Wallace Stevens And The Apocalyptic Mode

Index

Abrams, M. H., , , , , n allusion,  Alter, Robert, – Altieri, Charles, –, , , –, , , , –,  Altizer, Thomas, n antiapocalyptic mode, xvi, , , –, –, , , –, –, , , , , –, –, , n; and antigenre, –. See also elegy; individual authors antigenre, – apocalypse: and aesthetic form, –, n; in American history, –, , n, n; and apocalyptic mode, xvii, , –, –, –, –, , , –, , –, –, , –, ; and aurora borealis, –, n; consolatory force of, , –, , –; deconstruction of, –; definitions of, xiii, ; and desire, xvi, –, –, –, –, , ; and discursive power, xvi, , –, –, –, –; and elegy, xvii, –, –, n; as end of a cultural /historical era, xi, –, –; etymology of, xiii, ; and gender, –, n; and historical eras, xi; as historical narrative, –, –, , –, n; history of, , –, –, n, n; interiorization of, n; and Last Judgment, –; as literary genre, –, –, , ; and Marxism, –; and meaning, , –, n; in modernism, xvii; and pastoral, xvii, , –; and philosophical truth, –; in postmodernism, , –, –, –; as radical break, ; and romance, –; secularization of, –; and self-elegy, xvii; social and political aspects of, , –, –, n, n; and teleology, , n; and World War II, xiii, –. See also individual authors Arensberg, Mary, n Ashbery, John, ; and apocalyptic mode, –, ; and mastery, –; “A Wave,” – Ashton, John, – aubade, ,  Auden, W. H.: “Lay your sleeping head, my love,”  Augustine, Saint, , , n aurora borealis, –, n Bakhtin, Mikhail,  Banta, Martha, – Beasley-Murray, George R., n Beckett, Samuel,  Beehler, Michael, ,  Bercovitch, Sacvan, n Berger, Charles, xii–xiii, , –, , –, , , , n, n Index Bernhardt, Sarah, – Bernstein, Charles, – Bible:  Corinthians, , ;  Corinthians, , , ; Daniel, , , , , n; Ezekiel, , , , ; Haggai, –; Hebrews, –, n; Isaiah, , , –, , ; James, n; Joel, , ;  Kings, n; Luke, ; Mark, , , , , ; Matthew, , , , , ; Obadiah, ;  Peter, ; Revelation, , , , –, , , , , , , n, n, n;  Thessalonians, ; Timothy, n; Zechariah, , ,  Bloom, Harold, xii, xiii, xiv, , , , , , , , , , , n, n, n Bozeman, Theodore,  Brazeau, Peter,  Brightman, Thomas,  Bull, Malcolm,  Burke, Kenneth,  Butler, Judith, , ,  Carpenter, Mary, , n Carroll, Joseph, xiv, , , n, n Charles, R. H., , –,  Cixous, Hélène, ,  Cleghorn, Angus, xiv,  Cohn, Norman, , , n Coleridge, Samuel Taylor,  Collins, Adela Yarbro, ,  Collins, J. J., ,  Connell, R. W., –, n Cook, Eleanor, xii, xiii, , , , , , –, , , n Costello, Bonnie, n Crane, Hart,  Cullmann, Oscar, ,  De Chirico, Giorgio,  Deleuze, Gilles, , – Derrida, Jacques: on apocalypse, , , –, –, , , , n; on apocalyptic desire, –, , ; deconstruction of apocalypse by, –; on metaphor, ; on paradox of antiapocalypse, –, –, , n; on teleology, ; on writing,  Donne, John: “The Break of Day,” ; “The Sun Rising,”  elegy: n; antiapocalyptic force of, –; mourning and melancholia in, –. See also Stevens, Wallace: and apocalyptic-elegiac modulations Eliot, T. S.: “The Waste Land,”  Les Entretiens de Pontigny, n eschatology. See apocalypse: history of Filreis, Alan, , , , n, n, n Fisher, Barbara M., , n Foucault, Michel, xvi, , , – Fowler, Alastair, xvi, –, –, n Freeman, Barbara,  Freud, Sigmund,  Frow, John,  Frye, Northrop, , n Gardner, Thomas, – gender,  genre, –, ; and antigenre, –; and gender,  Index  Goldsmith, Oliver: “The Deserted Village,”  Graham, Jorie, ; and aesthetic eras, –; allusions to Wallace Stevens’s poetry by, , –, –, –; antiapocalyptic stance of, xv, –, , –, , –; and apocalypse, xv, –, –, –, –, –, –; and apocalyptic desire, –, –, , ; compared to Wallace Stevens, –, , , –, –; and deconstruction, –; and the feminine, , , –; and gender, –; and historicopolitical context, –; and imaginative autonomy, –; and inside/outside figuration, –, –; and irony, ; and masculinity, , –; and modernism, , , , –, –, n; and narrative “gap” or “delay,” –; and nostalgia, –, –; and postmodernism, xv, –, , –, , n; poststructuralist thinking in, –; and Puritan millennarianism, –, , –; and subjectivity, –; and teleology, – Graham, Jorie, poetic works: “Annunciation,” ; “Annunciation with a Bullet in It,” –; “The Break of Day,” –; “Concerning the Right to Life,” ; The End of Beauty, , , ; “The End of Progress Aubade,” –, ; The Errancy, xv, , , –, , , –, ; “The Errancy,” ; “Eschatological Prayer,” , ; “Event Horizon,” ; “The Guardian Angel of Not Feeling,” ; “The Guardian Angel of Pointof -View,” , ; “The Guardian Angel of SelfKnowledge ,” ; “The Guardian Angel of the Little Utopia,” –, ; “The Guardian Angel of the Private Life,” , ; “The Guardian Angel of the Swarm,” , , –; “In the Pasture,” ; “Le Manteau de Pascal,” , , ; “Manifest Destiny,” ; Materialism, , –; “Noli Me Tangere,” –; “Oblivion Aubade,” , ; “Of the Ever-Changing Agitation in the Air,” –, ; “The Phase after History,” ; “Pollock and Canvas,” ; “Red Umbrella Aubade,” ; “The Scanning,” , ; “Self-Portrait as Both Parties,” ; “Self-Portrait as the Gesture between Them,” –, ; “Self-Portrait as Hurry and Delay,” ; “The Sense of an Ending,” ; “So Sure of Nowhere Buying Times to Come,” –, , ; “Spelled from the Shadows Aubade,” –, , ; “Studies in Secrecy,” ; Swarm, ; “The Veil,” ; “What the End is For,”  Graham, Jorie, prose and interviews: “Interview” (with Thomas Gardner), –, , , , , ; “Introduction” Index  (The Best American Poetry ),  Gregerson, Linda, ,  Gura, Philip F.,  Gutterman, David S., n Hammer, Langdon,  Hanson, Paul D., ,  Hartman, Geoffrey, –, ,  Harvey, A. E., n Hassan, Ihab,  Huston, Dennis J., , , ,  Hutcheon, Linda, xii, , –, , , , , , , , , –, n irony. See individual authors Jackson, Richard, n Jakobsen, Roman, n James, William,  Jameson, Fredric, , , –, , , n, n Jardine, Alice, , –, – Jarraway, David R., xiv, –, , –, , , , , , n, n, n Jay, Martin, , , n Jenkins, Lee M., xiv, , , , , , , n Jenny, Laurent,  Kant, Immanuel, , , n Kermode, Frank, xvi, , –, , –, , –, , , , , , n, n, n, n Kimmel, Michael, n Kristeva, Julia, , , n Kronick, Joseph G., – La Guardia, David M.,  Last Judgment. See apocalypse; Stevens, Wallace...