Richard Cureton

Richard Cureton
University of Michigan | U-M · Department of English Language and Literature

Ph.D. in LInguistics, University of Illinois, 1979.

About

105
Publications
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217
Citations
Introduction
I now have our only workable theory of poetry. I will publish the theory in full over the next couple of decades, in a dozen books or so. I call this approach to poetry "temporal poetics." Rhythm creates time. So my claim is that form is related to time rather than space. Poetry is the aesthetic use of rhythmic, linguistic, rhetorical, and symbolic form. So my theory of form, while larger than my theory of poetry, provides it with an embracing context.

Publications

Publications (105)
Conference Paper
Full-text available
This paper is a complete rhythmic and formal analysis of "Young Love" by William Carlos Williams, against the background of a partial analysis of Shakespeare's Sonnet #97, using my theory of poetic rhythm and my temporal poetics, a theory of poetic form based the qualities of the four components of rhythm: meter, grouping, prolongation, and theme.
Conference Paper
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This paper uses my temporal poetics to provide a complete analysis of E.E. Cummings' poem 'love is a place.'
Article
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This article provides a complete reading of the rhythm and form of William Carlos Williams’s 1930 “Poem” (As the cat), using “temporal poetics,” a theory of poetic form based on rhythm. Rhythm is defined as having four major components—meter, grouping, prolongation, and theme—and it is the contrasting qualities of these rhythmic components that are...
Preprint
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This is an analysis, using my Temporal Poetics, of a modernized version of the famous anonymous Middle English poem "Western Wind."
Preprint
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This is my SECOND analysis, done with Jeff Quackenbush, of the set monologues of David's Milch's HBO series Deadwood, using my temporal poetics. It will be published in Style 54.1 (2020). Our FIRST analysis is already published in Horizon: Journal of Humanities and Social Sciences 1.1 (2019). Our THIRD analysis is in process and will be published t...
Article
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This is a significantly revised version of a talk that I gave at the Louisville Conference on Literature and Culture Since 1900 in February 2009. The talk explores the nature and uses of pararhyme, a sound scheme that repeats the consonants that surround the vowel in closed syllables but varies the vowel. The talk looks closely at how often, where,...
Article
Full-text available
This is a talk that I gave at the Louisville Conference on Literature and Culture back in February 2013. The talk outlines the theory of poetic genre that I have developed as a part of my temporal poetics. A poetic genre involves a poem's selection of forms. Many poems have a rich array of forms in all four of the temporalities (cyclical time, cent...
Article
Full-text available
Poetry is formal. Rhythm and form are closely related. Rhythm is componen-tial. Form is paradigmatic. The qualities of the rhythmic components are the source of formal paradigms. Poetic paradigms are quadratic, organizing linguistic, rhetorical, and symbolic forms into four temporalities (cyclical time, centroidal time, linear time, and relative ti...
Article
Full-text available
This is the first product of a co-authored project, between Richard Cureton and Jeff Quackenbush, of the language of the set monologues of David Milch's Deadwood.
Conference Paper
Full-text available
I delivered this talk on May 23, 2019, at the annual conference of the American Literature Association in Boston. The talk claims that Cummings used four major styles in his novel The Enormous Room, one for the each of the four temporalities in my temporal poetics--cyclical, centroidal, linear, relative--a mock-heroic style that is cyclical, a lyri...
Method
Full-text available
This is a developing essay I am in the process of writing on current conceptions of poetic rhythm, in particular, the approach to poetic rhythm by Derek Attridge, who, at the moment, is considered the best theorist of these issues. I have been in a conversation with Attridge about these matters for 25 years, but now, our different positions on this...
Research Proposal
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This is a book proposal, originally written for Cambridge University Press, of the overview volume for my 11-volume TEMPORAL POETICS, which I will write and publish, steadily, over the next couple of decades.
Research Proposal
Full-text available
This is a book proposal, originally written for Cambridge University Press, one of the volumes in my 11-volume TEMPORAL POETICS. In this volume, I will present my theory of temporal genres.
Research Proposal
Full-text available
This is a book proposal, originally written for Cambridge University Press, for one of the volumes of my 11-volume TEMPORAL POETICS. In this book, I will present my theory of linguistic form, and so, given that poetry is formal, my theory of poetic language.
Research Proposal
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This is a book proposal, originally written for Cambridge University Press, for one of the volumes of my 11-volume TEMPORAL POETICS. This is a book of poetic analyses, which apply my poetics to a number of different poems.
Research Proposal
Full-text available
This is a book proposal, originally written for Cambridge University Press, for one of the volumes in my 11-volume TEMPORAL POETICS. In this book, I will present my theory of temporal modes. A temporal mode is a poetic style that is based predominantly on the qualities of only one of the rhythmic components--meter, grouping, prolongation, or theme.
Research Proposal
Full-text available
The is a book proposal, originally written for Cambridge University Press, for one of the volumes of my 11--volume TEMPORAL POETICS. In this book, I will present my theory of poetic rhetoric. Rhetoric is functional, not formal. But in poetry, rhetoric is formalized, used for its formal values. In this book, I explain how this is done, and why.
Research Proposal
Full-text available
This is a book proposal, originally written for Cambridge University Press, for one of the volumes of my 11-volume TEMPORAL POETICS. In this book, I will present my theory of poetic symbolism. Poetry is formal. So, in poetry, meaning is formalized. A symbol is a formalized meaning. In this book, I explain and illustrate what this involves.
Research Proposal
Full-text available
This is a book proposal, originally written for Cambridge University Press, for one of the volumes of my 11-volume TEMPORAL POETICS. In this book, I will present my theory of poetic textures. A poetic texture is a linear flow from beginning to end, a kind of poetic plot. In the fullest cases, poetic textures proceed stepwise through the four tempor...
Research Proposal
Full-text available
The is a book proposal, originally written for Cambridge University Press, for one of the volumes of my 11--volume TEMPORAL POETICS. In this book, I will collect my work on rhythm into a more synthetic presentation that balances discussions of each of the four rhythmic components--meter, grouping, prolongation, and theme.
Preprint
Full-text available
The is a rough draft of a study of the rhythm (and other closely associated forms) in Wallace Stevens' "Sunday Morning," using my temporal poetics. I wrote this draft 15 years ago, and so it needs a lot of updating, and before it is published, it needs to be footnoted and contextualized to the scholarly literature on both Stevens and poetic rhythm....
Research Proposal
Full-text available
This is a book proposal, originally written for Cambridge University Press, for one of the volumes in my 11-volume TEMPORAL POETICS. In this book, using my temporal poetics, I will present my theory of poetic styles, and given this, my theory of the history of poetry.
Research Proposal
Full-text available
This is a book proposal, originally written for Cambridge University Press, for one of the volumes of my 11-volume TEMPORAL POETICS. In this book, I will explain the philosophical foundations of my theory of form, which I derive from rhythm. This theory of form handles BOTH text and context, and so the relation between the two.
Conference Paper
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This is a keynote talk that I gave in Berlin last May at an international conference on free verse rhythm.
Conference Paper
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This is a talk I gave in San Francisco at the annual meeting of the American Literature Association is May of 2018. The talk is a reading of E.E. Cummings' fairy tale "The Old Man Who Said Why," using my temporal poetics. As it turns out, the tale is both metrical and formal, and so is significantly poetic, rather than just prosaic. The imagery and...
Conference Paper
Full-text available
This is a talk that I gave in Boston in May 2017 at the annual meeting of the American Literature Association. The talk is an analysis of E.E. Cummings' "Picasso" using my temporal poetics. Poetry is formal. Form comes from rhythm. So each reading using my temporal poetics pays close attention to both rhythm and form, and their relation.
Article
Full-text available
Poetry is formal. Rhythm and form are closely related. Rhythm is componential. Form is paradigmatic. The qualities of the rhythmic components are the source of formal paradigms. Poetic paradigms are quadratic, organizing linguistic, rhetorical, and symbolic forms into four temporalities (cyclical time, centroidal time, linear time, and relative tim...
Article
Full-text available
This essay is an analysis of Wallace Stevens' "Domination of Black," using my temporal poetics. Poetry is formal. Rhythm and form are closely related. Rhythm is componential. Form is paradigmatic. The qualities of the rhythmic components are the source of formal paradigms. Poetic paradigms are quadratic, organizing linguistic, rhetorical, and symbo...
Conference Paper
Full-text available
This is a talk that I gave in San Francisco at the annual meeting of the American Literature Association in May 2016. The talk is a reading of E.E. Cummings' "maggie and milly and molly and may" using my temporal poetics. Poetry is formal. Form comes from rhythm. So each analysis using my temporal poetics pays close attention to both rhythm and for...
Article
Full-text available
This essay is an analysis of Elizabeth Bishop's "The Map" using my temporal poetics. Poetry is formal. It selects and patterns forms that are analogically related. Form is closely related to rhythm. Rhythm is componential. Form is paradigmatic. The qualities of the rhythmic components are the source of formal paradigms. Rhythm creates (subjective)...
Article
Full-text available
Poetry is formal. Rhythm and form are closely related. Rhythm is componential. Form is paradigmatic. The qualities of the rhythmic components are the source of formal paradigms. The dominant formal texture of free verse is a product of one of the four rhythmic components, what music theorists call theme. Theme creates relative time. In poetry, rela...
Article
Full-text available
Poetry is formal. Rhythm and form are closely related. Rhythm is componential. Form is paradigmatic. The qualities of the rhythmic components are the source of formal paradigms. Poetic paradigms are quadratic, organizing linguistic, rhetorical, and symbolic forms into four temporalities (cyclical time, centroidal time, linear time, and relative tim...
Article
Full-text available
This essay is an analysis of Wiliam Carlos Williams' "To a Solitary Disciple," using my temporal poetics. In my temporal poetics, poetry is formal, and form comes from rhythm. Each analysis, then, includes comments on both rhythm and form. Poetic forms are paradigmatic and are interrelated according to how their qualities correspond to the qualitie...
Conference Paper
Full-text available
This is a talk that I gave at the annual meeting of the American Literature Association in San Francisco in May 2012. The talk outlines the theory of poetic development/texture that I have developed as part of my temporal poetics. A poetic texture is a characterization of linear flow from start to finish. A portrait poem has forms from a full array...
Article
Full-text available
The essay presents a new theory of English meter, one that is appropriate for BOTH poetry, including free verse, and other types of speech and writing outside of poetry. I sketched out the theory in my 1992 book, Rhythmic Phrasing in English Verse. Here it is in fully developed form. The most unusual thing about this theory is that it includes a co...
Article
Full-text available
This is a talk I gave in San Francisco at the annual meeting of the American Literature Association in 2008. The talk outlines how I used my temporal poetics to teach an undergraduate major author course on Cummings at the University of Michigan. Over the years, I taught the course several times.
Article
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This is a published version of a talk that I gave in San Francisco in May 2006. The talk is an analysis of Cummings' "somewhere i have never traveled,gladly beyond" using my temporal poetics.
Preprint
Full-text available
This is an analysis of three Emily Dickinson poems, using my temporal poetics--"A Sloop of Amber," "There is a Certain Slant of Light," and "I like to See it Lap the Miles." In my temporal poetics, poetry is formal, and form comes from rhythm. So each analysis using my temporal poetics pays close attention to rhythm and form, and their interaction....
Preprint
Full-text available
This essay is an analysis of Robert Frost's "Nothing Gold Can Stay" using my temporal poetics. In my temporal poetics, poetry is formal and form comes from rhythm. So each analysis using my temporal poetics pays close attention to rhythm and form--and their interaction. I wrote this essay on a sabbatical in 2006. At this point, the essay has not be...
Preprint
Full-text available
This is a reading of Robert Frost's "Stopping By Woods on a Snowy Evening" using my temporal poetics. In my temporal poetics, poetry is formal and form comes from rhythm. So each analysis using my temporal poetics plays close attention to rhythm and form--and their interaction. I wrote this essay on a sabbatical in 2006. At this point, the essay is...
Preprint
Full-text available
This essay is an analysis of Robert Frost's "Desert Places," using my temporal poetics. In my temporal poetics, poetry is formal and form comes from rhythm. So each analysis using my temporal poetics pays close attention to rhythm and form--and their interaction. I wrote this essay on a sabbatical in 2006. The essay is not yet published (or prepare...
Preprint
Full-text available
This essay is a reading of Robert Frost's '"Once By the Pacific" using my temporal poetics. In my temporal poetics, poetry is formal and form comes from rhythm. So poetic analyses using my temporal poetics pay close attention to both rhythm and form--and their interaction. This essay is not yet published (or prepared for publication). I wrote the e...
Chapter
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This is my entry for "The Language of Poetry" in the second edition of the Oxford International Encyclopedia of Linguistics. I was one of the couple of dozen editors of the volume, editing the entries on language and literature.
Chapter
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This is my (invited) entry for "stylistics" in the second edition of the Oxford International Encyclopedia of Linguistics (2003). I was the editor of the entries on language and literature for this edition of the encyclopedia.
Article
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This article engages recent interests in temporality and poetic theory. For the most part, poetics has failed to bridge the gaps between distantly related aspects of verse - syntax and sound, prosody and rhetoric, meter and meaning, and so on. The result has been a schizophrenic poetics that provides detailed treatement of individual elements of po...
Article
Full-text available
Literary critics have tended to underestimate the importance of rhythmic and linguistic forms in poetry. Models of rhythmic form have been simplistic, misleading, and divorced from descriptions of other aspects of poetic language. This essay suggests a componential theory of rhythm that can both enrich rhythmic description and connect it explicitly...
Article
Full-text available
This is an invited talk that I gave twenty-two years ago at the University of Gothenburg, Gothenburg, Sweden, and Odense University, Odense, Denmark, in the fall of 1997. The talk is a sweeping overview of my temporal poetics--what motivated me to work on it starting in about 1977, how I went about this work, and the progress I had made on the proj...
Article
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Un des postulats fondamentaux qui regit les travaux de Jakobson depuis 1985 est le lien particulierement etroit entre les deux domaines d'etude que constituent la linguistique et la litterature. Les travaux de Jakobson ont ainsi marque ces deux disciplines et ont suscite de nombreuses polemiques. L'A. remarque toutefois que les arguments avances pa...
Article
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Peer Reviewed http://deepblue.lib.umich.edu/bitstream/2027.42/68947/2/10.1177_096394709800700104.pdf
Method
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This is just an informal discussion of what I call "the poetic paradigm," a table of formal "correspondences" in poetry across various domains--rhythmic, linguistic, rhetorical, symbolic, and contextual (biological, psychological, historical, social, cultural, etc.). I wrote this piece about 20 years ago (1998) so that I could put it in a course pa...
Article
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This essay is an early explanation of my temporal poetics, with an extended application to Wallace Stevens' "Thirteen Ways of Looking at a Blackbird."
Article
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Peer Reviewed http://deepblue.lib.umich.edu/bitstream/2027.42/67931/2/10.1177_007542429702500404.pdf
Article
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Preprint
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This is clipped version of the first extended analysis that I did with my temporal poetics back in 1996. In my temporal poetics, form comes rhythm; space from time. So each poetic analysis using my temporal poetics pays close attention to both rhythm and form (linguistic, rhetorical, symbolic, visual), and their relation.
Article
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Peer Reviewed http://deepblue.lib.umich.edu/bitstream/2027.42/68308/2/10.1177_096394709500400104.pdf
Article
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Prosodists have never developed an adequate yet coherent definition of rhythm. The most popular definition, ‘periodic recurrence,’ is coherent but inadequate. Elaborations of this definition have been more adequate but incoherent. Like musical rhythms, linguistic rhythms are best defined as recursive hierarchies of prominence. Complex rhythms are c...
Article
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This is a response to a review of my early work on poetic rhythm.
Chapter
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This is an early essay explaining my rhythmics and poetics, using nursery rhymes and proverbs as examples.
Article
This is a early attempt to distinguish among various perspectives on verse rhythm.
Chapter
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This is my entry on "literary stylistics" for the first edition of the Oxford International Encyclopedia of LInguistics.
Book
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This is the fourth chapter of my 1992 book Rhythmic Phrasing in English Verse
Article
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Book
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This is Chapter 4 of my 1992 book Rhythmic Phrasing in English Verse
Book
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Here are the references for my 1992 book Rhythmic Phrasing in English Verse.
Book
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This is the final chapter in my 1992 book Rhythmic Phrasing in English Verse.
Book
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This is the second chapter of my 1992 book Rhythmic Phrasing in English Verse.
Book
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This is the first chapter of my 1992 book Rhythmic Phrasing in English Verse
Book
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This is the first chapter in my 1992 book Rhythmic Phrasing in English Verse.
Book
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This is the front matter to my 1992 book, Rhythmic Phrasing in English Verse.
Article
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In the twentieth century there has been a steadily increasing interest in visual prosodies. The long (but relatively peripheral) tradition of the ‘shaped’ poem (the 'pattern' poem, the acrostic, and related visual forms) has been reviewed, redefined, and placed in a more central position in poetic theory and practice. Many developments have generat...
Article
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This is an early attempt of mine to generalize about rhythm, defining what it is, etc.
Article
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The is the first publication that I made of a full grouping structure for a poem. In my book, Rhythmic Phrasing in English Verse, I also use the text, adding responses to meter and prolongation and well. Later on, I have also added responses to this text on theme.
Article
This essay explores how I use literature in my language courses.
Article
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This essay explores the structure and effects of noun phrases in Cummings' poetry, in particular, how he scrambles the normal order of pre-modifiers.
Article
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This essay is an early argument that rhythm is not one-dimensional but multi-leveled and so structurally diverse, with these structures being stacked and so realized simultaneously.
Article
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This is one of the first detailed explorations of syntactic iconicity in poetry.

Questions

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Projects

Projects (6)
Project
This book brings together my work in the 1980s on rhythmic phrasing (grouping and prolongation) in English poetry with my work in the 1990s on meter and theme, into a comprehensive treatment of rhythm in English poetry, now, in the larger context of my temporal poetics, which gives us a treatment of OTHER aspects of poetic form (sound, prosody, syntax, symbolism, rhetoric).The book is intended to be a MASSIVE advance on the current standard in the field, Derek Attridge's Poetic Rhythm: An Introduction, which misunderstands meter, omits grouping and theme entirely, borrows my theory of prolongation, and has no way to interpret and evaluate rhythmic representations, given the lack of a poetics.
Project
The title of this book is Temporal Poetics. Why? The book is a theory of poetic form based on a philosophy of (subjective/musical) time and the relation of (subjective/musical) time to form more generally.
Project
This volume of twenty-four poetic analyses, Temporal Poetics: Analysis, is a companion to a volume of theory, Temporal Poetics: Theory, which is being publishing simultaneously. To give the reader a general orientation to what I do in these analyses, I introduce this volume with an invited talk on my temporal poetics that I gave in Gothenburg, Sweden, to the literature faculty of the university gathered around a seminar table in 1997 and later published in a local Gothenburg journal (Cureton "Toward a Temporal Poetics").