Word: line
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Dates: during 2000-2009
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Even more, there’s a prevailing sense that much of contemporary poetry is being written to be read more so than to be heard. With the rising popularity of free-verse in the twentieth century, the visual layout of the poem—line breaks, indentations, punctuation, stanza breaks, spaces, etc.—has become increasingly important, replacing emphasis on the auditory landscape of rhyme and alliteration. The disappearance of these poetic devices, which formerly served to aurally delineate the poem, has resulted in an ambiguity as to how the poem’s visual arrangement informs...
...watch those movies and you re-watch those movies, and you see them many times—especially for me growing up—and all of that stuff is just embedded in your brain, so to try to think, “What’s the best line?” “Who gets subtitles?” “Who do we call attention to?” It’s difficult choosing...
...What’s your favorite line...
...administration already made the poor choice of not allowing students to stage a sleep-out in a controlled environment where there was no risk of lawbreaking—it should not compound one folly with another. This cause in particular is in line with Harvard’s mission, and its supporters should not be needlessly burdened. The administration should refrain from blocking harmless protests and potentially meting out unwarranted punishments and instead show that it agrees that climate change is a cause worth sleeping...
This artistic objective to break with a preconceived reality comes from a long line of poetic thought, reaching all the way back to Andre Breton and the origins of surrealism. By breaking with the predetermined images of the world in their accepted states and by embracing the unconscious, which does not play by the rules of reality, artists can shed insight on society in interesting and progressive ways...