Chris Townsend
Biographic Data
| ID | 3858792 |
|---|---|
| NAME | Chris Townsend |
| GIVEN NAMES | Chris |
| FAMILY NAME | Townsend |
| SIGNATURE | TOWNSEND C |
| AFFILIATIONS | University of Cambridge |
| ORCID | 0000-0002-7757-5350 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1912 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Semblances of truth
The ‘Romantic lyric’ as an idea or critical entity finds itself doubly maligned in contemporary lyric studies. As a perceived product of New Criticism, it finds itself accused by historicists of bringing about the ‘lyricisation’ of poetry in twentieth‐century criticism, and, as a mimetic model of subjective expression, it’s disfavoured by lyric theorists who view it as a stepping stone towards the currently common misconception that lyrics are a …
Pope’s Openers and the Almost Four-Beat Dunciad
“A little learning is a dangerous thing”. Though that line is amongst Pope’s best known, and though it is a model example of iambic pentameter, it is also remarkable that, as a line, it only appears to have four strong stresses. We can choose to thump out five strong beats, but in practice we are unlikely to do so. Such lines have been variously theorised—as “balanced pentameters”, as “heroic tetrameters”—but however they are labelled, their effe…
What Rhymes withMisogyny? Rossetti, Dickinson, and Plath at Rhyme's Limit
Historical poetics often seeks to read "from the inside out," to understand form's history by starting with the features of form themselves. In that sense, it is uniquely placed to understand the intersections of poetics and politics, and to uncover the places where rhythmic features intersect with issues of power. This essay shows that one particular feature of form-terminal rhyme-has had a peculiar and troubling closeness to strains of critical…
Lyric Over‐Hearing
A slumber did my spirit seal, I had no human fears: She seemed a thing that could not feel The touch of earthly years. No motion has she now, no force; She neither hears nor sees; Rolled round in earth’s diurnal course, With rocks, and stones, and trees!1 ‘A slumber did my spirit steal, /I had no human fears.’ Given that Wordsworth’s celebrated lyric is suspended in its entirety above this essay, there is a decent chance that you, reader, will ha…
Captain Cartwright and His Labrador Journal
journalistic records of passing events in the modern press, where a minimimi of fact is made the basis for a maximum of letter press, so that the oculist rather than the mind or spirit benefits from the search for knowledge.Personally I
Captain Cartwright and His Labrador Journal
journalistic records of passing events in the modern press, where a minimimi of fact is made the basis for a maximum of letter press, so that the oculist rather than the mind or spirit benefits from the search for knowledge.Personally I
Captain Cartwright and His Labrador Journal
journalistic records of passing events in the modern press, where a minimimi of fact is made the basis for a maximum of letter press, so that the oculist rather than the mind or spirit benefits from the search for knowledge.Personally I
Lyric Over‐Hearing
A slumber did my spirit seal, I had no human fears: She seemed a thing that could not feel The touch of earthly years. No motion has she now, no force; She neither hears nor sees; Rolled round in earth’s diurnal course, With rocks, and stones, and trees!1 ‘A slumber did my spirit steal, /I had no human fears.’ Given that Wordsworth’s celebrated lyric is suspended in its entirety above this essay, there is a decent chance that you, reader, will ha…
Semblances of truth
The ‘Romantic lyric’ as an idea or critical entity finds itself doubly maligned in contemporary lyric studies. As a perceived product of New Criticism, it finds itself accused by historicists of bringing about the ‘lyricisation’ of poetry in twentieth‐century criticism, and, as a mimetic model of subjective expression, it’s disfavoured by lyric theorists who view it as a stepping stone towards the currently common misconception that lyrics are a …
Pope’s Openers and the Almost Four-Beat Dunciad
“A little learning is a dangerous thing”. Though that line is amongst Pope’s best known, and though it is a model example of iambic pentameter, it is also remarkable that, as a line, it only appears to have four strong stresses. We can choose to thump out five strong beats, but in practice we are unlikely to do so. Such lines have been variously theorised—as “balanced pentameters”, as “heroic tetrameters”—but however they are labelled, their effe…
What Rhymes withMisogyny? Rossetti, Dickinson, and Plath at Rhyme's Limit
Historical poetics often seeks to read "from the inside out," to understand form's history by starting with the features of form themselves. In that sense, it is uniquely placed to understand the intersections of poetics and politics, and to uncover the places where rhythmic features intersect with issues of power. This essay shows that one particular feature of form-terminal rhyme-has had a peculiar and troubling closeness to strains of critical…
Art (4 works) · Digital Humanities and Scholarship (3 works) · Literature (3 works) · Poetry (3 works) · Aesthetics (2 works) · Criticism (2 works) · French Literature and Poetry (2 works) · History (2 works) · Philosophy (2 works) · Philosophy (2 works)