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The Structure of Perception in the Poetry of William Carlos Williams

A Stylistic Analysis

Bibliographic Data

ID4788975
AuthorsJ P Gee (0000-0002-4653-5313, corresponding author)
Year1985
Volume6
Issue3
Pages375
Publication date1985-01-01
Open AccessNo
TypeARTICLE
VenuePoetics Today (JOURNAL)
Journal identifiersISSN: 0333-5372 • E-ISSN: 1527-5507
PublisherJSTOR (PUBLISHER)
DOI10.2307/1771902
OpenAlexW2326652706
LanguageEN
References cited1

Perception played a key role in the aesthetics of William Carlos Williams. But, of course, the idea that art ought to concentrate on the authentic rendering of the object in all its immediacy and particularity goes well beyond Williams and, indeed, well beyond poetry as an art form. The authentic rendering of the perceived object is one of the wellsprings of art, and has played a central role in many critical theories. Let me take one instructive example, among many: Victor Shklovsky, the great Russian Formalist critic and writer, added to the importance of the perceived object in art his notion of ostranenie (defamiliarization, making strange), and concluded that

Art · Epistemology · Linguistics · Literature · Perception · Poetry · History · Musicology and Musical Analysis · Philosophy · Poetry Analysis and Criticism · Psychology

  • Russian formalist criticism

    Lee T Lemon, Marion J Reis•Russian formalist criticism•1965

Highly citedNo

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