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In recent years, the poetry of Wallace Stevens has begun to attract the attention of scholars in cognitive literary studies as well. Starr’s chapter offers a cognitive analysis of two aesthetic modes in Stevens’s poetry. The first of these is disruption, in which Stevens violates metrical expectations or creates perceptual or cognitive disorientation. The second involves the manipulation of pleasure (either that represented in the poem or that which might be generated in readers) to call attention to formal features of a poem, and at times to help new formal features emerge from a disorderly formal background.
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