Papers of Muriel Rukeyser
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Title of Thesis Or Dissertation, Worded
“THE STEP OF IRON FEET”: FORMAL MOVEMENTS IN AMERICAN WORLD WAR II POETRY by RACHEL LYNN EDFORD A DISSERTATION Presented to the Department of English and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy September 2011 DISSERTATION APPROVAL PAGE Student: Rachel Lynn Edford Title: “The Step of Iron Feet”: Formal Movements in American World War II Poetry This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of English by: Karen Jackson Ford Chairperson John Gage Member Paul Peppis Member Cecilia Enjuto Rangel Outside Member and Kimberly Andrews Espy Vice President for Research & Innovation/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded September 2011 ii © 2011 Rachel Lynn Edford iii DISSERTATION ABSTRACT Rachel Lynn Edford Doctor of Philosophy Department of English September 2011 Title: “The Step of Iron Feet”: Formal Movements in American World War II Poetry Approved: _______________________________________________ Karen Jackson Ford We have too frequently approached American World War II poetry with assumptions about modern poetry based on readings of the influential British Great War poets, failing to distinguish between WWI and WWII and between the British and American contexts. During the Second World War, the Holocaust and the bombings of Hiroshima and Nagasaki obliterated the line many WWI poems reinforced between the soldier’s battlefront and the civilian’s homefront, authorizing for the first time both civilian and soldier perspectives. Conditions on the American homefront—widespread isolationist and anti-Semitic attitudes, America’s late entry into the war, the bombing of Pearl Harbor, the Japanese internment, and the African American “Double V Campaign” to fight fascism overseas and racism at home—were just some of the volatile conditions poets in the US grappled with during WWII. -
American Women Writers and the Spanish Civil War
INFORMATION TO USERS This manuscript has been reproduced 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 comer and continuing from left to right in equal sections with small overlaps. 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. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The Autobiographical Witness: American Women Writers and the Spanish Civil War By Patricia Grace King Doctor of Philosophy Department of English */~7j W alter Kalaidji Adviser Deepika Petraglia-Bahri Committee Member ik/7- Mark Sanders Committee Member Dean of the Graduate School Date Reproduced with permission of the copyright owner. -
Modernist Realisms in Close up and Life and Letters To-Day, 1927-1939
CORE Metadata, citation and similar papers at core.ac.uk Provided by Royal Holloway - Pure 1 Rethinking the Real: Modernist Realisms in Close Up and Life and Letters To-day, 1927-1939 Sarah May Ling Chadfield Thesis submitted to Royal Holloway, University of London for the degree of Doctor of Philosophy September 2016 2 Declaration of Authorship I, Sarah May Ling Chadfield, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. 23 September 2016 3 Abstract This thesis analyses the work of the POOL group – Kenneth Macpherson, Bryher, H.D., and Robert Herring, with the addition of Muriel Rukeyser – in terms of the modernist realisms that were emerging in the context of the journals Close Up (1927-1933) and Life and Letters To-day (1935-1950). Starting from the premise that the modern age was concerned with representing new forms of reality, it is argued that writers’ invocations of ‘the real’ signal those points in modernism where meanings coalesce. The thesis has four chapters. The first three argue that the real was a central concept in Close Up: Macpherson and Bryher believed that films had the potential to capture ‘real’ psychology, and often expressed this through idiosyncratic psychoanalytic readings of cinema; while H.D. thought that film, like other artworks, could loosen the binds of a singular reality and allow access to multiple realities simultaneously. These ideas were articulated and reconfigured in their writings for both journals and their other works from the period. -
History, Memory, and the Literary Left Modern American Poetry, 1935–1968 by John Lowney
History, Memory, and the Literary Left Modern American Poetry, 1935–1968 by John Lowney contemporary north american poetry series history, memory, and the literary left contemporary north american poetry series Series Editors Alan Golding, Lynn Keller, and Adalaide Morris History, Memory, and the Literary Left Modern American Poetry, 1935–1968 by john lowney university of iowa press iowa city University of Iowa Press, Iowa City Copyright © by the University of Iowa Press http://www.uiowapress.org All rights reserved Printed in the United States of America No part of this book may be reproduced or used in any form or by any means without permission in writing from the publisher. All reasonable steps have been taken to contact copyright holders of material used in this book. The publisher would be pleased to make suitable arrangements with any whom it has not been possible to reach. The University of Iowa Press is a member of Green Press Initiative and is committed to preserving natural resources. Printed on acid-free paper Library of Congress Cataloging-in-Publication Data Lowney, John, –. History, memory, and the literary left: modern American poetry, – / by John Lowney. p. cm.—(Contemporary North American poetry series) Contents: The janitor’s poems of every day: American poetry and the s — Buried history: the popular front poetics of Muriel Rukeyser’s “The book of the dead” — Allegories of salvage: the peripheral vision of Elizabeth Bishop’s North & South — Harlem Disc-tortions: the jazz memory of Langston Hughes’s Montage of a dream deferred — A reportage and redemption: the poetics of African American counter- memory in Gwendolyn Brooks’s “In the Mecca” — A metamorphic palimpsest: the underground memory of Thomas McGrath’s “Letter to an imaginary friend” — The spectre of the s: George Oppen’s “Of being numerous” and historical amnesia. -
NEA-Annual-Report-1978.Pdf
National Endowment for the Arts Washington, D.C. 20506 Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment íor the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1978. Respectfully, Livingston L. Biddle, Jr. Chairman The President The White House Washington, D.C. September 1979 Contents Chairman’s Statement 2 The Agency and Its Functions 5 The Year in Review 7 Members, National Council on the Arts 16 Advisory Panel Members and Consultants 17 Grants by Programs 40 Architecture, Planning, and Design 40 Challenge Grants 56 Dance 69 Education 81 Expansion Arts 85 Federal-State Partnership 115 Folk Arts 125 Literature 134 Media Arts : Film/Radio/Television 151 ~useums 166 Music 193 Special Projects 216 Theater 228 Visual Arts 239 Financial Summary 268 History of Authorizations and Appropriations 269 2 Chairman’s Statement Unity... ~ t my nomination hearing, I spoke discussion was frank and, as it usually is Quality... in the arts world, passionate. At times it Aecess A nership" of a "lastingon behalf and ofdeveloping the arts part- be- might have appeared that the simultane tween the federal government and ously occurring negotiations at Camp the state and local governments. David were easier. But agreement finally I have watched very closely over many emerged on a steering committee or task years and with great delight the steady force to put together over the next six growth and maturation of the state agen months a program that would bring us all cies since I first had the opportunity to into better harmony and would assign draít the language that established the responsible roles for all concerned. -
Dark Matter: Susan Howe, Muriel Rukeyser, and the Scholar's Art
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2015 Dark Matter: Susan Howe, Muriel Rukeyser, and the Scholar's Art Stefania Heim Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/574 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] DARK MATTER: SUSAN HOWE, MURIEL RUKEYSER, AND THE SCHOLAR’S ART by STEFANIA HEIM A dissertation submitted to the Graduate Faculty in English in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2015 © 2015 STEFANIA HEIM All rights reserved ii This manuscript has been read and accepted for the Graduate Faculty in English in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. _______Professor Joan Richardson______ ______________________ __________________________________ Date Chair of Examining Committee ________Professor Mario DiGangi______ ______________________ __________________________________ Date Executive Officer _______Professor Ammiel Alcalay______ _____Professor Wayne Koestenbaum_____ Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract DARK MATTER: SUSAN HOWE, MURIEL RUKEYSER, AND THE SCHOLAR’S ART by Stefania Heim Adviser: Professor Joan Richardson Instead of describing poetry as a set of constraints or history of practices, Muriel Rukeyser calls it “one kind of knowledge.” Dark Matter heeds Rukeyser’s call, theorizing a poetics of the “scholar’s art,” in which documentary investigation, autobiographical exploration, and formal innovation are mutual, interwoven concerns. -
Scrap Modernism: Appropriation, Assemblage, and the Politics of Representation in Depression-Era America
Scrap Modernism: Appropriation, Assemblage, and the Politics of Representation in Depression-era America Kristin Elizabeth Gilger El Paso, Texas B.A., University of Texas at Austin, 2003 A Dissertation Presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English Language and Literature University of Virginia August 2014 Acknowledgments I am especially grateful for the support, encouragement, and advice that so many have given me as I completed this project. I would like to first thank my committee: Rita Felski, whose thoughtful comments on early drafts strengthened both my writing and the project’s argument; Victoria Olwell, who supported me most when my project was stalled and gave me the confidence to embrace a new direction; and Jennifer Wicke, who joined the committee at a late stage and who has since been an invaluable mentor and director. I am also grateful for the teaching and professional advice of many others in the English department and at UVA, especially Michael Levenson, Jon D’Errico, Greg Colomb, Karlin Luedtke, Sharon Davies, and Rachel Most. A special thank you to Sarah Corse, who I was fortunate to have at my dissertation defense and whose thoughtful responses will inform my work in the future. I could not have seen this project through to the end without the support of my friends and family. I’m so very grateful for the friendship of Melissa White, Drew Scheler, Will Rhodes, Anna Ioanes, Tim Duffy, Phil Maciak, Michael Lewis, Carolyn Tate, Michael Pickard, Dorothy Couchman, and Eric Rettberg.