Yvor Winters: the Critic As Moralist
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British and American New Criticism William E
1 British and American New Criticism William E. Cain For much of the twentieth century, the New Criticism was the dominant method of textual interpretation. Most critics and teachers of literature in college and universities, both in Great Britain and the United States, were committed to “close reading”—the intensive study of the words on the page, the careful examination of the poem in itself, which was the theory and practice that the New Criticism described and promoted. The New Critics were different in important respects from one another, but, as one of their leaders, Cleanth Brooks, observed: “The one common element that I can discern among those loosely grouped together as New Critics was the special concern they exhibited for the rhetorical structure of the literary text” (Brooks 1984: 42). Few today would claim to be or would aspire to become a New Critic. The movement expired, it is generally agreed, decades ago. Yet when it arose and established itself, the New Criticism was viewed not only as significantly “new” but also as superior to everything that had preceded it. In the mid‐1950s, Hyatt H. Waggoner identified the New Criticism as “the best criticism we have or are likely to have for a long time. Certainly, it is the chief reason why it is perfectly correct to characterize our age as, whatever its other failings, a brilliant age for criticism.” In Waggoner’s judgment, “the greatest contribution” that the New Criticism had made was “its creation and demonstration of a way of talking about literature at once objective and literary … There are no extrinsic or irrelevant standards applied, there is no subjectivism,COPYRIGHTED and there is no mystique. -
The Emergence of Formalist Criticism: an Overview
THE EMERGENCE OF FORMALIST CRITICISM: AN OVERVIEW SANDEEP KUMAR SHARMA Research Scholar Department of English Punjabi University, Patiala (Punjab) INDIA In their critical theories, the stress was laid only on the ideas and intellectual contents of the work of art. Early Victorians had emphasized the moral, social and religious uses of literature which had resulted in extrinsic approach to literature. As a reaction to these movements a 'new' movement appeared on the literary scene which propagated for the study of the 'form' and 'artistic' aspects of a work of art, and was named 'Formalist' school or a school of 'new' critics. They felt that the only course open for the literary criticism to avoid being exploited by industrialism, and save literature from history, sociology and science. The concentration on the form, structure, technique, images, metaphors rhymes and such other items was thought to be worthwhile as it was thought that it could give the analysis of a literary work wider depth of meaning and help the critic explore the real depth of meaning. Key Words: Structure, Formalist Criticism, New Critics, Aesthetic Sensibility. The writers and critics of America and England were very much dissatisfied at the turn of the twentieth century. The intellectuals of that period suffered from literary unrest because their hopes and expectations which they had from the new century were going to remain unfulfilled. Though in the wake of scientific advances, the whole atmosphere was pregnant with intellectual activity, the literary theoreticians thought that there had come a stagnation in the field of literary criticism. This feeling of stagnation in criticism sustained because there were many critical schools prevalent which approached a literary work from external standpoints only. -
Writing Communities: Aesthetics, Politics, and Late Modernist Literary Consolidation
WRITING COMMUNITIES: AESTHETICS, POLITICS, AND LATE MODERNIST LITERARY CONSOLIDATION by Elspeth Egerton Healey A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2008 Doctoral Committee: Associate Professor John A. Whittier-Ferguson, Chair Associate Professor Kali A. K. Israel Associate Professor Joshua L. Miller Assistant Professor Andrea Patricia Zemgulys © Elspeth Egerton Healey _____________________________________________________________________________ 2008 Acknowledgements I have been incredibly fortunate throughout my graduate career to work closely with the amazing faculty of the University of Michigan Department of English. I am grateful to Marjorie Levinson, Martha Vicinus, and George Bornstein for their inspiring courses and probing questions, all of which were integral in setting this project in motion. The members of my dissertation committee have been phenomenal in their willingness to give of their time and advice. Kali Israel’s expertise in the constructed representations of (auto)biographical genres has proven an invaluable asset, as has her enthusiasm and her historian’s eye for detail. Beginning with her early mentorship in the Modernisms Reading Group, Andrea Zemgulys has offered a compelling model of both nuanced scholarship and intellectual generosity. Joshua Miller’s amazing ability to extract the radiant gist from still inchoate thought has meant that I always left our meetings with a renewed sense of purpose. I owe the greatest debt of gratitude to my dissertation chair, John Whittier-Ferguson. His incisive readings, astute guidance, and ready laugh have helped to sustain this project from beginning to end. The life of a graduate student can sometimes be measured by bowls of ramen noodles and hours of grading. -
Emerson's Telescope: Jones Very and Romantic Individualism
✦✧✦✧✦✧✦✧✦✧✦✧✦✧✦✧✦✧✦✧✦✧✦✧✦✧✦✧✦✧✦✧✦✧✦ Emerson’s Telescope: Jones Very and Romantic Individualism clark davis The character sheds not its characteristic on its surroundings, whereas, the original character, essentially such, is like a revolving Drummond light, raying away from itself all round it–everything is lit by it, everything starts up to it (mark how it is with Hamlet), so that, in certain minds, there follows upon the adequate conception of such a character, an effect, in its way, akin to that which in Genesis attends upon the beginning of things. —Melville, The Confidence-Man In dismissing him I seem to have discharged an arrow into the heart of society. —Emerson, Journals N his 1938 essay “Jones Very and R.W. Emerson: Aspects of I New England Mysticism” the poet and critic Yvor Winters offered a reappraisal and rehabilitation of the nineteenth cen- tury American poet, Jones Very. Maule’s Curse, the study that contained the essay, mounted an unrestrained attack on Win- ters’s menagerie of bêtes noires: emotion, romanticism, Ralph Waldo Emerson, ambiguity (obscurantism), and art that served what Winters considered to be undigested experience. Very was offered as antidote to Emerson, that “limb of the Devil,” and elevated as a “saintly man” who embodied the sort of mystic power his slippery Concord elder only affected.1 1Yvor Winters, Maule’s Curse: Seven Studies in the History of American Obscuran- tism (Norfolk, CT: New Directions, 1938), 131, 126. Subsequent references will appear parenthetically in the text. The New England Quarterly, vol. XCI, no. 3 (September 2018). C 2018 by The New England Quarterly. -
Simply Haiku Vol
Simply Haiku Vol. 10 No. 3 – Spring / Summer 2013 SIMPLY HAIKU Vol. 10 No. 3 SPRING / SUMMER 2013 Co-owned by Robert D. Wilson and Saša Važić 1 Simply Haiku Vol. 10 No. 3 – Spring / Summer 2013 Features 2 Simply Haiku Vol. 10 No. 3 – Spring / Summer 2013 Haiku is Dead TO BE OR NOT TO BE An Experiment Gone Awry Part VI: An Essay on Haiku Aesthetics By Robert D. Wilson "Since becoming the sport of amateurs and ignoramuses, haiku have become more and more numerous, more and more banal." Masaoka Shiki Tr. by Janine Beichman Masaoka Shiki His Life and Works Skinhead the words Fuck You carved on his forehead Jack Galmitz New York, U.S.A. Spot ImPress 2013 Published by Dimitar Anakiev at his facebook group Haiku Masterclass, October 12, 2013. My father, mouth and anus wide open --- a shining cloud Ban'ya Natsuishi Japan Mending the holes of my raincoat - that's the way I became a Marxist Dimitar Anakiev Slovenia Mending the Holes of My Raincoat 3 Simply Haiku Vol. 10 No. 3 – Spring / Summer 2013 new fish pond – the cat learns to swim Lorin Ford Australia Shiki Kukai, June 2005 (9th place) as the world fails saxophone in the lips of a walrus Marlene Mountain U.S.A. Haiku 21 2011 frost-covered window I add a rubber ducky to the bubble bath Roberta Beary Washington D.C., U.S.A. First Prize Winner of the 2012 Kiyoshi and Kiyoko Tokutomi Memorial Haiku Contest botanic gardens a plastic daisy dangles from a woman's hat Ernest Berry New Zealand Honorable Mention of the 2013 23rd Ito en Oi ocha New Haiku Contest nevertheless fall colors Christopher Patchel U.S.A. -
Cynthia Article
THEATER MOVIES BOOKS MUSIC TV ART DANCE we’ve got soul BELIEVE IT. R&B IS ALIVE AND WELL ON THE DOCK OF THE BAY. by Kevin Berg- er eshell Ndegeocello has WHILE THE people who are not me. Not an hour before, the presence of a boxer, the OLD SCHOOL I had been reading a biography of Herman faith of a preacher, the heart HAS SOLD Melville, where I came across these lines of a poet. This past May, in OUT TO from his novel Redburn: “American blood… MADISON a rare club appearance, the is as the flood of the Amazon, made up of AVENUE, MEast Bay singer strolled onto the stage at a thousand currents all pouring into one. AND TODAY’S Bimbo’s, a slow, deep funk brewing behind SOUL-POP We are not a nation, so much as a world.” her; a striped wool cap, pulled down over KIDS CARE Lingering over those sentences one minute her forehead, gave her the look of a woman ONLY ABOUT and then living them the next transformed under pressure, ready to burn. She fixed MTV, LOCAL the show into one of those special nights her eyes on the crowd. “Gonna play some SOUL ARTISTS when all of the planets seem aligned. And, ARE KEEPING new shit for you tonight,” she said. She of course, the music knocked us out in all THE TORCH began to sing—a leathery tenor, riveted OF OTIS the right ways. with anger. “You sell your soul like you sell REDDING For Ndegeocello, the gig was a coming- a piece of ass,” she intoned, beats churn- BURNING. -
Yvor Winters - Poems
Classic Poetry Series Yvor Winters - poems - Publication Date: 2004 Publisher: Poemhunter.com - The World's Poetry Archive Yvor Winters(1900 - 1968) Yvor Winters was born in Chicago in 1900 and died Palo Alto, California in 1968. He was studying at the University of Chicago when he was diagnosed as tubercular and had to relocate to Santa Fe, New Mexico, for his health. His early experimental poems, the striking one-line works in the imagist mode as well as the formalist works of his first two books, published in 1921 and 1922, were all written at a tuberculosis sanitarium. In 1923-24 he taught in the grade school and high school in the coal-mining camp towns of Madrid, and Cerillo, New Mexico. About that experience he remarked, in an introduction to his early poems, in 1966: "Accidents, many fatal, were common in the mines, from which union organizers were vigorously excluded and sometimes removed; drunken violence was a daily and nightly occurrence in both towns; mayhem and murder were discussed with amusement." Winters’s 15-part Fire Sequence, published in American Caravan in 1927, was a Williams-like exploration in free verse of aspects of this devastated community. The sequence caught the attention of, among others, Hart Crane and Allen Tate. In 1925, Winters enrolled at the University of Colorado (Boulder) where he obtained a B.A. and an M .A. in Romance languages. He married the poet and novelist Janet Lewis in 1926. His taught at University of Idaho in Moscow for two years, then entered Stanford University as a graduate student in 1927. -
Neuroscience, Modernism and the Intelligence of Poetry
Felt Thought: Neuroscience, Modernism and the Intelligence of Poetry by Matthew Paul Langione A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English and the Designated Emphases in Critical Theory and in Science and Technology Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Charles Altieri, Chair Professor Mitchell Breitwieser Professor Dorothy J. Hale Professor David A. Hollinger Professor John R. Searle Spring 2016 To Aynslie, M & D, Barry O’C, Jaime and the brothers G ~i~ TABLE OF CONTENTS Introduction…………………………………………………………………………………..1 Poetic Intelligence in the Age of Intelligent Machines Chapter I…………………………………………………………………………………….55 A Geometry of One’s Own Chapter II……………………………………………………………………………………97 Probability, Pragmatism and the Problem of Personality Chapter III…………………………………………………………………………………136 The Science of Sensibility Chapter IV…………………………………………………………………………………186 Prufrock and the Poetics of Observation Conclusion…………………………………………………………………………………242 Intelligent Examples Epilogue……………………………………………………………………………………248 Minding the Gap: The Value of Neuroscience to Literary Criticism Bibliography……………………………………………………………………………....289 ~ii~ ACKNOWLEDGMENTS A dissertation is a life’s work even if it springs into being in the white heat of a few months’ labor. My first debts, therefore, are to my parents, Paul and Joanne Langione, who put me in a position to dream of such a thing, to James Kloppenberg who gave me faith that I could do it, and to Barry O’Connell who never allowed me to forget how much it mattered if I did. I am indebted to Kathleen Moran who made it possible for me to come to Berkeley, and to Jennifer Hudin who made it impossible for me to leave. -
HART CRANE, THOM GUNN, and RICHARD SIKEN a Thesis
A TRADITION OF GAY SHAME: HART CRANE, THOM GUNN, AND RICHARD SIKEN A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Master of Arts in English By Tyler M. Michaud, B.S. Washington, D.C. March 15, 2019 Copyright 2019 by Tyler M. Michaud All Rights Reserved ii A TRADITION OF GAY SHAME: HART CRANE, THOM GUNN, AND RICHARD SIKEN Tyler M. Michaud, B.S. Advisor: Seth Perlow, Ph.D. ABSTRACT Why do many gay poets often stew in darkness? Gay shame led to Hart Crane’s death (1899-1932). For young Thom Gunn (1929-2004), gay shame played the role of an unwelcome bedmate that would persist well into the poet’s career, breaking into their bedside drawer, snatching up the diary, popping the lock with a bobby pin, and writing passages. The emotional and psychological damage had already been done to Gunn by the time they eventually came to terms with their gayness. Richard Siken (1967-) decided to represent men in love and lust for these portrayals are rare, according to them. While Crush accomplished this, it still posits male-male relationships as flawed, not for something inherently wrong with gayness itself, but because the world actively resists positive portrayals of gayness, even as the author seeks to represent them. Three generations of gay poets run into the same problem: to represent relationships between men as wholly positive. This thesis interrogates claims that we have achieved sexual equality, that we have overcome, and even erased, stigma attached to nonnormative sexuality, and, further and more specifically, that shame can become less disadvantageous if we simply choose to utilize its negative affects as generative modes of being and thinking. -
William Shakespeare
INSTITUTE OF DISTANCE & ONLINE LEARNING BACHELOR OF ARTS ENGLISH LITERATURE - I BAQ105 Self Learning Material R101 BACHELOR OF ARTS ENGLISH LITERATURE - I BAQ105 Dr. Manjushree Vikrant Sardeshpande CHANDIGARH UNIVERSITY Institute of Distance and Online Learning Course Development Committee Chairman Prof. (Dr.) R.S. Bawa Vice Chancellor, Chandigarh University, Punjab Advisors Prof. (Dr.) Bharat Bhushan, Director, IGNOU Prof. (Dr.) Majulika Srivastava, Director, CIQA, IGNOU Programme Coordinators & Editing Team Master of Business Administration (MBA) Bachelor of Business Administration (BBA) Co-ordinator - Prof. Pragya Sharma Co-ordinator - Dr. Rupali Arora Master of Computer Applications (MCA) Bachelor of Computer Applications (BCA) Co-ordinator - Dr. Deepti Rani Sindhu Co-ordinator - Dr. Raju Kumar Master of Commerce (M.Com.) Bachelor of Commerce (B.Com.) Co-ordinator - Dr. Shashi Singhal Co-ordinator - Dr. Minakshi Garg Master of Arts (Psychology) Bachelor of Science (Travel & Tourism Management) Co-ordinator - Ms. Nitya Mahajan Co-ordinator - Dr. Shikha Sharma Master of Arts (English) Bachelor of Arts (General) Co-ordinator - Dr. Ashita Chadha Co-ordinator - Ms. Neeraj Gohlan Master of Arts (Mass Communication and Bachelor of Arts (Mass Communication and Journalism) Journalism) Co-ordinator - Dr. Chanchal Sachdeva Suri Co-ordinator - Dr. Kamaljit Kaur Academic and Administrative Management Prof. (Dr.) Pranveer Singh Satvat Prof. (Dr.) S.S. Sehgal Pro VC (Academic) Registrar Prof. (Dr.) H. Nagaraja Udupa Prof. (Dr.) Shiv Kumar Tripathi Director – (IDOL) Executive Director – USB © No part of this publication should be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording and/or otherwise without the prior written permission of the author and the publisher. -
The Critical Method of Yvor Winters
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1965 The rC itical Method of Yvor Winters Richard William Bollman Loyola University Chicago Recommended Citation Bollman, Richard William, "The rC itical Method of Yvor Winters" (1965). Master's Theses. Paper 1911. http://ecommons.luc.edu/luc_theses/1911 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. Copyright © 1965 Richard William Bollman THE CRITICAL METHOD OF nOR WINTERS by Richard William Bollman, S.J. A Thesis Submitted to the Faculty ot the Graduate School ot Loyola University in Partial. FultUlment ot the Req~nts tor the Degree of Master ot Arts January 1965 AUTHOR'S LIFE Richard William Bollman, S.J., was bom in Cincinnati, Ohio, March 1.3, 19.38. He attended St. Clement and St. saviour parish schools in the Ci.""1cinnati suburbs, and we.s graduated trom the latter in June, 1952. The tollowing September he entered St. Xavier High School. Atter graduation in 19.$6, he entered the Jesuit Novitiate at Milford, Ohio, and was enrolled in the College ot Arts of Xavier UniverSity. In August, 1960, he entered West Baden College and was enrolled in the Bachelor ot Arts course ot Loyola University, Chicago. He received the Bachelor's degree in June, 1961 .. and that same month entered the Graduate School ot Loyola University to pursue studies tor the degree ot Master ot Arts. -
Between Poetic Voice and Silence: Hart Crane, Yvor Winters, Metapoetics and Emily Dickinson’S Legacy
Text Matters: A Journal of Literature, Theory and Culture Number 10 Literature Goes Pop / Literar(t)y Article 19 Matters 11-24-2020 Between Poetic Voice and Silence: Hart Crane, Yvor Winters, Metapoetics and Emily Dickinson’s Legacy Alicja Piechucka University of Lodz Follow this and additional works at: https://digijournals.uni.lodz.pl/textmatters Part of the American Literature Commons, and the Literature in English, North America Commons Recommended Citation Piechucka, Alicja. "Between Poetic Voice and Silence: Hart Crane, Yvor Winters, Metapoetics and Emily Dickinson’s Legacy." Text Matters: A Journal of Literature, Theory and Culture, no.10, 2020, pp. 336-363, doi:10.18778/2083-2931.10.19 This Article is brought to you for free and open access by the Arts & Humanities Journals at University of Lodz Research Online. It has been accepted for inclusion in Text Matters: A Journal of Literature, Theory and Culture by an authorized editor of University of Lodz Research Online. For more information, please contact [email protected]. Text Matters, Number 10, 2020 http://dx.doi.org/10.18778/2083-2931.10.19 Alicja Piechucka University of Lodz Between Poetic Voice and Silence: Hart Crane, Yvor Winters, Metapoetics and Emily Dickinson’s Legacy A BSTR A CT The article is a comparative study of the ways in which two American modernist poets bound by a literary and human connection, Hart Crane and Yvor Winters, dealt with Emily Dickinson’s legacy in their own works. My study is an attempt to place Crane within the legacy of the American Renaissance as represented not by Walt Whitman, with whom he is customarily associated, but by Dickinson, and to examine the special place she holds in Crane’s poetry and in his thinking about poetry and the world at large.