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  1.  13
    Contemporary Poetry, Alternate Routes.Jerome J. McGann - 1987 - Critical Inquiry 13 (3):624-647.
    What is the significance of that loose collective enterprise, sprung up in the aftermath of the sixties, known as L=A=N=G=U=A=G=E Writing? To answer this question I will be taking, initially, a somewhat oblique route. And I shall assume an agreement on several important social and political matters: first, that the United States, following the Second World War, assumed definitive leadership of a capitalist empire; second, that its position of leadership generated a network of internal social contradictions which persist to this (...)
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  2.  16
    The Meaning of the Ancient Mariner.Jerome J. McGann - 1981 - Critical Inquiry 8 (1):35-67.
    What does "The Rime of the Ancient Mariner" mean? This question, in one form or another, has been asked of the poem from the beginning; indeed, so interesting and so dominant has this question been that Coleridge's poem now serves as one of our culture's standard texts for introducing students to poetic interpretation. The question has been, and still is, an important one, and I shall try to present here yet another answer to it. My approach, however, will differ slightly (...)
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  3.  18
    The Religious Poetry of Christina Rossetti.Jerome J. McGann - 1983 - Critical Inquiry 10 (1):127-144.
    I want to argue…that to read Rossetti’s religious poetry with understanding requires a more or less conscious investment in the peculiarities of its Christian orientation, in the social and historical particulars which feed and shape the distinctive features of her work. Because John O. Waller’s relatively recent essay on Rossetti, “Christ’s Second Coming: Christina Rossetti and the Premillenarianist William Dodsworth,” focuses on some of the most important of these particulars, it seems to me one of the most useful pieces of (...)
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  4.  22
    The "Cantos" of Ezra Pound, the Truth in Contradiction.Jerome J. McGann - 1988 - Critical Inquiry 15 (1):1-25.
    … [T]he scandals surrounding the work of these men are as nothing compared to the scandal of Ezra Pound’s Cantos. We are amused to think that anyone ever felt Byron might have been mad, bad, and dangerous to know. We are not amused by the Cantos. Like Pound’s letters and so much of his prose, the Cantos is difficult to like or enjoy. It is a paradigm of poetic obscurity because its often cryptic style is married to materials which are (...)
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  5.  15
    Formalism, Savagery, and Care; Or, the Function of Criticism Once Again.Jerome J. McGann - 1976 - Critical Inquiry 2 (3):605-630.
    Teachers and critics have much to learn from [Harold] Bloom's work, and in this paper I want to try to show what it is we can learn from him and how we might go about it. In doing so, I also mean to analyze his attack upon formal criticism and to consider the merits of that attack. In the end, I propose an assessment of what in my view is the crucial weakness of both formal and dialectical criticism alike. This (...)
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  6.  6
    Laura (Riding) Jackson and the Literal Truth.Jerome J. McGann - 1992 - Critical Inquiry 18 (3):454-473.
    Can poetry tell the truth? This question has embarrassed and challenged writers for a long time. While the question may be addressed at both an ethical and an epistemological level, its resonance is strongest when the ethico-political issues become paramount—as they were for both Socrates and Plato.Today the question appears most pressing not among poets but among their custodians, the critics and academicians.1 Whether or not poetry can tell the truth—whether or not it can establish an identity between thought and (...)
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  7.  5
    Some Forms of Critical Discourse.Jerome J. McGann - 1985 - Critical Inquiry 11 (3):399-417.
    The project begins by drawing two basic distinctions. The first distinction is between forms of ideological discourse in general, which may not be critical in their orientation, and those forms of critical discourse which are historically self-conscious in their method. The formal antitype of all critical discourse is, in this view, the discourse of interpretation. The second distinction separates forms of critical thought from forms of critical discourse. Unlike the latter, forms of thought do not require for their existence the (...)
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  8. If This is the Book of Life, We Should Not Settle for a Rough Draft Over the Long Term but Should Remain Committed to Producing a Final, Highly Accurate Version.—Francis S. Collins," Shattuck Lecture: Medical and Societal Consequences of the Human Genome Project" So This Book... Maps its Particular Investigations Along the Double Helix of a Work's Reception History and its Production History. But the Work of Knowing Demands That the Map Be Followed Into the Textual Field. [REVIEW]Jerome J. McGann - 2006 - In Lennard J. Davis (ed.), The Disability Studies Reader. Psychology Press. pp. 67.
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  9. Laura (Riding) Jackson and the Literal Truth.Jerome J. McGann - 1992 - Critical Inquiry 18 (3):454-473.
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