The Olive Tree, Vol. 16 Number 1, 2008
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Reading Stephen King: Issues of Censorship, Student Choice, and Popular Literature
DOCUMENT RESUME ED 414 606 CS 216 137 AUTHOR Power, Brenda Miller, Ed.; Wilhelm, Jeffrey D., Ed.; Chandler, Kelly, Ed. TITLE Reading Stephen King: Issues of Censorship, Student Choice, and Popular Literature. INSTITUTION National Council of Teachers of English, Urbana, IL. ISBN ISBN-0-8141-3905-1 PUB DATE 1997-00-00 NOTE 246p. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 39051-0015: $14.95 members, $19.95 nonmembers). PUB TYPE Collected Works - General (020) Opinion Papers (120) EDRS PRICE MF01/PC10 Plus Postage. DESCRIPTORS *Censorship; Critical Thinking; *Fiction; Literature Appreciation; *Popular Culture; Public Schools; Reader Response; *Reading Material Selection; Reading Programs; Recreational Reading; Secondary Education; *Student Participation IDENTIFIERS *Contemporary Literature; Horror Fiction; *King (Stephen); Literary Canon; Response to Literature; Trade Books ABSTRACT This collection of essays grew out of the "Reading Stephen King Conference" held at the University of Mainin 1996. Stephen King's books have become a lightning rod for the tensions around issues of including "mass market" popular literature in middle and 1.i.gh school English classes and of who chooses what students read. King's fi'tion is among the most popular of "pop" literature, and among the most controversial. These essays spotlight the ways in which King's work intersects with the themes of the literary canon and its construction and maintenance, censorship in public schools, and the need for adolescent readers to be able to choose books in school reading programs. The essays and their authors are: (1) "Reading Stephen King: An Ethnography of an Event" (Brenda Miller Power); (2) "I Want to Be Typhoid Stevie" (Stephen King); (3) "King and Controversy in Classrooms: A Conversation between Teachers and Students" (Kelly Chandler and others); (4) "Of Cornflakes, Hot Dogs, Cabbages, and King" (Jeffrey D. -
The Mid-Twentieth-Century American Poetic Speaker in the Works of Robert Lowell, Frank O’Hara, and George Oppen
“THE OCCASION OF THESE RUSES”: THE MID-TWENTIETH-CENTURY AMERICAN POETIC SPEAKER IN THE WORKS OF ROBERT LOWELL, FRANK O’HARA, AND GEORGE OPPEN A dissertation submitted by Matthew C. Nelson In partial fulfillment for the requirements for the degree of Doctor of Philosophy In English TUFTS UNIVERSITY May 2016 ADVISER: VIRGINIA JACKSON Abstract This dissertation argues for a new history of mid-twentieth-century American poetry shaped by the emergence of the figure of the poetic speaker as a default mode of reading. Now a central fiction of lyric reading, the figure of the poetic speaker developed gradually and unevenly over the course of the twentieth century. While the field of historical poetics draws attention to alternative, non-lyric modes of address, this dissertation examines how three poets writing in this period adapted the normative fiction of the poetic speaker in order to explore new modes of address. By choosing three mid-century poets who are rarely studied beside one another, this dissertation resists the aesthetic factionalism that structures most historical models of this period. My first chapter, “Robert Lowell’s Crisis of Reading: The Confessional Subject as the Culmination of the Romantic Tradition of Poetry,” examines the origins of M.L. Rosenthal’s phrase “confessional poetry” and analyzes how that the autobiographical effect of Robert Lowell’s poetry emerges from a strange, collage-like construction of multiple texts and non- autobiographical subjects. My second chapter reads Frank O’Hara’s poetry as a form of intentionally averted communication that treats the act of writing as a surrogate for the poet’s true object of desire. -
Modernism and Mathematics
TIM ARMSTRONG “A Transfinite Syntax”: Modernism and Mathematics “Surely infiniteness is the most evident thing in the world”1 – George Oppen In modernist studies, we are familiar with aCCounts of the impaCt of turn-of-the- century physics on literature. A list would include the influence of relativity and spaCe-time distortion on representation in the arts and literary Culture; the impaCt of X-rays and nuclear fission on ideas of the material and immaterial; and the influenCe of eleCtromagnetism on notions of field theory.2 In similar ways, the impaCt of post-Darwinian biology on literature has often been traCed. 3 In contrast, it has always intrigued me that the turn of the Century also saw a revolution in mathematical thinking, less-noticed in terms of its cultural correlatives and less directly related to the physical world.4 The work of David Hilbert, RiChard Dedekind, Georg Cantor, and others in number theory seemed to offer solutions to some of the major problems inherited from the Greeks—the problem of infinitesimals and infinity generally, which calculus had largely suppressed; and the problem of the Continuity of the number line (that is, of reConCiling Continuity with the discrete nature of any point on the line, a problem 1 George Oppen, New Collected Poems, ed. MiChael Davidson, intro. Eliot Weinberger (New York: New DireCtions, 2002), 184. Subsequently referred to in text as NCP. 2 The literature here is too extensive to readily survey: for a useful reCent overview see the introduCtion of RaChel Crossland, Modernist Physics: Waves, Particles and Relativities in the Writings of Virginia Woolf and D. -
Depictions of Environmental Crisis in William Carlos Williams's Paterson
Depictions of Environmental Crisis in William Carlos Williams’s Paterson Sarah Nolan University of Nevada, Reno ~ [email protected] Abstract Reading the environmental crises in William Carlos Williams’s Paterson allegorically allows us to recognize present day environmental concerns more readily and highlights the losses that lie ahead if we continue to ignore environmental threats. Williams’s ecopoetics throughout Paterson, which imaginatively depicts the effects of environmental disasters within the language and form of the poem, shows us the consequences of inaction and the true threat that disaster poses. This poetic example of the consequences of inaction holds particular power because it presents a material experience for all readers and a potentially allegorical poetic experience for the historically situated reader. Paterson shows us that waiting for disaster to force the world “to begin to begin again,” is an unsustainable model for the planet’s future (Williams, 1963, p. 140). By recognizing that this text provides a unique allegorical experience for the historically situated reader and acknowledging the significance of such a message, we can become more aware of the problems that we face now and their potential directions in coming decades. Presented at Bridging Divides: Spaces of Scholarship and Practice in Environmental Communication The Conference on Communication and Environment, Boulder, Colorado, June 11-14, 2015 https://theieca.org/coce2015 Page 2 of 7 In his 2002 book Greening the Lyre: Environmental Poetics and Ethics, David Gilcrest argues that our attitudes toward the natural environment will only change as a result of “environmental crisis” (p. 22). Although this prediction is apt, as evidenced by the rise of resistance movements to environmental recovery agendas over the past two decades, it implies that such environmental crisis must physically devastate the Earth before action will be taken.i Such a model of apocalyptic environmental activism, however, has proven to be ineffective. -
NEW OBJECTIVISTS NOUVEAUX OBJECTIVISTES NUOVI OGGETTIVISTI Cristina Giorcelli – Luigi Magno
NEW OBJECTIVISTS NOUVEAUX OBJECTIVISTES NUOVI OGGETTIVISTI edited by sous la direction de a cura di Cristina Giorcelli – Luigi Magno LOFFREDO EDITORE UNIVERSITY PRESS Nuovi oggettivisti_7bozza.indd 2 14/11/13 10:03 Nuovi oggettivisti_7bozza.indd 3 14/11/13 10:03 4 Pubblicato con il contributo del Dipartimento di Studi Euro-Americani e del Dipartimento di Lingue, Letterature e Culture Straniere, Università degli Studi Roma Tre – Via Ostiense, 236 e Via Valco di San Paolo, 19 – 00146 ROMA ISBN 978-8-887564-641-7 Finito di stampare nel mese di ottobre 2013 In copertina: Tony Smith, Marriage (1961) © LOFFREDO EDITORE UNIVERSITY PRESS s.r.l. Via Kerbaker 19 – Napoli 80126 (NA) www.loff redo.it universita@loff redo.it Nuovi oggettivisti_7bozza.indd 4 14/11/13 10:03 4 5 Pubblicato con il contributo del Dipartimento di Studi Euro-Americani Indice e del Dipartimento di Lingue, Letterature e Culture Straniere, Università degli Studi Roma Tre – Via Ostiense, 236 e Via Valco di San Paolo, 19 – 00146 ROMA I Cristina Giorcelli ISBN 978-8-887564-641-7 Introduction 11 Bob Perelman 1 + 1 = 1: Louis Zukofsky and Question of Unity 17 Bob Perelman Finito di stampare nel mese di ottobre 2013 A Guide to Homage to Sextus Propertius 31 The Job 42 Rome 43 Rachel Blau DuPlessis Objectivist Poetics and the Work of Drafts 45 In copertina: Tony Smith, Marriage (1961) Rachel Blau DuPlessis Draft 104: The Book 61 Draft 106: Meant to Say 66 Noura Wedell Transforming Service: Radical Documentary and the Promise of Objectivism 71 © LOFFREDO EDITORE UNIVERSITY PRESS s.r.l. -
January 2018 1-HW HENRY MICHAEL WEINFIELD Curriculum Vitae Program of Liberal Studies 1113 N. St. Joseph Street 215 O'shau
January 2018 HENRY MICHAEL WEINFIELD Curriculum Vitae Program of Liberal Studies 1113 N. St. Joseph Street 215 O’Shaughnessy Hall South Bend, IN 46617 (574) 631-7172 (574) 288-7648 379 Decio Hall University of Notre Dame (574) 631-7483 [email protected] EDUCATION Ph.D. in English, City University of New York Graduate Center, 1985 M.A. in English, State University of New York at Binghamton, 1973 B.A. in English and Philosophy, City College of New York, 1970 DISSERTATION “The Poet without a Name: Gray’s Elegy and the Problem of History” Directors: Allen Mandelbaum (English, CUNY Graduate Center) Frank Brady (English, CUNY Graduate Center) PROFESSIONAL POSITIONS Professor, Program of Liberal Studies; Concurrent Professor, Department of English, 2004- Chair, Program of Liberal Studies, University of Notre Dame, 2004-2007 Professor, Program of Liberal Studies, 2003- Associate Professor, Program of Liberal Studies, 1996-2003 Assistant Professor, Program of Liberal Studies, University of Notre Dame, 1991-1996 1-HW Special Lecturer, Humanities Department, New Jersey Institute of Technology, 1984-1991 Adjunct Lecturer, English, City College of New York; Baruch College; Lehman College; 1974-1984 Visiting Lecturer, English, State University of New York at Binghamton, 1973-74 RECENT GRANTS AND HONORS National Endowment for the Humanities Summer Stipend to work on “That Uncertain Heaven”: Studies in the Blank-Verse Tradition from Milton to Stevens, 2006. Rev. Edmund P. Joyce, C.S.C. Award for Excellence in Undergraduate Teaching,” University of Notre Dame, 2009. I was commissioned to write a poem pertaining to Milton or his works by the Milton Society of America, and to recite a portion of it at the society’s annual dinner on Jan. -
The Journal of Stephen King Studies, Issue 2
The Journal of Stephen King Studies Winter 2019 1 2 The Journal of Stephen King Studies ————————————————————————————————— Issue 2: Halloween 2019 Artwork by Jane Peet—Instagram @jane_jep27 3 4 Editors: Dawn Stobbart Sorcha Ní Fhlainn Reviews Editor: Lauren Christie Founding Editor: Alan Gregory Fox Advisory Board: Xavier Aldana Reyes Linda Badley Brian Baker Simon Brown Steven Bruhm Regina Hansen Gary Hoppenstand Tony Magistrale Simon Marsden Patrick McAleer Bernice M. Muphy Philip L. Simpson Website: https://pennywisedreadful.wordpress.com/ Twitter: @pennywisedread/ Facebook: https://www.facebook.com/pennywisedrea 5 6 Contents Editors Introduction ………………………………………………………………………………………………………………………………………………………………………...….p. 9 Unlocking Time: The Clock of Horrors in Stephen King’s The Shining, Leslie Savath ……………………...……………………………………………………………………………………………………………………………………………………p. 11 “The town knew about darkness”: An analysis of Stephen King’s treatment of small-town America in his novel ‘Salem’s Lot, Yann Teyssou …………………………………………………………………………………………………………………………………………………………………………….p. 28 The Once and Future Promised Land: Finding the Fisher King of Arthurian Legend in the Post-Apocalyptic American West of Stephen King’s The Dark Tower, Vanessa Erat ……………………………………….……………………………………………………………………………………………………………………………………p. 43 Shall I at least set my lands in order?: Arthurian Imagery and High Speech in Stephen King’s The Dark Tower, Justin Lorenzo Biggi ……………………………………….…………………………………………………………………………………………………………………………………..p. 51 Review: Neil Mitchell, Devil’s -
For Kathleen Fraser Susan Gevirtz Discrete Categories Forced Into Coupling Kathleen Fraser Apogee P
Uneven Uneventfulness — for Kathleen Fraser Susan Gevirtz Discrete Categories Forced into Coupling Kathleen Fraser Apogee Press, 2004 If a writer was allowed to fold one critical essay into the pages of one of her books, so that the essay might fall into the lap of a future reader, Fraser might slip Burton Hatlen’s “Zukofsky As Translator,” into Discrete Categories Forced into Coupling. Recently she handed me a copy of that essay. Next to the word “TRANSLATOR” in the title she had written and underlined the word Transmutation. From the first section of Discrete Categories titled “Champs (fields) & between”: 3. The air came down like rice. It scattered through unevenness and uneventfulness. came down unevenness ___ The first two sentences of the Hatlen essay read: ‘ “To Zukofsky,” Creeley says, “poetry represents a way of seeing words as in the world in much the same way that men are.” Words and men alike are “in the world,” to Zukofsky, as material objects.” ’ p345 1 The Air “The air came down like rice” like “It scattered through unevenness and uneventfulness” __________ The air The rice scattered The words uneven the event of them an unevent that the poem marks. Fraser’s like as Creeley’s alike (“words and men alike)” transmutes air, words, the actions: “came down” and “scattered” into the material rice and into the words we can touch and see on the page, and into the material of the human that is not touchable, that is the time of the unevent, and the feeling of unevenness. The Materials of the Material In that alchemy time is also shown to be material in nature. -
7. Roland Barthes, a Lover's Discourse, Fragments (I 977; Harmondsworth: Pen• Guin, 1990}
Notes Introduction Notes 1. Ron Silliman, "Language, Poetry, Realism," In the American Tree (Orono, ME: National Poetry Foundation, 1984), xix. 2. Silliman, "Language, Poetry, Realism," xvii. 3. Silliman, "Language, Poetry, Realism," xvi. 4. David Antin, "Modernism and Postmodernism: Approaching the Present in American Poetry," Boundary 2 1 (Fall1972}: 98-133. 5. See Plato, Symposium 184e-206a, trans. Benjamin Jowett, The Dialogues of Plato, 2nd ed., vol. 2 (Oxford: Clarendon, 1875), from which Zukofsky has lifted phrases and quotations to compose the bulk of the poem. For notes 5 and 6, I am grateful to Ian Tompkins of the University of Wales, Aberyst wyth, for his aid with finding these sources and his translation of the Greek. 6. For example, see Plato, Timaeus, trans. and ed. Rev. R G. Bury, Loeb Classical library (1929; London: Heinemann, 1966), 23b, 75e, 89d, or Plato, Laws, trans. and ed. Rev. R G. Bury, Loeb Classical library (London: Heinemann, 1952}, 716d, 870b, where the brightest and the best as a form of good is fre quently a phrase used by Athenians as a way of distinguishing themselves. 7. Roland Barthes, A Lover's Discourse, Fragments (I 977; Harmondsworth: Pen guin, 1990}. 8. Suzanne Clark has explored this sentimental discourse in relation to women's poetic modernism in Sentimental Modernism (Bloomington: University of Indiana Press, 1991}, in which she points out the way in which a "mascu line" modernism sought to repress the sentimental as a feminized discourse. She points to Ann Douglas' book, The Feminization ofAmerican Culture, as one example of the case against the sentimental in favor of a tough, Puritan critical reason. -
George Oppen's Substantives
CHRISTOPHER OAKEY George Oppen’s Substantives: The Noun as Heideggerian Formal Indicator and Grundwort When Objectivist poet George Oppen published his first collection, Discrete Series, in 1934 it included a preface in which Ezra Pound defended him against “The charge of obscurity”. This charge, Pound writes, has been raised at regular or irregular intervals since the stone age, though there is no living man who is not surprised on first learning that KEATS was considered “obscure”. It takes a very elaborate reconstruction of England in Keats’ time to erect even a shaky hypothesis regarding the probable fixations and ossifications of the then hired bureaucracy of Albermarle St., London West.1 Pound’s statement suggests that, even in its own moment, a historical perspective is needed in order to properly grasp the significance of Oppen’s collection. It takes “a very elaborate reconstruction” of Keats’s England in order to understand Keats’s past obscurity. Similarly, Pound implies, if we are to understand Oppen’s obscurity in 1934 we must recognise a distance between the contextualising poetics of a mainstream audience and the poetics of an avant- garde. Obscurity is, in Pound’s assessment, simply a by-product of a form of difference inherent to the drive to “make it new”. This obscurity belongs as much to the poems’ forms as it does to their content. As in the third poem in the collection, beginning “Thus / Hides the / Parts—the prudery / Of Frigidaire” (NCP 7), the poems of Discrete Series regularly launch from a particular fascination with the quotidian. They do so in such a way, however, that the lyric address is often obstructed by the presence of what is, both materially and linguistically, already there. -
The Olive Tree, Volume 23 Issue 1
The Olive Tree Volume 23 | Issue 1 Article 1 2015 The Olive Tree, Volume 23 Issue 1 Follow this and additional works at: https://digitalcommons.library.umaine.edu/olvt Part of the Library and Information Science Commons, Mass Communication Commons, and the Public Relations and Advertising Commons Recommended Citation (2015) "The Olive Tree, Volume 23 Issue 1," The Olive Tree: Vol. 23 : Iss. 1 , Article 1. Available at: https://digitalcommons.library.umaine.edu/olvt/vol23/iss1/1 This Article is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in The Olive Tree by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. et al.: The Olive Tree, Spring 2015 THE OLIVE TREE A Publication for Fogler Library Friends Orono, Maine • Spring 2015 • Volume 23, Issue 1 New Role for Fogler Library t may only have been a Isupporting role, but when the Ghost Brothers of Darkland County, a Southern gothic supernatural musical written by Stephen King, debuted on Saturday, November 8, at the Collins Center for the Arts, The construction of Fogler Library. From our exhibit Fogler Library was in the in the Oakes Room gallery at Fogler Library. spotlight as the venue for the See the article on p.3 to learn more. annual Collins Center Gala. The changing role of libraries took on a new meaning as guests were treated to a Southern-inspired dinner in a transformed Reserve Reading Room on the library’s first floor. Table cloths, whimsical Gothic- In This Issue themed decorations, and special lighting created a warm and welcoming • Collins Center Gala at Fogler Library dining room. -
Stephen King 1947—
King, Stephen 1947— Author: Tony Magistrale Date: 2000 From: American Writers, Supplement 5 Publisher: Charles Scribner's Sons Document Type: Biography; Critical essay Length: 11,425 words About this Person Born: September 21, 1947 in Portland, Maine, United States Nationality: American Occupation: Novelist Other Names: King, Stephen Edwin; Bachman, Richard; King, Steve (American novelist); Swithen, John; Druse, Eleanor Full Text: Stephen King 1947— Introduction IN A CONVERSATION with Stephen King that took place several years ago, I made the mistake of asking him why he continues to live in Bangor, Maine. I reminded him that the year before he had made fifty million dollars; since he could afford to reside anywhere in the world, why Bangor? King took me in with a look that suggested he had just swallowed some particularly offensive species of bug— indeed, that perhaps I myself were a member of that insect species. His response was a sardonic, “Now, just where would you have me live—Monaco?” This little anecode actually reveals a great deal about Stephen King, the man as well as the writer. Since 1974, the publication year of his first novel, Carrie, King has assembled a prodigious canon. By the late 1990s he had averaged more than a book a year for nearly three decades: 35 novels, 7 collections of short stories and novellas, and 10 screenplays. One consistent element that unifies this broad and eclectic landscape is that the majority of this fiction shares a Maine setting. Born in Portland, Maine, on September 21, 1947, Stephen King has spent almost his entire existence in Maine.