Criimes in the Library
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Affirming Childhood Spirituality of Hospitalized Immigrant Children
Affirming Childhood Spirituality of Hospitalized Immigrant Children Peter Kantembe [email protected] On several occasions my fellow European hospital chaplains have invited me to visit African patients, more especially hospitalized children. The purpose of such invitations is to facilitate the patient’s openness and comfortability since I am an African just as the patient is. While there maybe advantages in such practices, the African patient is robbed of a new European spiritual relational experience. Children are open to new experiences and new relationships even in a hospital care environment. Therefore denying them new cultural and relational experiences may inhibit both spiritual development and cultural skill building opportunities . Journal of Childhood and Religion Volume 5, Issue 4 (October 2014) ©Sopher Press (contact [email protected]) Page 1 of 28 Pastoral care to children in hospitals may take two approaches. Spiritual care providers may employ predefined methods based on what they deem to be spiritually viable and appropriate for the hospitalized children or the other approach in which children are taken seriously as spiritual persons with valid problems and spiritual potentials. This first approach may find its basis in taking children as immature people who have to be grafted into adulthood by experienced people or as little innocents who have to be protected from the leaven of this sinful world. The pastoral care provider is concerned with protecting the vulnerability of the child in the whole process of care. In light of that goal, the pastoral care provider joins forces with loving parents and other care providers in shielding the child from experiencing the reality of suffering, illness and the isolation of hospitalization. -
COVER Web.Indd
Poetic Patriarch The singular Richard Wilbur displays a “Mozartean felicity” with verse. During the extended World War II battle of Monte Cassino, Richard Wilbur spent a lot of time in a foxhole. The Germans had pinned down his army division in a valley, firing their 88s from the hills above. “As Waugh said, a lot of war is just waiting around,” says Wilbur, who used that waiting time to read Edgar Allan Poe, among others, and to write poems. Years later, he observed that if there were no atheists in foxholes, there were plenty of poets. “Poems were a way of putting your world in order, a bit,” he explains. Wilbur, A.M. ’47, JF ’50, sent one of those battlefield poems to Wilbur’s Collected Poems 1943-2004, critic Adam Kirsch ’97 wrote, his wife, Charlee, who showed it to a friend who was an editor at “No other twentieth-century American poet, with the possible the Saturday Evening Post. The magazine immediately published it. exception of James Merrill, demonstrates such a Mozartean fe- Wilbur mailed many more poems home; when he left the army, licity in the writing of verse. This is partly a matter of formal he had $400, a wife and daughter to support, and a stack of mastery: Wilbur has written the best blank verse of any Ameri- wartime poetry. On the GI Bill, he enrolled in a Harvard doctoral can poet since Frost.” program in English literature. “I figured I’d become a great scholar of Europe in the seventeenth century,” he recalls. The Near the fairgrounds in the western Massachusetts town stack of poems, joined by others that he continued to write, grew of Cummington, a gently winding country road leads to the in a desk drawer. -
Reflections on Poetry & Social Class
The Stamp of Class: Reflections on Poetry and Social Class Gary Lenhart http://www.press.umich.edu/titleDetailLookInside.do?id=104886 The University of Michigan Press, 2005. Opening the Field The New American Poetry By the time that Melvin B. Tolson was composing Libretto for the Republic of Liberia, a group of younger poets had already dis- missed the formalism of Eliot and his New Critic followers as old hat. Their “new” position was much closer to that of Langston Hughes and others whom Tolson perceived as out- moded, that is, having yet to learn—or advance—the lessons of Eliotic modernism. Inspired by action painting and bebop, these younger poets valued spontaneity, movement, and authentic expression. Though New Critics ruled the established maga- zines and publishing houses, this new audience was looking for something different, something having as much to do with free- dom as form, and ‹nding it in obscure magazines and readings in bars and coffeehouses. In 1960, many of these poets were pub- lished by a commercial press for the ‹rst time when their poems were gathered in The New American Poetry, 1946–1960. Editor Donald Allen claimed for its contributors “one common charac- teristic: total rejection of all those qualities typical of academic verse.” The extravagance of that “total” characterizes the hyperbolic gestures of that dawn of the atomic age. But what precisely were these poets rejecting? Referring to Elgar’s “Enigma” Variations, 85 The Stamp of Class: Reflections on Poetry and Social Class Gary Lenhart http://www.press.umich.edu/titleDetailLookInside.do?id=104886 The University of Michigan Press, 2005. -
Perception Is
Unit 1 Perception Is Everything Essential Questions Unit Overview Unit 1 serves as an introduction to the idea that ? How do writers and artists our perception of reality is often filtered through organize or construct text various perspectives, values, prejudices, and to convey meaning? attitudes. In this level you will be introduced to multiple literary theories as filters through which to interpret literature. Literary theories ? What does it mean to be a are presented to examine the idea that the stranger in the village? world is full of ideologies, theories, and biases through which we construct our understanding of our own and others’ experiences. Studying theory is a way to make us aware of competing visions of truth. Unit 1 begins by showing how point of view presents the reader with a filter or perspective from which to view incidents. This study of point of view anticipates the idea that perspective is reality. This unit introduces the literary theories of Reader Response Criticism and Cultural Criticism as the first two lenses through which we interpret literature and the world. You will have the opportunity to apply these literary theories to your own and others’ writing. 1 Unit Perception Is Everything 1 Contents Learning Focus: Perspective and the Individual . 4 Goals Activities: C To understand the 1.1 Previewing the Unit . 5 relationship between 1.2 Perception Is Everything. 6 perspective and critical 1.3 Importance of Perspective . 7 theory 1.4 Different Ways of Seeing the World . 9 C To apply critical theories to various texts studied 1.5 Different Ways of Reading the Text. -
School of Unlikeness: the Creative Writing Workshop and American Poetry
School of Unlikeness: The Creative Writing Workshop and American Poetry Sarah Cohen A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2012 Reading Committee: Brian Reed, Chair Jeanne Heuving Jessica Burstein Program Authorized to Offer Degree: English University of Washington Abstract School of Unlikeness: American Poetry and the Creative Writing Workshop Sarah Cohen Chair of the Supervisory Committee: Associate Professor Brian Reed English This dissertation is a study of the creative writing workshop as a shaping institution of American poetry in the twentieth century. It takes as its starting point the observation that in the postwar period the rise of academic creative writing programs introduced profound material changes into the lives of American poets, as poetry became professionalized within the larger institution of the university. It goes on to argue that poets responded to these changes in ways that are directly legible in their work, producing a variety of poetic interrogations of the cultural and psychological effects of the reflexive professional self-fashioning that became, partially through the workshop, the condition of modern literary life. In other words, as poets became students and teachers, their classroom and career experiences occasioned new kinds of explorations of identity, performance, vocation, authority, and the cultural status of poets and poetry. The cluster of concerns linked to the evolving institution of "creative writing" shows stylistically diverse works to be united, and also resonates with and helps to clarify the major debates within the poetry world over the past decades between the camps of the "mainstream" and the "avant- garde" or, as Robert Lowell put it in 1959, "the cooked and the raw." My dissertation examines a variety of iterations of the relationship between workshop culture and poetic production through case studies of the poets Robert Lowell, Sylvia Plath, Anne Sexton, Theodore Roethke, Richard Hugo, and Jorie Graham. -
Leaving Cert English Notes
WEEKLY GRINDS AT THE ACADEMY At The Dublin Academy of Education, our mission is to enable students to realise their full potential in the State Examinations. We do this by providing both part-time and full-time second level courses, delivered by some of the most passionate and dedicated teachers in the country Over the last decade, we have become the cornerstone of exam preparation in Ireland. Each year, from our schools in Stillorgan and Killester, we provide weekly grinds to over 3,500 students, making us the largest and most trusted provider in the country Weekly grinds are 75 minutes in duration, and are held in a class-based environment. The foundation of our weekly grinds is "exam focus". We strip away the unnecessary sections of each subject, and focus soley on the core, examinable material. Our aim is to increase students' exam performances - and ultimately their CAO points. Weekly grinds include a special 1-to-1 service, where students can come up to the teacher for a period of time before or after the class. This is a specialised, individual service of which we encourage all our students to take advantage. All our Weekly Grinds commencing in September 2020 will operate in line with public health advice and social distancing requirements. We are fortunate that we have large and well-ventilated classrooms that can accommodate safe distances between students. However, due to social distancing, we will have to reduce capacity in our Weekly Grinds classes which means we expect classes to book out quicker than usual. KILLESTER WEEKLY GRINDS TIMETABLE North Dublin weekly grinds take place in St. -
1 the Writing Life 2 Creating Lives
Notes 1 The Writing Life 1. Aurelia Schober Plath, introduction to Letters Home by Sylvia Plath,p.5. Much of the information about the Plath and Schober families is drawn from interviews with, and from letters and annotated pages of manu- script from, Aurelia Plath. See also her ‘Letter Written in the Actuality of Spring’ in Alexander, Ariel Ascending; her introduction and head- notes to Letters Home; and her interview in The Listener (April 22, 1976), as well as her ‘Authors’ Series Talk’ (Smith College archive). The biographies by Paul Alexander (Rough Magic, 1991), Anne Stevenson (Bitter Fame, 1989), and Linda Wagner-Martin (Sylvia Plath, 1987) and the 1988 essay by Plath’s cousin, Anita Helle, in Northwest Review provide much of this information; they are supplemented by this author’s interviews with Wilbury Crockett and Perry Norton. Max Gaebler’s memoir (unpublished) also provided new information. 2. Aurelia Plath, introduction to Letters Home, p. 13. 3. Ibid., p. 16. 4. Sylvia Plath, ‘‘Ocean 1212–W,’’ Johnny Panic, pp. 124–25. 5. Sylvia Plath, ‘‘Heat,’’ unpublished; used with permission of Lilly Library, Indiana University, and Olwyn Hughes. 6. Sylvia Plath, ‘‘The Brink,’’ unpublished; used as above. 7. Sylvia Plath, ‘‘The Dark River,’’ unpublished; used as above. 8. Sylvia Plath, ‘‘East Wind,’’ unpublished, used as above. 9. Aurelia Plath, ‘‘Letter Written,’’ Ariel Ascending, ed. Paul Alexander, p. 216. 10. Ibid., p. 217. 2 Creating Lives 1. Aurelia Plath, letter to Wagner-Martin, March 27, l988, p. 1. 2. Anita Helle, ‘‘Family Matters,’’ Northwest Review, l988, pp. 155–6. 3. Sylvia Plath, ‘‘The Colossus,’’ Collected Poems, pp. -
Subway Spaces As Public Places: Politics and Perceptions of Boston's T
Subway Spaces as Public Places: MASSACHUSETTS INSTITUTE Politics and Perceptions of Boston's T OF TEC HNO10LOGY by JUN 3 0 2011 Holly Bellocchio Durso Submitted to the Department of Urban Studies and Planning ARCHIVES in partial fulfillment of the requirements for the degrees of Bachelor of Science in Planning and Master in City Planning at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY June 2011 @2011 Holly Bellocchio Durso. All Rights Reserved. The author hereby grants to MIT the permission to reproduce and to distribute publicly paper and electronic copies of the thesis document in whole or in part. Author C Department of Urban Studies and Planning May 19, 2011 Certified by Associate Professor Annette M. Kim Department of Urban Studies and Planning Thesis Supervisor Accepted by Professor Joseph Ferreira Chair, MCP Committee r Department of Urban Studies and Planning Subway Spaces as Public Places: Politics and Perceptions of Boston's T by Holly Bellocchio Durso Submitted to the Department of Urban Studies and Planning on May 19, 2011 in partial fulfillment of the requirements for the degrees of Bachelor of Science in Planning and Master in City Planning ABSTRACT Subways play crucial transportation roles in our cities, but they also act as unique public spaces, distinguished by specific design characteristics, governed by powerful state-run institutions, and subject to intense public scrutiny and social debate. This thesis takes the case of the United States' oldest subway system-Boston's T-and explores how and why its spaces and regulations over their appropriate use have changed over time in response to public perceptions, political battles, and broader social forces. -
WHEN Sylvia Plath and Anne Sexton Met in 1958
Architectonics: Sylvia Plata's Colossus PAMELA SMITH HEN Sylvia Plath and Anne Sexton met in 1958- 1959, while both were auditing one of Robert W Lowell's classes at Boston University, they made a weekly ritual of going to the Ritz cocktail lounge, in the company of George Starbuck, to drink martini after martini and to reminisce again and again over their attempted suicides. Poetry stayed in the never-never-land of Robert Lowell's spectacles and the B.U. classroom; suicide belonged in the posh, alcoholic dreamland of expensive stemware and the Ritz bar. Sexton has attempted to explain: "Poems left behind were technique •— lasting, but, actu• ally, over. We talked death and this was life for us, last• ing in spite of us, or better, because of us . ,"1 But despite all the talking, all the taunting death, Sylvia Plath in the coldly sober hours of the years while she was build• ing The Colossus2 chose to concentrate on the "technique" of writing poetry rather than the expectant "life" of dying, fixed on the how not the what to do. Anne Sexton has joined the mainstream of Plath cri• ticism by saying that in those days of the late 'fifties, when the first book of poems was still a work-in-progress, Sylvia Plath was constrained by "her preoccupation with form." Of the works which Plath submitted to Lowell, Sexton says, "Those early poems were all in a cage (and not even her own cage at that). I felt she hadn't found a voice of her own, wasn't, in truth, free to be herself."3 This notion has become a convention of commentary on The Colossus. -
A PDF Download of the CLSC Historic Book List
CLSC Book List: 1878–2020 1878–1879 Green, J. R. ........................................... A Short History of the English People This book was the first CLSC book selection. Brooke, Stopford A ............................... Primer of English Literature Hurst, John F. ....................................... Outline of Bible History Larned, Augusta ................................... Old Tales Retold from Grecian Mythology Mahaffy, J. P. ....................................... Old Greek Life Peirce, Bradford K. ............................... The Word of God Opened Steele, J. Dorman ................................. Fourteen Weeks in Human Physiology Vail, A. D. ............................................. Greek Literature Vincent, John H. ................................... English History (re-selected in 1882, 1883) Vincent, John H. ................................... Greek History (re-selected in 1882, 1883, 1884) Warren, Henry W. ................................ Studies of the Stars (re-selected in 1882) Warren, Henry White .......................... Recreations in Astronomy (re-selected in 1882, 1886) 1879–1880 Blaikie, William .................................... How to Get Strong and How to Stay So (re-selected in 1883) Hughes, James L. .................................. Canadian History (re-selected in 1883) Hurlbut, Jesse L. ................................... American History (re-selected in 1883) Lawrence, Eugene ................................ A Primer of Latin Literature Merivale, Charles ................................ -
"The Boston Trio": Sylvia Plath with Robert Lowell and Anne Sexton
Plath Profiles 75 An Introduction to "The Boston Trio": Sylvia Plath with Robert Lowell and Anne Sexton Sarah-Jane Burton, University of Wollongong, Australia In an interview with A. Alvarez for The Observer in 1963, the poet Robert Lowell asserted, "Inspiration's such a tricky word…we all know poetry isn't a craft that you can just turn on and off. It has to strike fire somewhere" (76). The question of the location of this elusive "somewhere" – this inspirational moment in the trajectory of Sylvia Plath's career is one of the main concerns of this paper. This pivotal moment and literary shift is often cited as occurring late in Plath's life, with motherhood and the break-up of her marriage to Ted Hughes providing the fuel for the powerful work of Ariel. However, several years earlier, in early 1959, Plath briefly audited a poetry class taught by the revered American poet Robert Lowell at Boston University. It was here, alongside fellow poet Anne Sexton, that Plath gained new perspective regarding her work and her own position in the emerging currents of American poetry. Plath would later describe the developments occurring at the time in a 1963 radio broadcast, saying of Lowell: "the shift in tone is already history" (Plath, The Spoken Word). During this time Plath was orbiting within a vibrant poetic community in Boston itself. Here, alongside her contemporaries, Plath analysed her own creative output and the works of others in a critical and artistic context. This unique intersection of influences helped to reshape Plath's writing, and would later enable her to reach new heights of creative expression. -
Surrealist Poetry and the Cold War
“The beautiful white ruins / of America”: Surrealist Poetry and the Cold War Peter Roswell Henry Richmond, Virginia M.A., University of Virginia, 2007 M.F.A., University of Oregon, 1997 B.A., University of Virginia, 1995 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy English University of Virginia December, 2013 Abstract This dissertation focuses on the rise and fall of American Surrealist poetry, a mid- twentieth century aesthetic movement that has been largely dismissed by the major critics, anthology-builders and literary historians of contemporary American poetics (Shetley, von Hallberg, Ramazani). Indeed, the prevalent narrative is that American Surrealism was an awkward adolescent moment in contemporary American poetry, falling between the birth of contemporary poetics in the 1950s and its maturity in the canon-opening and postmodernist work that began to bloom in the 1980s. This dissertation attempts two goals. Firstly, it seeks to tell a fuller story of this movement: by examining the poetic successes of the Surrealists—and the intense threat they posed to their more canonical peers—I argue that this movement played a far more significant role in the development of postwar American poetics than it is afforded. Secondly, this dissertation interrogates the cultural, historical and literary phenomena that allowed American Surrealism to emerge in the 1950s and, just as quickly, to disappear. Ultimately, I argue that American Surrealism was a poetic response to the Cold War, and the study of American Surrealism offers unique insight into the relationship between literature and politics during the Cold War.