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Proquest Dissertations
UNIVERSITY OF LONDON THE POETIC OF GAIETY: WALLACE STEVENS’S THEORIES OF THE IMAGINATION A THESIS SUBMITTED IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH BY CHARTUREE TINGSABADH UNIVERSITY COLLEGE LONDON LONDON: SEPTEMBER, 1994 ProQuest Number: 10017166 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10017166 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ABSTRACT This thesis examines Stevens’s evolving Modernist poetic: his thinking, both in poems and in explanatory prose, about the nature of poetic creativity, about the uses of language, and about the cultural function and value of poetry (what he called its ‘gaiety’). The method adopted is two-fold: 1) an examination of the ways in which Stevens transformed Romantic and Symbolist poetic tradition, incorporating (often in a significantly modified form) concepts developed by Valéry, Mauron, Focillon, Nietzsche, Whitehead, and Planck; 2) an assessment of the consequences of that incorporation for a critical understanding of poems written during each stage of his career. The thesis will trace the process by which concept becomes figure in the making of the poem, and is then reconceptualized in the act of reading. -
Wallace Stevens
Classic Poetry Series Wallace Stevens - poems - Publication Date: 2004 Publisher: PoemHunter.Com - The World's Poetry Archive A High-Toned Old Christian Woman Poetry is the supreme fiction, madame. Take the moral law and make a nave of it And from the nave build haunted heaven. Thus, The conscience is converted into palms, Like windy citherns hankering for hymns. We agree in principle. That's clear. But take The opposing law and make a peristyle, And from the peristyle project a masque Beyond the planets. Thus, our bawdiness, Unpurged by epitaph, indulged at last, Is equally converted into palms, Squiggling like saxophones. And palm for palm, Madame, we are where we began. Allow, Therefore, that in the planetary scene Your disaffected flagellants, well-stuffed, Smacking their muzzy bellies in parade, Proud of such novelties of the sublime, Such tink and tank and tunk-a-tunk-tunk, May, merely may, madame, whip from themselves A jovial hullabaloo among the spheres. This will make widows wince. But fictive things Wink as they will. Wink most when widows wince. Wallace Stevens www.PoemHunter.com - The World's Poetry Archive 2 Anecdote of the Jar I placed a jar in Tennessee, And round it was, upon a hill. It made the slovenly wilderness Surround that hill. The wilderness rose up to it, And sprawled around, no longer wild. The jar was round upon the ground And tall and of a port in air. It took dominion everywhere. The jar was gray and bare. It did not give of bird or bush, Like nothing else in Tennessee. -
'Bordeaux to Yucatan': Stevens's French Connections Tony Sharpe
‘Bordeaux to Yucatan’: Stevens’s French Connections Tony Sharpe Complacencies of the peignoir, and late Coffee and oranges in a sunny chair, And the green freedom of a cockatoo Upon a rug… (CPP 53)1 I suppose that most Stevens aficionados know these lines by heart; and as the beginning of what is probably his most anthologised poem, they are likely also to be familiar to a broader readership. Familiarity may not breed contempt, in this instance, but it might desensitise us to what remains surprising about the opening of ‘Sunday Morning’. Stevens’s catalogue, starting with a pluralised abstract noun, ‘complacencies’, moving to more particularised items in a scene that still has about it a potential for being generalised (we all know, the inference seems to be, what it is to yield to that leisurely coffee, those oranges, that sun-warmed chair), then unexpectedly culminates in a specific that combines abstract with concrete, ‘the green freedom of a cockatoo/ Upon a rug’. This, as Keats said of his Grecian Urn, teases us into thought: is this exotic bird a released parrot or a figure in the carpet, and if the latter, in what sense is it free, and in what sense can its ‘freedom’ be ‘green’? If we think it is an actual cockatoo, then ‘green’ could be a transferred epithet, albeit one which retains some strangeness, by assigning colour to an abstract noun. All these items listed serve, we learn, to counteract ‘The holy hush of ancient sacrifice’: and so the poem goes on to explore the implications of its title. -
The Creation of Space for Engaged Reading and Creative Interpretation in the Collected Works of Wallace Stevens
Cleveland State University EngagedScholarship@CSU ETD Archive 2017 The Creation of Space for Engaged Reading and Creative Interpretation in the Collected Works of Wallace Stevens Lauren Cannavino Cleveland State University Follow this and additional works at: https://engagedscholarship.csuohio.edu/etdarchive Part of the Literature in English, North America Commons How does access to this work benefit ou?y Let us know! Recommended Citation Cannavino, Lauren, "The Creation of Space for Engaged Reading and Creative Interpretation in the Collected Works of Wallace Stevens" (2017). ETD Archive. 1010. https://engagedscholarship.csuohio.edu/etdarchive/1010 This Thesis is brought to you for free and open access by EngagedScholarship@CSU. It has been accepted for inclusion in ETD Archive by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. THE CREATION OF SPACE FOR ENGAGED READING AND CREATIVE INTERPRETATION IN THE COLLECTED WORKS OF WALLACE STEVENS Lauren Cannavino Bachelor of Arts in English Cleveland State University December 2006 Submitted in partial fulfillment of requirements for the degree MASTER OF ARTS IN ENGLISH at CLEVELAND STATE UNIVERSITY December 2017 THIS THESIS IS HEREBY APPROVED FOR Lauren Cannavino candidate for the Master of Arts degree in English for the Department of English & CLEVELAND STATE UNIVERSITY’S College of Graduate Studies by ____________________________________________________ Thesis Chairperson, Dr. Frederick J. Karem _______________________________________ -
Fall 2004 the Wallace Stevens Journal
The Wallace Stevens Journal The Wallace The Wallace Stevens Journal Special Conference Issue, Part 1 Special Conference Vol. 28 No. 2Fall 2004 Vol. Special Conference Issue, Part 1 A Publication of The Wallace Stevens Society, Inc. Volume 28 Number 2 Fall 2004 The Wallace Stevens Journal Volume 28 Number 2 Fall 2004 Contents Special Conference Issue, Part I Celebrating Wallace Stevens: The Poet of Poets in Connecticut Edited by Glen MacLeod and Charles Mahoney Introduction —Glen MacLeod and Charles Mahoney 125 POETS ON STEVENS: INQUIRY AND INFLUENCE A Postcard Concerning the Nature of the Imagination —Mark Doty 129 Furious Calm —Susan Howe 133 Line-Endings in Wallace Stevens —James Longenbach 138 On Wallace Stevens —J. D. McClatchy 141 A Lifetime of Permissions —Ellen Bryant Voigt 146 NEW PERSPECTIVES ON STEVENS Planets on Tables: Stevens, Still Life, and the World —Bonnie Costello 150 Wallace Stevens and the Curious Case of British Resistance —George Lensing 158 Cross-Dressing as Stevens Cross-Dressing —Lisa M. Steinman 166 STEVENSIAN LANGUAGE “A Book Too Mad to Read”: Verbal and Erotic Excess in Harmonium —Charles Berger 175 Place-Names in Wallace Stevens —Eleanor Cook 182 Verbs of Mere Being: A Defense of Stevens’ Style —Roger Gilbert 191 WALLACE STEVENS AND HISTORICISM: PRO AND CON Stevens’ Soldier Poems and Historical Possibility —Milton J. Bates 203 What’s Historical About Historicism? —Alan Filreis 210 Wallace Stevens and Figurative Language: Pro and Con —James Longenbach 219 THE COLLECTED POEMS: THE NEXT FIFTY YEARS Prologues to Stevens Criticism in Fifty Years —John N. Serio 226 The Collected Poems: The Next Fifty Years —Susan Howe 231 Wallace Stevens and Two Types of Vanity —Massimo Bacigalupo 235 Position Paper: Wallace Stevens —Christian Wiman 240 Stevens’ Collected Poems in 2054 —Marjorie Perloff 242 KEYNOTE ADDRESS Wallace Stevens: Memory, Dead and Alive —Helen Vendler 247 THE WADSWORTH ATHENEUM Poets of Life and the Imagination: Wallace Stevens and Chick Austin —Eugene R. -
Selecting Three Poems by W. Stevens: a Roundtable Discussion
University of Pennsylvania ScholarlyCommons Poetics Studies Papers Department of English 10-2009 Selecting Three Poems by W. Stevens: A Roundtable Discussion Alan Filreis University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/poetics_papers Part of the Literature in English, North America Commons Filreis, Alan, "Selecting Three Poems by W. Stevens: A Roundtable Discussion" (2009). Poetics Studies Papers. 3. https://repository.upenn.edu/poetics_papers/3 Excerpt reprinted from: George S. Lensing, J. Donald Blount, Jacqueline Vaught Brogan, Stephen Burt, Eleanor Cook, Alan Filreis. Selecting Three Poems by W. Stevens: A Roundtable Discussion. The Wallace Stevens Journal, vol. 33, no. 2 (Fall 2009), pg. 238-257 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/poetics_papers/3 For more information, please contact [email protected]. Selecting Three Poems by W. Stevens: A Roundtable Discussion Abstract Three poems by Stevens indicate a particular aesthetic predicament, expressions of near-cessation: "Mozart, 1935," "The Man with the Blue Guitar," and "The Plain Sense of Things." In the third poem, the imagination re-emerges at precisely the point of its termination. In the second, the poet ventures into pure sound just when an ideological model for the poem collapses. In the first, the poem is the esultr of a dodge on the matter of others' pain. Keywords poetry, poetics, Wallace Stevens, modernism, sound poetry Disciplines Literature in English, North America Comments Excerpt reprinted from: George S. Lensing, J. Donald Blount, Jacqueline Vaught Brogan, Stephen Burt, Eleanor Cook, Alan Filreis. Selecting Three Poems by W. Stevens: A Roundtable Discussion. -
Modernism from Right to Left: Wallace Stevens, the Thirties, and Radicalism
Syracuse University SURFACE The Courier Libraries Spring 1992 Modernism from Right to Left: Wallace Stevens, the Thirties, and Radicalism Alan Filres University of Pennsylvania Follow this and additional works at: https://surface.syr.edu/libassoc Part of the Arts and Humanities Commons Recommended Citation Filres, Alan, "Modernism from Right to Left: Wallace Stevens, the Thirties, and Radicalism" (1992). The Courier. 293. https://surface.syr.edu/libassoc/293 This Article is brought to you for free and open access by the Libraries at SURFACE. It has been accepted for inclusion in The Courier by an authorized administrator of SURFACE. For more information, please contact [email protected]. SYRACUSE UNIVERSITY LIBRARY AS SOC lATE S COURIER VOLUME XXVII, NUMBER 1, SPRING 1992 SYRACUSE UNIVERSITY LIBRARY ASSOCIATES COURIER VOLUME XXVII NUMBER ONE SPRING 1992 Modernism from Right to Left: Wallace Stevens, the Thirties, and Radicalism By Alan Filreis, Associate Professor ofEnglish, 3 University ofPennsylvania Adam Badeau's "The Story ofthe Merrimac and the Monitor" By Robert]. Schneller,Jr., Historian, 25 Naval Historical Center A Marcel Breuer House Project of1938-1939 By Isabelle Hyman, Professor ofFine Arts, 55 New York University Traveler to Arcadia: Margaret Bourke-White in Italy, 1943-1944 By Randall I. Bond, Art Librarian, 85 Syracuse University Library The Punctator's World: A Discursion (Part Seven) By Gwen G. Robinson, Editor, Syracuse University 111 Library Associates Courier News ofthe Syracuse University Library and the Library Associates 159 Modernism from Right to Left: Wallace Stevens, the Thirties, and Radicalism BY ALAN FILREIS Author's note: In writing the bookfrom which thefollowing essay is ab stracted, I need have gone no further than the George Arents Research Li brary. -
Place in the Poetry of Wallace Stevens and Robert Bringhurst
The “Cure of the Ground”: Place in the Poetry of Wallace Stevens and Robert Bringhurst by Kirsten Hilde Alm B.Sc., University of Saskatchewan, 2001 M.A., Trinity Western University, 2011 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY In the Department of English © Kirsten Hilde Alm, 2016 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photocopying or other means, without the permission of the author. ii The “Cure of the Ground”: Place in the Poetry of Wallace Stevens and Robert Bringhurst by Kirsten Hilde Alm B.Sc., University of Saskatchewan, 2001 M.A., Trinity Western University, 2011 Supervisory Committee Dr. Nicholas Bradley, Supervisor Department of English Dr. Iain Macleod Higgins, Departmental Member Department of English Dr. Margaret Cameron, Outside Member Department of Philosophy iii Abstract This study analyzes the Canadian poet, typographer, and translator Robert Bringhurst’s (b. 1946) extensive engagement with the poetry, poetics and metaphysical concerns of the American modernist poet Wallace Stevens (1879-1955). It asserts that Bringhurst’s poetry responds to Stevens’ poetry and poetics to a degree that has not previously been recognized. Although Bringhurst’s mature poetry—his works from the mid-1970s and after—departs from the obvious imitation of the elder poet’s writing that is present in his early poems, it continues to engage some of Stevens’ central concerns, namely the fertility of the liminal moment and/or space and a meditative contemplation of the physical world that frequently challenges anthropocentric narcissism. -
ENG 351 Lecture 13 1 Well, I Made an Outrageous Statement When We Got
ENG 351 Lecture 13 1 Well, I made an outrageous statement when we got to Robert Frost and quoted one of my favorite professors who stated Robert Frost was probably the best American poet of the 20th century so far. Well so far. The 20th century is over. You wouldn’t know it sometimes. But as far as that goes, the next two poets that we’ll be reading, Stevens and William Carlos Williams, who are different writers but who share some similarities. They’re my favorites. I would hate to do without Frost, but I think in the long run I’d hate more to do without Stevens. I’ll try to convince you of some of that. Born in 1879 and died in 1955, 76. Much has been made about Stevens — the fact that Stevens was an insurance man. Well, he wasn’t exactly an insurance man but he was an executive at the Hartford in Connecticut. His father was an attorney. He went to Harvard for three years but he studied modern languages and then later realized that he needed to make money so he went to law school. It was New York University law school. He practiced for a while, the partnership failed, and then he went into the legal department of the Hartford Insurance Company and he was, apparently, a successful insurance executive. He was vice-president of that firm. There’s a legend that the people that Wallace Stevens worked with didn’t even know he was a poet until he won the Pulitzer Prize, that he kept it from them, that it was all top secret. -
Vol. 34, No. 1 (Spring 2010)
The Wallace Stevens Journal Volume 34 Number 1 Spring 2010 Special Issue Wallace Stevens and Henry James Guest Editor: Glen MacLeod Contents Wallace Stevens and Henry James: The New York Connection —Glen MacLeod 3 Reading the Alien in American Scenes: Henry James and Wallace Stevens —Charles Berger 15 Always a Potent and an Impotent Romantic: Stylistic Enactments of Desire in Henry James’s The Ambassadors and Wallace Stevens’ “Anecdote of the Jar” —Gert Buelens and Bart Eeckhout 37 Ambulatory Poetics in Wallace Stevens and Henry James —Eric Leuschner 64 Henry James, Wallace Stevens, and the Way to Look at Madame Merle —George Monteiro 77 Wallace Stevens and Henry James: Responses to a Questionnaire by Glen MacLeod —Joan Richardson 86 Notes Toward a Comparison of Henry James and Wallace Stevens —Eleanor Cook 95 “Convert, convert, convert”: A Note on the Shared Aesthetic Imperative of Henry James and Wallace Stevens —Ross Posnock 100 Poems 102 Reviews 110 Current Bibliography 116 Cover Wallace Stevens, Elizabeth Park, Hartford, Conn., Spring 1922 Henry James, Lamb House, Rye, East Sussex (U.K.), c. 1900 The Wallace Stevens Journal EDITOR John N. Serio POETRY EDITOR ART EDITOR BOOK REVIEW EDITOR Joseph Duemer Kathryn Jacobi George S. Lensing EDITORI A L BO A RD Milton J. Bates Jacqueline V. Brogan Robert Buttel Eleanor Cook Bart Eeckhout Alan Filreis George S. Lensing B. J. Leggett James Longenbach Glen MacLeod Marjorie Perloff Joan Richardson Melita Schaum Lisa M. Steinman The Wallace Stevens Society PRESIDENT ADVISORY BO A RD John N. Serio Milton J. Bates Owen E. Brady Robert Buttel Kathryn Jacobi George S. -
The Sensuous Order, Faith and Love in the Poetry of Wallace Stevens
Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School 8-1-1972 The eS nsuous Order, Faith and Love in the Poetry of Wallace Stevens Sheila Conway Western Kentucky University Follow this and additional works at: http://digitalcommons.wku.edu/theses Part of the English Language and Literature Commons Recommended Citation Conway, Sheila, "The eS nsuous Order, Faith and Love in the Poetry of Wallace Stevens" (1972). Masters Theses & Specialist Projects. Paper 1020. http://digitalcommons.wku.edu/theses/1020 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. THE SENSUOUS ORDER, FAITH, AND LOVE IN THE POETRY OF WALLACE STEVENS A Thesis Presented to the Faculty of the Department of English Western Kentucky University Bowling Green, Kentucky In Partial Fulfillment of the Requirenents for the Degree Master of Arts Sheila M. Conway August, 1972 THE SENSUOUS ORDER, FAITH, AND LOVE IN THE POETRY OF WALLACE STEVENS APPROVED 7 9 (Date) Director of Thesis 77? c T 0e&n of the Gradusrte College ACKNOWLEDGMENTS With gratitude I wish to express my appreciation for the encouragement and help received in the completion of my graduate studies and thesis to Dr. William E. McMahon, my director, to his wife and member of my com- mittee, Dr. Dorothy McMahon, and to Dr. Nancy Davis who very kindly and generously gave of her time in reading this thesis and serving as a member of my committee. -
A Modernist Dialectic: Stevens and Williams in the Poetry of Charles Tomlinson
CORE Metadata, citation and similar papers at core.ac.uk Provided by Durham Research Online A Modernist Dialectic: Stevens and Williams in the Poetry of Charles Tomlinson GARETH REEVES I. INTRODUCTION HARLES TOMLINSON WAS one of the most “Americanized” of the British poets to come to prominence in the twenty or so years Cfollowing the Second World War. As he describes in his book Some Americans: A Period Record (1981), his first full-scale collection (Seeing Is Believing, 1958) was published in New York after English publishers had rejected it (SA 13), and some feel Americans still take him to heart more readily than do the British. His relationship with American poetry is not easy to categorize, however. Most would agree with Alan Young’s assess- ment that Tomlinson’s poetry comes out of a productive tension between English and American, an “assimilation of some characteristics and qual- ities of American literary modernism to help shape a distinctively person- al yet essentially English voice and vision” (67). But if the role of American modernism in Tomlinson’s poetry is generally recognized, less readily acknowledged is the extent to which his poetry is informed, indeed haunt- ed, by the contradictions that are still being played out in the wake of that tradition. For this poet in “a state of mental emigration” (SA 12), America has provided the imaginative space to explore his own aesthetic allegiances. Nowhere is this more evident than in the presence in his poetry of those two opposed representatives of American poetic modernism, Wallace Stevens and William Carlos Williams.