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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. -
Galaxy: International Multidisciplinary Research Journal the Criterion: an International Journal in English ISSN: 0976-8165
About Us: http://www.the-criterion.com/about/ Archive: http://www.the-criterion.com/archive/ Contact Us: http://www.the-criterion.com/contact/ Editorial Board: http://www.the-criterion.com/editorial-board/ Submission: http://www.the-criterion.com/submission/ FAQ: http://www.the-criterion.com/fa/ ISSN 2278-9529 Galaxy: International Multidisciplinary Research Journal www.galaxyimrj.com www.the-criterion.com The Criterion: An International Journal in English ISSN: 0976-8165 The Creative Dominance: Probing the Presence of Black Colour as the Condition for Imaginative Activity in Wallace Stevens’Harmonium Sruthi B Peet Memorial Training College Mavelikara, Kerala The raging ocean that covered everything was engulfed in total darkness, and the power of God was moving over the water. Then God commanded “Let there be light” –and light appeared. God was pleased with what he saw. Then he separated the light from darkness, and he named the day “light” and the darkness “night”. (Genesis 1:1-5) In the biblical account of creation, black preceded the creation of light. Even the big bang theory won’t prove the precedence of darkness wrong. This primordial colour in mythologies is related to fertility.In Black: The History of a Color, Pastoureau mentions that: This originary black is also found in other mythologies, not only in Europe but also in Asia and Africa. It is often fertile and fecund, as the Egyptian black that symbolizes the silt deposited by the waters of the Nile, with its beneficial floods that are anticipated hopefully each year, it is opposite of the sterile red of the desert sand. -
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. -
6 X 10.Long New.P65
Cambridge University Press 978-0-521-19086-2 - Wallace Stevens and the Aesthetics of Abstraction Edward Ragg Index More information Index abstraction Stevens’ embracing of 4, 77, 87, 97, 182, autotelic abstraction 213 184–5 and the bourgeois 5, 97, 107, 148, 162, 165, in Stevens’ later career 2–3, 99, 185, 209 167, 203, 231 Stevens’ modifying of 5, 11, 143, 165, 166, ‘cool’ and ‘warm’ abstraction 2, 5, 20, 24, 172, 174, 229 25, 167, 205, 213, 230 and textual speakers 4, 27, 55, 58, 60, 63, and domesticity 5, 25, 146, 210, 216, 218, 66–76, 77, 86, 87, 90, 95, 97, 98, 109, 220, 221, 223, 225, 229 110, 111, 112, 114, 118, 119, 121, 126, 127, expressions of 4, 25, 28, 210 131, 134, 135, 156, 229, See also idealist ‘I’ and gastronomy. See gastronomy and time 91, 102, 189–98 as generalization 18, 19, 23 and the visual 19, 26–7, 60, 76, 86, 94, 95–7 and the habitual 83, 94, 133, 227 Aestheticism 7 as human task 8, 26, 132, 179, 205, 229 Alcestis Press, The 31, 36, 49, 55, 56, 155 and idealism. See philosophy for ‘idealism’ Altieri, Charles 6, 23, 26–7, 28, 80, 134, 142 and inhumanity 8, 138, 203 Arensberg, Walter 218 and mediation 76, 94, 98, 134, 163, 170, 172, Ariadne 126, 127–9 174, 180, 183, 199 Armory Show, The 209, 212 and mental processes 5 Arnold, Matthew 80, 81 and metaphor 103, 176–8, 185–203 Arp, Jean 213–14 misunderstandings concerning 4, 9, 133 art and art-collecting. -
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. -
Coleridge and Wordsworth
Durham E-Theses Inescapable choice: Wallace Stevens's new Romanticism and English romantic poetry Tomioka, Noriko How to cite: Tomioka, Noriko (2006) Inescapable choice: Wallace Stevens's new Romanticism and English romantic poetry, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2607/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Inescapable Choice: Wallace Stevens's New Romanticism and English Romantic Poetry The copyright of this thesis rests with the author or the university to which It was submitted. No quotation from It, or lnfonnatlon derived from It may be published without the prior written consent of the author or university, and any lnfonnatlon derived from It should be acknowledged. Noriko Tomioka A thesis submitted to the University of Durham in accordance with the regulations for admittance to the Degree of Doctor of Philosophy Department of English Studies University of Durham September 2006 1 7 APR 2007 To my mother Out of this same light, out of the central mind, We make a dwelling in the evening air, In which being there together is enough. -
Postprint : Author's Final Peer-Reviewed Version
This item is the archived peer-reviewed author-version of: Windblown ceremonies in search of Vocalissimus: an interview with Matt Barber on his composition To the roaring wind Reference: Eeckhout Bart.- Windblow n ceremonies in search of Vocalissimus: an interview w ith Matt Barber on his composition To the roaring w ind The Wallace Stevens journal - ISSN 0148-7132 - Baltimore, Johns hopkins univ press, 43:2(2019), p. 152-167 Full text (Publisher's DOI): https://doi.org/10.1353/WSJ.2019.0019 To cite this reference: https://hdl.handle.net/10067/1642630151162165141 Institutional repository IRUA WSJ 43.2 Interview - 1 Windblown Ceremonies in Search of Vocalissimus: An Interview with Matt Barber on His Composition To the Roaring Wind BART EECKHOUT MATT BARBER is a composer, performer, and teacher who studied at the Juilliard School in New York and the University of Rochester’s Eastman School of Music. He plays the bassoon and the recorder, is a conductor with a repertoire ranging from Bach to Xenakis, and has taught composition and computer music courses at various institutions. In 2011, Matt published a 22- minute song cycle for soprano and percussion ensemble entitled To the Roaring Wind. Curious to find out more, we decided to get in touch with him in the context of this special issue. He embraced our suggestion of an interview, which was conducted by e-mail in the spring of 2019. To allow us to prepare for the conversation, Matt sent us the musical score as well as a weblink to a recording with scrolling score.1 For those readers who find score-gazing unhelpful or distracting, a stage recording of a 2011 performance, on the occasion of the work’s premiere, is also available online.2 Bart Eeckhout: Because the readers of this journal can’t be expected to be knowledgeable about contemporary composers, let’s start with a few questions about yourself. -
The Aspiring Clown of Wallace Stevens: a Study of 'The Omedic an As the Letter C' As Preliminary Statement
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1966 The Aspiring Clown of Wallace Stevens: a Study of 'The omediC an as the Letter C' as Preliminary Statement. George Stephan Lensing Jr Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Lensing, George Stephan Jr, "The Aspiring Clown of Wallace Stevens: a Study of 'The omeC dian as the Letter C' as Preliminary Statement." (1966). LSU Historical Dissertations and Theses. 1157. https://digitalcommons.lsu.edu/gradschool_disstheses/1157 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been „„ nrxrt 66-1U.9U7 microfilmed exactly as received LENSING, Jr., George Stephan, 1940- THE ASPIRING CLOWN OF WALLACE STEVENS: A STUDY OF ’’THE COMEDIAN AS THE LETTER C" AS PRELIMINARY STATEMENT. Louisiana State University, Ph.D., 1966 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan THE ASPIRING CLOWN OP WALLACE STEVENS* A STUDY- OP "THE COMEDIAN AS THE LETTER C" AS PRELIMINARY STATEMENT A Dissertation Submitted to the Graduate Faoulty of the Louisiana State University and Agricultural and Meohanioal College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by George Stephan Lensing, Jr. B.A., University of Notre Dame. 1962 May, 1966 ACKNOWLEDGMENT For his professional assistance and generous personal encouragement In the completion of this work, I wish to acknowledge my gratitude to my adviser, teacher, and friend, Dr. -
L I T E R a T U R E a N D R E L I G I
Literature and Religion DR. DAVID WILSON- OKAMURA ENGLISH 3640 AUTUMN 2007 EAST CAROLINA UNIV. “Every judge who judges a judgement of truth, true to the truth of the matter, causes the glory of God to dwell in Israel.” —Babylonian Talmud, Sanhedrin 7a Aug. 22 W Introduction (what this class is not) 24 F G. K. CHESTERTON, The Man Who Was Thursday, chs. 1–4 (pp. 1–29) 27 M Thursday, chs. 5–9 (pp. 29–68) 29 W Thursday, chs. 10–12 (pp. 68–97) 31 F Thursday, chs. 13–15 (pp. 97–120) Sept. 3 M Labor Day (no class) 5 W Thomas HARDY, “Hap,” “Nature’s Questioning,” “The Subalterns,” “God’s Education” 7 F “The Levelled Churchyard,” “Channel Firing,” “Transformations,” “Ah, are you digging?” 10 M “Neutral Tones,” “I Found Her Out There,” “The Haunter,” “The Voice” 12 W “The Masked Face,” “The Shadow on the Stone,” “The Impercipient” (not in book; google it) 14 F “The Darkling Thrush,” “The Rambler,” “The Oxen,” “Overlooking the River Stour” 17 M Gerard Manley HOPKINS, “Heaven-Haven,” “God’s Grandeur,” “Spring,” “Morning Midday and Evening Sacrifice” 19 W “Pied Beauty,” “Hurrahing in Harvest,” “Binsey Poplars” 21 F “Spring and Fall,” “No worst, there is none,” “Carrion Comfort,” “Thou art indeed just, Lord” 24 M “The Sea and the Skylark,” “The Windhover,” “The Caged Skylark” 26 W “Inversnaid,” “As kingfishers catch fire,” “Andromeda,” “My own heart let me have more pity on” 28 F T. S. ELIOT, “The Love Song of J. Alfred Prufrock” Oct. 1 M The Waste-Land, pts. 1 and 2 (see also Eliot’s notes at the end) 3 W The Waste-Land, pts. -
Wallace Stevens, James Merrill, and the Way of the Dandy
INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9020155 Stevens, James Merrill, and the way of the dandy Fuller, Janice Moore, Ph.D. The University of North Carolina at Greensboro, 1989 UMI 300 N. -
The Impersonal Modes of Ezra Pound and Wallace Stevens
Durham E-Theses The Impersonal Modes of Ezra Pound and Wallace Stevens BAKER, JACK How to cite: BAKER, JACK (2014) The Impersonal Modes of Ezra Pound and Wallace Stevens, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/10773/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk The Impersonal Modes of Ezra Pound and Wallace Stevens Jack Baker Submitted for a Phd Department of English Literature Durham University February 2014 Statement of Copyright The copyright of this thesis rests with the author. No quotation from it should be published without the author’s prior written consent and information derived from it should be acknowledged. The Impersonal Modes of Ezra Pound and Wallace Stevens Abstract This thesis examines the impersonal modes refined by Ezra Pound and Wallace Stevens. It argues that these major poets, commonly placed at opposite ends of the spectrum of modernism, share important formal and thematic preoccupations. -
ABSTRACT Title of Dissertation: TEXTBOOK COMPOSERS: a PERFORMANCE STUDY of AMERICAN MODERNISM
ABSTRACT Title of Dissertation: TEXTBOOK COMPOSERS: A PERFORMANCE STUDY OF AMERICAN MODERNISM Josiah Stocker, Doctor of Musical Arts, 2019 Dissertation Directed By: Professor Rita Sloan University of Maryland School of Music, Piano Division The technical difficulties we face and the interpretive decisions we make when playing 20 th century music are essentially the same as with music from earlier periods. When playing more recent works, we benefit from first-hand accounts which are more readily available, and have greater interpretive freedom in playing music that does not have an established tradition. Studying a composer’s writings on theory will aid in analyzing a piece which may not follow traditional rules of form and harmony, and descriptions by their contemporaries can help us in understanding the printed markings in pieces which contain improvisation, extended techniques, or other unusual instructions. For my dissertation, I have addressed some difficulties unique to American music from the early- to mid-twentieth century. I selected music for three programs, using scores, the writings of composers, critics, and performers, as well as recordings, in my background research. My program notes document this process, and present conclusions which I hope will be useful to other musicians. The repertoire includes art song, chamber music, and solo piano music by Henry Cowell, Elliott Carter, and Vincent Persichetti. These three composers wrote books and essays about the theoretical and artistic ideas behind their own music and that of their contemporaries. Cowell’s groundbreaking New Musical Resources gave a remarkably concise and prescient overview of possible innovations in rhythm, texture, and harmony, many of which are worked out in his later compositions.