Ulteriori informazioni
Informationen zum Autor Amy Coook became a registered dietitian nutritionist in 2005. She specialized in the Ketogenic and Intermittent Fasting diet and helped thousands of clients to improve their health conditions by adjusting their dietary habits. "My goal is to help transform people's lives and start living again!", this is her motto since she struggled with her health and weight throughout childhood, which lead her to become such a passionate nutrition expert. She loves her job and spends most of her time helping customers through Skype and telephone consultation with stunning results. She specializes in diabetes (Type 1 and Type 2), heart disease, cholesterol issues, alopecia, Hashimoto's, cancer, epilepsy, seizures, autoimmune disorders. A lot of people get off medication with her guidance. She has helped thousands of clients over the last 15 years. She loves cooking and is passionate about the ketogenic and Intermittent fasting diet and the health benefits of a low-carb lifestyle. She is also the mother of 2 and lives in Boston with her husband. Klappentext Poetry in Theory: An Anthology 1900-2000 brings key critical and theoretical texts from the twentieth century which have animated debates about modern poetry. It provides all the material necessary for readers to engage with these debates, and with broader questions about aesthetics, language, culture, and imagination. Zusammenfassung Brings together key critical and theoretical texts from the twentieth century which have animated debates about modern poetry. This book helps readers to think critically about the nature of modern poetry! and to engage with broader questions about aesthetics! language! culture and imagination. Inhaltsverzeichnis Acknowledgements. Introduction. Part I: 1900 20. The Symbolism of Poetry: W.B. Yeats (1900). Three Letters: Rainer Maria Rilke (1903! 1907! 1925). Creative Writers and Daydreaming: Sigmund Freud (1908). Romanticism and Classicism: T. E. Hulme (1911). The Technical Manifesto of Futurist Literature: Filippo Marinetti (1912). Poet Yeats: Rabindrantah Tagore (1912). Robert Frost: Edward Thomas (1914). Poetry as Spoken Art: Amy Lowell (1917). The New Spirit and the Poets: Guillaume Apollinaire (1917). A Retrospect: Ezra Pound (1918). Note on Poetry: Tristan Tzara (1919). On Poetry and On Contemporary Poetry: Velimir Khlebnikov (1919/20). Tradition and the Individual Talent: T. S. Eliot (1919). D. H. Lawrence Preface to New Poems (1920). Prologue to Kora in Hell: William Carlos Williams (1920). Part II: 1921 40. General Aims and Theories: Hart Crane (1925). The Negro Artist and the Racial Mountain: Langston Hughes (1926). How are Verses Made: Vladimir Mayakovsky (1926). Science and Poetry: I. A. Richards (1926). A Survey of Modernist Poetry: Robert Graves and Laura Riding (1928). Seven Types of Ambiguity: William Empson (1930). The Poetic Process: Kenneth Burke (1931). Poetry s Evidence and Automatic Writing: Paul Eluard and Andre Breton (1932/33). New Bearings in English Poetry: F. R. Leavis (1932). Lorca Play and the Theory of Duende: Frederico Garcia (1933). Poetry and Grammar: Gertrude Stein (1935). Poets with History and Poets Without History: Marina Tsvetaeva (1935). Modernism: Walter Benjamin (1938). The Figure a Poem Makes: Robert Frost (1939). Poetry and Abstract Thought: Paul Valery (1939). Part III: 1941 60. Three Lectures on Poetry: Martin Heidegger (1941/44/46). The Noble Rider and the Sound of Words: Wallace Stevens (1942). Feeling and Precision: Marianne Moore (1944). Poetry and Knowledge: Aime Cesaire (1945). Projective Verse: Charles Olson (1950). A Statement for Poetry: Louis Zukofsky (1950). Is There Any Poetic Writing: Roland Barthes (1953). The Concrete Universal: W. C. Wimsatt (1954). Excerpts from Seminars and Papers: Jacques Lacan (1954/55/57). What is Modern Poetry: Donald Davie (1955). Mallarme s Experience: Mau...
