of the individual poem.

This comprehensive guide to the history of literary criticism from antiquity to the present day provides an authoritative overview of the major movements, figures, and texts of literary criticism, as well as surveying their cultural, historical, and philosophical contexts. Supplies the cultural, historical and philosophical background to the literary criticism of each era Enables students to see the development of literary criticism in context Organised chronologically, from classical literary criticism through to deconstruction Considers a wide range of thinkers and events from the French Revolution to Freud’s views on civilization Can be used alongside any anthology of literary criticism or as a coherent stand-alone introduction

How does the concept of time, elusive and inconceivable as it may be, lend itself to verbal creativity? Is it possible to trace something like a “poetics of time”? This book embarks on this endeavor initiated by the assumption that verbal creativity can shed some new light on our understanding of time, challenging everyday linguistic patterns and manipulating mental representations in unforeseen ways. Drawing on empirical evidence from Modern Greek poetry, the book offers a unified account of time conceptualization along a continuum of various degrees of non-conventionality. It also shows, unlike what has been traditionally assumed in the literature, that creativity in the expression of time is not limited to metaphor but extends to other figurative tropes that are perhaps specific to poetry. Poetry thus transpires as an ideal testing frame for exploring temporal cognition and meaning construction alike.

After two introductory chapters on the humanist and scholastic Aristotelian traditions, the author devotes thirteen chapters to the positions taken by various influential participants in the debates on Humanism versus Scholasticism. Included in this close analysis are: Petrarch, Boccaccio, Salutati, Politian, and others.

A collection of seven essays, six of which are interpretations of major poems by Romantic and modern poets. One other treats two modes of construction--synecdochic and metonymic--in Ernest Hemingway's poems.

In Digital Poetics, Loss Glazier argues that the increase in computer technology and accessibility, specifically the World Wide Web, has created a new and viable place for the writing and dissemination of poetry. Glazier's work not only introduces the reader to the current state of electronic writing but also outlines the historical and technical contexts out of which electronic poetry has emerged and demonstrates some of the possibilities of the new medium. Glazier examines three principal forms of electronic textuality: hypertext, visual/kinetic text, and works in programmable media. He considers avantgarde poetics and its relationship to the on-line age, the relationship between web pages and book technology, and the way in which certain kinds of web constructions are in and of themselves a type of writing. With convincing alacrity, Glazier argues that the materiality of electronic writing has changed the idea of writing itself. He concludes that electronic space is the true home of poetry and, in the 20th century, has become the ultimate space of poesis. Digital Poetics will attract a readership of scholars and students interested in contemporary creative writing and the po