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By Way of Old Petersburg: Desmond O'grady and Russian Poetry
VTU Review: Studies in the Humanities and Social Sciences Volume 5 Issue 1 2021 “St. Cyril and St. Methodius” University of Veliko Tarnovo By Way of Old Petersburg: Desmond O’Grady and Russian Poetry Alla Kononova University of Tyumen The article takes on a direction which has great potential for further studies of contemporary Irish poetry: studying the work of Irish poets through their relation to Russian literature. It focuses on the reception and reimagining of Russian poetry in the work of Desmond O’Grady, one of the leading figures in Irish poetry, who started writing in the mid-1950s. The article studies three poems by O’Grady which are ad- dressed to his Russian counterparts: “Missing Andrei Voznesensky,” “Joseph Brodsky Visits Kinsale,” and “My City,” a translation from Anna Akhmatova’s “Poem without a Hero.” None of these poems has yet been subject of thorough critical analysis. Each of the poems has become a signpost on O’Grady’s poetic map and an important element of his own “private mythology.” When analysed in the wider context of Irish poetry, they help form a clearer picture of the influence Russian literature has had on contemporary Irish poets. Keywords: comparative literature, Irish literature, contemporary Irish poetry, Desmond O’Grady, Irish-Russian literary connections, Andrei Voznesensky, Joseph Brodsky, Anna Akhmatova. Desmond O’Grady (1935–2014) is one of the most remarkable figures in Irish poetry of the twentieth and twenty-first centuries. He is sometimes described as a phenomenon “unusual among Irish poets of his generation for both his interest in modernist experimentation and his immersion in the poetry of other cultures” (Mills). -
Introduction the Surreal Without Surrealism
INTRODUCTION The Surreal without Surrealism The time will come, if it is not already come, when the surrealist enterprise:': will be studied and evaluated, in the history of literature, as an adventure of hope. —Wallace Fowlie, Age of Surrealism Indubitably, Surrealism and the GDR are closely connected, and are more closely related to each other than one might think. When, for example, one listens to the recollections and reads the memoirs of those who lived in this country, apparently no other conclusion can be drawn. Life in the East German Communist state had a surrealistic disposition, was associated with the grotesque, absurd and irrational. Admittedly, Surrealism did not exist in the GDR. Not only are the insights of Hans Magnus Enzensberger and Peter Bürger on the death of the historical avant-garde convincing and applicable to the GDR;1 it is also significant that no German artist or writer who considered him- or herself a Surrealist prior to 1945 returned from exile to settle in the SBZ or the GDR. Most of the celebrities of German Surrealism during the Weimar Republic were forced to go into exile or did not return to Germany at all. Max Ernst, for example, remained living in the USA, and then in 1953 moved to his wife’s old quarters in Paris; Hans Arp decided to live in Switzerland, and in 1949 chose the USA as his home country. Others who had lived through and survived Hitler’s Germany had to face the harsh demands of National Socialist cultural politics that downgraded the avant-garde to the status of Entartete Kunst, or degenerate art, and sidelined and even terrorized its representatives. -
Und Umtriebe Des Übersetzers Richard Pietraß Der Schriftsteller Un
1 Andreas F. Kelletat Pilgerfahrt ins Land der Poesie Die An- und Umtriebe des Übersetzers Richard Pietraß (Laudatio auf Richard Pietraß aus Anlass der Verleihung des Übersetzerpreises Ginkgo-Biloba für Lyrik im Hilde- Domin-Saal der Stadtbücherei Heidelberg, 30. September 2020) Der Schriftsteller und der Übersetzer, der Dichter und der Nachdichter Richard Pietraß hatte seine ersten weiterhin sichtbaren Veröffentlichungen in drei einander folgenden Ausgaben einer von Bernd Jentzsch herausgegebenen Lyrikreihe namens Poesiealbum. 90 Pfennige kosteten die Hefte und sie wurden in einer Auflage von 10.000 Exemplaren nicht nur in Buchhandlungen, sondern sogar an Zeitungskiosken verkauft. Jeden Monat gab es ein neues, eine neue Stimme im Chor der Lyrik. Im Heft Nr. 81 mit Gedichten Marina Zwetajewas erschien im Juni 1974 Pietraß‘ erste Übersetzung aus dem Russischen, im August 1974 in Heft 83 seine Nachdichtung eines Lappland-Poems des norwegischen Dichters Nordahl Grieg und in Heft 82 wurde Richard Pietraß im Juli 1974 mit eigenen Gedichten vorgestellt. Worum es ihm in seiner Poesie geht, steht auf der Innenklappe des Heftes vom Juli 1974: „Das Leben trifft uns, wie uns wahre Kunst betroffen macht. Daraus entstehen Gedichte. Immer gilt es, den Raum des Sagbaren, letztlich Lebbaren, zu erweitern.“ Ein Mittel, den „Raum des Sagbaren […] zu erweitern“, wurde für ihn neben dem eigenen Schreiben von Gedichten auch das Übersetzen und das Nachdichten. Dabei schärfte er mitunter die Aussage der Originale und ließ so die Aktualität eines Gedichts etwa von Boris Sluzki oder Nikolai Sabolozki aufblitzen. In den Poesiealben vom Juni und August 1974, die von Fritz Mierau (Zwetajewa) und Sieglinde Mierau (Grieg) zusammengestellt wurden, ist Pietraß mit jeweils nur einem Gedicht vertreten; die anderen wurden von anderen Dichtern ins Deutsche gebracht, von Heinz Czechowski, Adolf Endler, Elke Erb, Bernd Jentzsch, Rainer Kirsch, Sarah Kirsch und Reiner Kunze. -
My Children, Teaching, and Nimrod the Word
XIV Passions: My Children, Teaching, and Nimrod The word passion has most often been associated with strong sexual desire or lust. I have felt a good deal of that kind of passion in my life but I prefer not to speak of it at this moment. Instead, it is the appetite for life in a broader sense that seems to have driven most of my actions. Moreover, the former craving is focused on an individual (unless the sexual drive is indiscriminant) and depends upon that individual for a response in order to intensify or even maintain. Fixating on my first husband—sticking to him no matter what his response, not being able to say goodbye to him —almost killed me. I had to shift the focus of my sexual passion to another and another and another in order to receive the spark that would rekindle and sustain me. That could have been dangerous; I was lucky. But with the urge to create, the intense passion to “make something,” there was always another outlet, another fulfillment just within reach. My children, teaching, and Nimrod, the journal I edited for so many years, eased my hunger, provided a way to participate and delight in something always changing and growing. from The passion to give birth to and grow with my children has, I believe, been expressed in previous chapters. I loved every aspect of having children conception, to the four births, three of which I watched in a carefully placed mirror at the foot of the hospital delivery room bed: May 6, 1957, birth of Leslie Ringold; November 8, 1959, birth of John Ringold; August 2, 1961: birth of Jim Ringold; July 27, 1964: birth of Suzanne Ringold (Harman). -
Table of Contents
Table of Contents Where in the World? Introduction to Selections and Research Focus .................. 1 The Art of Translation by Khaled Mattawa ................................ 2 UNIT ONE The Americas The Literature of the Americas by Kimberly Koza Harris ..................... 4 Literary Map of the Americas ...................................... 6 An American Classic: Aztec Creation Story ..................... 8 Oral Traditions Aztec Creation Story traditional story ................... 9 Literary Lens: Juxtaposition Focus on Research: Summarize Findings ................... 14 The Literature of Canada ...................................... 15 N Saul Bellow Herzog novel .................................... 16 Literary Lens: Interior Monologue Focus on Research: Quote Sources ...................... 19 Margaret Atwood At the Tourist Centre in Boston short story ............. 20 Literary Lens: Tone Focus on Research: Conduct a Survey .................... 23 N Alice Munro Day of the Butterfly short story ....................... 24 Literary Lens: Theme Focus on Research: Use a Variety of Sources ................ 35 The Literature of Mexico ...................................... 36 Juan Rulfo You Don't Hear Dogs Barking short story ............... 37 Literary Lens: Imagery Focus on Research: Generate Questions ................... 41 N Octavio Paz Two Bodies poem ................................ 42 Literary Lens: Metaphor Focus on Research: Develop a Thesis Statement.............. 44 Carlos Solórzano Crossroads: A Sad Vaudeville drama ................. -
The East German Writers Union and the Role of Literary Intellectuals In
Writing in Red: The East German Writers Union and the Role of Literary Intellectuals in the German Democratic Republic, 1971-90 Thomas William Goldstein A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History. Chapel Hill 2010 Approved by: Konrad H. Jarausch Christopher Browning Chad Bryant Karen Hagemann Lloyd Kramer ©2010 Thomas William Goldstein ALL RIGHTS RESERVED ii Abstract Thomas William Goldstein Writing in Red The East German Writers Union and the Role of Literary Intellectuals in the German Democratic Republic, 1971-90 (Under the direction of Konrad H. Jarausch) Since its creation in 1950 as a subsidiary of the Cultural League, the East German Writers Union embodied a fundamental tension, one that was never resolved during the course of its forty-year existence. The union served two masters – the state and its members – and as such, often found it difficult fulfilling the expectations of both. In this way, the union was an expression of a basic contradiction in the relationship between writers and the state: the ruling Socialist Unity Party (SED) demanded ideological compliance, yet these writers also claimed to be critical, engaged intellectuals. This dissertation examines how literary intellectuals and SED cultural officials contested and debated the differing and sometimes contradictory functions of the Writers Union and how each utilized it to shape relationships and identities within the literary community and beyond it. The union was a crucial site for constructing a group image for writers, both in terms of external characteristics (values and goals for participation in wider society) and internal characteristics (norms and acceptable behavioral patterns guiding interactions with other union members). -
Forwards and Don't Forget Beatrice E. Stammer Feminism Is Neither a Style Nor a Movement, but Rather a Value System, a Revolu
Forwards and Don’t Forget Beatrice E. Stammer Feminism is neither a style nor a movement, but rather a value system, a revolutionary strategy, a standard of living. (1) In 2009, twenty years after the fall of the wall, female artists from the GDR are still mostly unknown. Up until today, few are to be found in museums or at art fairs. Their work also seldom appears in contemporary exhibitions and are only sparingly represented even in large exhibitions surveying art in the GDR – “Where have the female visual artists” (2) gone to? Why were the majority (of female artists) regarded much less than their male colleagues already in their own land and with few exceptions completely ignored since the fall of the wall? When in the 1980s a young generation of artists in Berlin (East), Leipzig and Erfurt or Dresden, confidently and subversively protested against every single monopolization and standardization, it was these artists in particular, who let this “ego perspective” stubbornly and unbridled take its course and who were motivated to leave behind the web of stipulated (female) standards of living. The non-conformist art scene of the GDR is characterized by a vehement questioning, a collective retreat and departure in which – due to the walls – however limited alternatives resulted, where life and art flowed together. And female artists played a considerable part in this development. Despite this often radical departure of both young female and male artists in the GDR however, gender relations remained traditionally inscribed and untouched. “Women therefore never seriously threatened the rules of the male dominated society that were embedded in the deep structures of the culture.” (3) Even in so-called avant- garde circles neither the women nor the men questioned the division of gender roles. -
Unofficial Journals from the People’S Republic of China (PRC)
Unofficial Poetry Journals from the People’s Republic of China: A Research Note and an Annotated Bibliography By Maghiel van Crevel, Leiden University MCLC Resource Center Publication (Copyright 2007) Acknowledgments & introductory remarks 2 UNOFFICIAL POETRY 3 Official 3 Unofficial and underground 4 From underground to overground: what publication means 5 Significance 6 Translations: unofficial , non-official or samizdat ? 7 Related terms 8 Proscription and permission 9 Physical quality, circulation and collections 11 Avant-garde: aesthetics and institutions 12 Official and unofficial: institutions and aesthetics 13 Avant-garde ≈ unofficial? 14 From antagonism to coexistence 14 Unofficial institutions 15 Other media and genres 15 COLLECTING 16 An archive of avant-garde poetry 16 Representativeness 16 THE BIBLIOGRAPHY 18 A crude record 18 Scope 19 Information, conventions and use 20 The goods: a bird’s-eye view 24 The goods: the full record 28 GLOSSARY OF CHINESE NAMES 62 Glossary proper 62 Alternative transcriptions 65 WORKS CITED 67 Unofficial Poetry Journals from the People’s Republic of China A Research Note and an Annotated Bibliography – 2 Acknowledgments I am deeply grateful to the many Chinese poets, critics and other readers who made me realize the significance of unofficial poetry journals, and went on to help me find the publications recorded in this document. They are too numerous to list here, but may rest assured that, as these journals became part of an archive of avant-garde poetry from China, progress has been made toward -
Freedom from Violence and Lies Essays on Russian Poetry and Music by Simon Karlinsky
Freedom From Violence and lies essays on russian Poetry and music by simon Karlinsky simon Karlinsky, early 1970s Photograph by Joseph Zimbrolt Ars Rossica Series Editor — David M. Bethea (University of Wisconsin-Madison) Freedom From Violence and lies essays on russian Poetry and music by simon Karlinsky edited by robert P. Hughes, Thomas a. Koster, richard Taruskin Boston 2013 Library of Congress Cataloging-in-Publication Data: A catalog record for this book as available from the Library of Congress. Copyright © 2013 Academic Studies Press All rights reserved ISBN 978-1-61811-158-6 On the cover: Heinrich Campendonk (1889–1957), Bayerische Landschaft mit Fuhrwerk (ca. 1918). Oil on panel. In Simon Karlinsky’s collection, 1946–2009. © 2012 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Published by Academic Studies Press in 2013. 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com Effective December 12th, 2017, this book will be subject to a CC-BY-NC license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/. Other than as provided by these licenses, no part of this book may be reproduced, transmitted, or displayed by any electronic or mechanical means without permission from the publisher or as permitted by law. The open access publication of this volume is made possible by: This open access publication is part of a project supported by The Andrew W. Mellon Foundation Humanities Open Book initiative, which includes the open access release of several Academic Studies Press volumes. To view more titles available as free ebooks and to learn more about this project, please visit borderlinesfoundation.org/open. -
Study Guide for German – Cultural Competency Assessment
Study Guide for German – Cultural Competency Assessment Geography . Identifying and locating Germany, Austria, Switzerland, Liechtenstein . Identifying major geographical features of the countries mentioned above River and lakes Mountain ranges Regions Major cities and harbors . Recognizing major agricultural and industrial regions of the German-speaking world Lifestyles and Societies . Contemporary lifestyles Food Traditional dishes and specialities Regional specialities Mealtimes Times and names of meals Customs Meeting people Visiting people Greeting people Behavior in public places Holidays Religious holidays such as -karfreitag und Ostern -Pfingsten -Fronleichnam -BuB- und Bettag -Weihnachten Public holidays -Tag der Arbeit(1. Mai) -Tag der Deutschen Einheit(3. Oktober) -Schweizerischer Nationaltag (1. August) Family relationships -Families and their homes -Relationships with people outside the family -Vacations/holidays Education -School systems -Higher education Regional variations -Specialties Foreign influences -Relations with others European countries -Immigration questions in Germany, Switzerland, and Austria -Monetary units (Euro and Swiss Frank) Sociolinguistic Elements of German . Social interaction patterns Customary usage of certain expressions in specific situations, particularly in public places . Language appropriate to a given task or audience Formal situations Use of Sie as opposed to du Informal situations Familiar expressions and forms Colloquial language . Body language Common gestures -
Opera & Ballet 2017
12mm spine THE MUSIC SALES GROUP A CATALOGUE OF WORKS FOR THE STAGE ALPHONSE LEDUC ASSOCIATED MUSIC PUBLISHERS BOSWORTH CHESTER MUSIC OPERA / MUSICSALES BALLET OPERA/BALLET EDITION WILHELM HANSEN NOVELLO & COMPANY G.SCHIRMER UNIÓN MUSICAL EDICIONES NEW CAT08195 PUBLISHED BY THE MUSIC SALES GROUP EDITION CAT08195 Opera/Ballet Cover.indd All Pages 13/04/2017 11:01 MUSICSALES CAT08195 Chester Opera-Ballet Brochure 2017.indd 1 1 12/04/2017 13:09 Hans Abrahamsen Mark Adamo John Adams John Luther Adams Louise Alenius Boserup George Antheil Craig Armstrong Malcolm Arnold Matthew Aucoin Samuel Barber Jeff Beal Iain Bell Richard Rodney Bennett Lennox Berkeley Arthur Bliss Ernest Bloch Anders Brødsgaard Peter Bruun Geoffrey Burgon Britta Byström Benet Casablancas Elliott Carter Daniel Catán Carlos Chávez Stewart Copeland John Corigliano Henry Cowell MUSICSALES Richard Danielpour Donnacha Dennehy Bryce Dessner Avner Dorman Søren Nils Eichberg Ludovico Einaudi Brian Elias Duke Ellington Manuel de Falla Gabriela Lena Frank Philip Glass Michael Gordon Henryk Mikolaj Górecki Morton Gould José Luis Greco Jorge Grundman Pelle Gudmundsen-Holmgreen Albert Guinovart Haflidi Hallgrímsson John Harbison Henrik Hellstenius Hans Werner Henze Juliana Hodkinson Bo Holten Arthur Honegger Karel Husa Jacques Ibert Angel Illarramendi Aaron Jay Kernis CAT08195 Chester Opera-Ballet Brochure 2017.indd 2 12/04/2017 13:09 2 Leon Kirchner Anders Koppel Ezra Laderman David Lang Rued Langgaard Peter Lieberson Bent Lorentzen Witold Lutosławski Missy Mazzoli Niels Marthinsen Peter Maxwell Davies John McCabe Gian Carlo Menotti Olivier Messiaen Darius Milhaud Nico Muhly Thea Musgrave Carl Nielsen Arne Nordheim Per Nørgård Michael Nyman Tarik O’Regan Andy Pape Ramon Paus Anthony Payne Jocelyn Pook Francis Poulenc OPERA/BALLET André Previn Karl Aage Rasmussen Sunleif Rasmussen Robin Rimbaud (Scanner) Robert X. -
Sundman Wrote in an Article in 1970 ("Om Att Overtolka" BLM)
40. Sundman wrote in an article in 1970 ("Om att overtolka" B.L.M.) that Olle Stensson, the "I" of Tvl1 dagar, tv8 natter, is not a wholly reliable narrator. He gives obviously wrong information time and again. So even if we read the text very closely we still have this extra factor to contend with. But this is the strength of Sundman's writing. We are given exact descriptions of physical events, but there are almost no metaphors and no vague formulations about moral or aesthetic values. We aren't even sure when an action begins and ends. We don't know what is of particular significance. The result is that we read everything carefully, not wanting to miss any clues. We also come to realise that our interpretations will differ from those of other readers; that because of what we are we'll notice or respond to some details and not others. In the end this leads at best to a realisation of the fact that no event is an open and shut case, which must surely be a healthy sign in a community which values human rights. The following English translations of Sundman's novels have appeared: The Expedz"tz"on (ExpeditionenJ 1967, Seeker and Warburg. Two Days, Two Nz"ghts (Tva dagar, tvt natter) 1969 Panthean books. The Fl£ght of the Eagle (Ingenjor Andrees luftfard) 1970 Seeker and Warburg. Some Contemporary Swedish and Danish Literature in the National Library of Scotlann Stephen Holland Traditionally the purchasing policy of the ~ational Library has treated emerging authors with caution.