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Marvellous
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Abstract
The final chapter hangs on the marvellous—meraviglia—in order to comprehend Frank O’Hara’s gift for embracing time. O’Hara’s poems are often about time whilst prosody’s persuasions change our subjective feelings for time. The first half offers an interdisciplinary reading of the ‘step’, ‘turn’, and ‘pulse’ from the collaborative poetics of George Balanchine and Igor Stravinsky as it illuminates O’Hara’s marvellous prosody. In the second half I conceptualize a mannerist sublime to account for O’Hara’s intertwining imagery of flight and falling and material changes of state. O’Hara maintains the risky indeterminacy between psychoanalytic sublimation and desublimation in his performance of selfhood and art-making, modulating a Paterian aesthetics as he embraces mortal time. Readings include ‘Ode to Joy’, ‘In Favor of One’s Time’, and ‘Having a Coke with You’, the last celebrated as exemplary of Horace’s motif, carpe diem.
Oxford University PressOxford
Title: Marvellous
Description:
Abstract
The final chapter hangs on the marvellous—meraviglia—in order to comprehend Frank O’Hara’s gift for embracing time.
O’Hara’s poems are often about time whilst prosody’s persuasions change our subjective feelings for time.
The first half offers an interdisciplinary reading of the ‘step’, ‘turn’, and ‘pulse’ from the collaborative poetics of George Balanchine and Igor Stravinsky as it illuminates O’Hara’s marvellous prosody.
In the second half I conceptualize a mannerist sublime to account for O’Hara’s intertwining imagery of flight and falling and material changes of state.
O’Hara maintains the risky indeterminacy between psychoanalytic sublimation and desublimation in his performance of selfhood and art-making, modulating a Paterian aesthetics as he embraces mortal time.
Readings include ‘Ode to Joy’, ‘In Favor of One’s Time’, and ‘Having a Coke with You’, the last celebrated as exemplary of Horace’s motif, carpe diem.
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