The Norton Anthology of Poetry - OLD EDITION

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Mary Wollstonecraft Shelley, Frankenstein, or, The Modern Prometheus, ed. by Maurice Hindle, rev. edn (London: Penguin, 2003), pp. 62-63.

Bibliography example: Miller, Kei, ‘Place Name: Oracabessa’, The Poetry Society (2015) [accessed 8 April 2021] Footnote format: Firstname Lastname of poet, ‘Poem Title’, in Collection Title, ed. by Firstname Lastname of editor (Place of publication: Publisher, Year), p. x OR pp. x-xx (p. x), ll. x-xx. Find sources: "The Norton Anthology of Poetry"– news · newspapers · books · scholar · JSTOR ( December 2013) ( Learn how and when to remove this template message) Will point out that one morning, the professor was so insistent that I “get” Keat’s “Ode to a Grecian Urn,” that I missed my Amtrak for work. But I did not mind, as that was the exact instant in my entire life that I did finally “get” how to read poetry. Next edition, they were all cut. And I dumped the anthology. Evidently, all the freshman lit-comp teachers in the country were pretty used to doing what they did, could not use the wonderful innovations. You'd think frosh comp would be generally staffed by the younger and more flexible teachers, but perhaps when you include all the adjunct and experienced teachers who missed tenure, you have a group of fairly careful people unwilling to take risks.

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Well, if that was the way it was fifteen years ago, think how that will be reinforced by the scrutiny of the classroom by those who think of it as a factory. Or by those who know nothing of teaching, like the US Secretary of Education, Arne Duncan, who only taught for two years--gym. Your production line's doing WHAT? Song prosody? Where will the standardized test examine that?

The seventh edition was also sold in two volumes, which simply compressed six eras into two larger volumes, each volume comprising three eras. Volume 1 comprised the selection of literature from "'The Middle Ages" to the "English Restoration and the Eighteenth Century", while Volume 2 included the selection of literature from "The Romantic Period" to "The Twentieth Century and After". [ citation needed] If the play is anonymous (as is the case with some older plays), do not use 'Anon.' Instead start the reference with the title of the play. Titles: Put the play title in single quotation marks and the collection title in italics (as with a book chapter). The tenth edition of the anthology went on sale in June 2018 and has continued to be sold in the same format as its two prior editions, while adding a host of new writers to its already substantially eclectic range. [4] History [ edit ] The third edition of the Norton Anthology of Poetry, published in 1983, was my mother’s when she was studying English. It was also one of the first anthologies of poetry I read in English, when I was maybe five or so (I don’t remember the exact year, but I was definitely in the single digits). I’d definitely credit this anthology with being instrumental in my appreciation for good poetry, particularly because—as an academic text—it showed me how good poetry can do things to you.Sarah A. Kelen summarizes the changes to the NAEL 's inclusions of medieval literature through successive editions, demonstrating the way the Anthology 's contents reflect contemporary scholarship. [12]

Firstname Lastname, Book Title, ed. by Firstname Lastname (Place of publication: Publisher, Year), p. x. The MHRA Style Guidegives different guidance depending on the length of the quote you wish to use in your written work: Footnote example: Kei Miller, ‘Some Definitions for Song’, The Poetry Archive, audio recording (2009) [accessed 8 April 2021]. Mary Jo Salter (M.A. Cambridge University) is Kreiger-Eisenhower Professor in The Writing Seminars at Johns Hopkins University, where she teaches poetry and poetry-writing. She has published several books of poems, including Unfinished Painting (1989), Sunday Skaters (1994), Open Shutters (2003), and, most recently, The Surveyors (2017). A former vice president of the Poetry Society of America, she has also served as poetry editor of The New Republic. The Norton Anthology of Poetry PDF

Lastname, Firstname, ‘Article Title’, Journal Title, Volume.Issue (Year), x-xx [accessed day month year] Further references to the Harry Potter books as a collection will be referred to as ' Harry Potter series (1997-2007)'. The Norton Anthology is a part of who I am. It opened - and continues to open - doors into some of the great literary minds of our culture. A starting point from which you can go on and learn more (i.e., don't stop with this book!). Because these poems were obviously all written in English (although several different varieties of English), with the exception of a couple of poems written in Scots (e.g. Robert Burns’s), I won’t bother writing up a breakdown of nationality. You can probably guess it’s mostly British and American poets, I trust. What does interest me, however, is the disparity between gender, i.e., poems by men versus poems by women, and specifically the inclusion of women poets. Complicating this calculation somewhat are the anonymous lyrics and popular ballads, most of which either did not have a singular author but rather evolved from folk tradition or had a singular author but said author’s personal information has long since been lost to the sands of time. There are four collections of these particular verses: anonymous lyrics of the thirteenth- and fourteenth centuries (4); anonymous lyrics of the fifteenth century (13); popular ballads from roughly the fourteenth- and fifteenth centuries (15); and anonymous poems of the Elizabethan and Jacobean eras, around the sixteenth century (9). Those will not be included in any specifically gendered calculations; possibly they spontaneously generated from a volcano, or something. Who’s to say.

Margaret Ferguson (Ph.D. Yale) is Professor of English and Comparative Literature at the University of California-Davis. She is the author of Dido's Daughters: Literacy, Gender, and Empire in Early Modern England and France (2003) and Trials of Desire: Renaissance Defenses of Poetry (1984). Ferguson is coeditor of Feminism in Time; Women, Property, and the Letters of the Law; Literacies in Early Modern England; and a critical edition of Elizabeth Cary's Tragedy of Mariam. Professor Ferguson has served as president of the Modern Language Association and is a member of the American Academy of Arts and Sciences. Tim Kendall (D. Phil. Oxford University) is Professor of English at the University of Exeter. He is author of The Art of Robert Frost (2012) and has edited The Oxford Handbook of British and Irish War Poetry (2007), and Poetry of the First World War: An Anthology (2013), among other works. Kendall also served as producer for the BBC2 documentary Sylvia Plath: Life Inside the Bell Jar. He is currently working on an anthology of Second World War poetry, Poetry of the Second World War. Mary Jo Salter (M.A. Cambridge University) is Kreiger-Eisenhower Professor in The Writing Seminars at Johns Hopkins University, where she teaches poetry and poetry-writing. She has published several books of poems, including Unfinished Painting (1989), Sunday Skaters (1994), Open Shutters (2003), and, most recently, The Surveyors (2017). A former vice president of the Poetry Society of America, she has also served as poetry editor of The New Republic. Bibliography example: Kane, Sarah, ‘Crave’, in Complete Plays(London: Methuen Drama, 2001), pp. 153-202The ninth edition was released in 2012, marking 50 years of the anthology's existence. [7] Competing anthologies [ edit ]