DOCSLIB.ORG

Sympathy and Postwar American Poetry

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sympathy and Postwar American Poetry Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-13-2013 12:00 AM Feeling With Imagination: Sympathy and Postwar American Poetry Timothy A. DeJong The University of Western Ontario Supervisor Dr. Stephen Adams The University of Western Ontario Graduate Program in English A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Timothy A. DeJong 2013 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Literature in English, North America Commons Recommended Citation DeJong, Timothy A., "Feeling With Imagination: Sympathy and Postwar American Poetry" (2013). Electronic Thesis and Dissertation Repository. 1491. https://ir.lib.uwo.ca/etd/1491 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. FEELING WITH IMAGINATION: SYMPATHY AND POSTWAR AMERICAN POETRY (Thesis Format: Monograph) by Timothy A. DeJong Graduate Program in English A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Timothy A. DeJong 2013 Abstract This dissertation examines how sympathy, defined as the act of “feeling with” another, develops within American poetics from 1950-1965 both as aesthetic strategy and as political response to Cold War culture. Re-examining the social aims of postwar poets typically either thought of as apolitical or yoked to political positions not in fact evidenced by their poems, I argue that these poets, by developing forms of sympathy that negotiate the middle space between the aesthetic conventions of late modernist poetry and the social concerns of postwar American culture, instantiate a self-questioning, often implicit form of “soft politics” that both prefigures and creates the conditions for the more openly political aesthetic of the 1960s. The dissertation is divided into three parts, each of which examines two poets. The first section focuses on Robert Lowell and Elizabeth Bishop, analyzing their work in light of the affect theory first developed by the psychologist Silvan Tomkins to show how their poems invite and deconstruct the sharing of various forms of feeling between reader, speaker, and subject. I then examine the work of John Ashbery and Frank O’Hara, who use sympathy to fashion a radically unfinished model of selfhood that both anticipates and interrogates poststructuralist conceptions of subjectivity. The final section of my dissertation reads the work of the late modernist African American poets Robert Hayden and Melvin Tolson in the context of theorists including Frantz Fanon and Mikhail Bakhtin, demonstrating that their poems embody, by their global and sympathetic perspective, the attempt to forge of ties of sympathy between individuals separated by distance, race, gender, and history. Using an interdisciplinary methodology that combines affect theory with historicist and formalist critique, I provide an original and important reading of mid-century U.S. poetics as defined by a radical ethics rooted in forms of shared feeling. Illuminating the soft politics of late modernist poetry, this thesis complicates the current picture of the postwar arts by arguing that it is attuned not only to the psychology of the solitary or alienated self, but to the ways in which bonds of sympathy between disparate persons can transform conceptual models of individual, community, and nation. ii Key Words Sympathy; poetry; postwar; United States; affect; 1950s; Lowell; Bishop; O’Hara; Ashbery; Hayden; Tolson. iii Acknowledgements I would like to thank the several individuals who contributed, directly and indirectly, to the writing of this dissertation and whose presence made my time at Western a pleasant one: Stephen Adams, my supervisor, for his unfailing encouragement and generous advice; my readers, Tom Carmichael and Josh Schuster, who enthusiastically supported this project from its beginning stages and offered helpful guidance at every step of the way; the Western graduate students and faculty – in particular, Brad Bannon, Zeinab McHeimech, Thy Phu, Rasmus Simonsen, Michael Sloane, Bryce Traister, and Andrew Wenaus – who read and commented on the draft of this thesis in its various iterations, and whose support, intellectual and otherwise, has been greatly beneficial to me in writing this thesis; Steven Bruhm, Mary Helen McMurran, Jan Plug, and Bryce Traister, for vetting grant proposals and helping me in various other academic matters; the wonderful staff of Western’s English Department, Anne McFarland, Vivian Foglton, Beth McIntosh, and Leanne Trask, for their assistance in matters ranging from the mundane to the critical; and all my friends at Western, for their friendship, collegiality, and support. I am grateful to the province of Ontario for providing me with two Ontario Graduate Scholarships during my time at Western – financial assistance that proved greatly beneficial in enabling me to complete my dissertation on time and with a minimum of stress. I wish to thank my family, especially my parents, who fostered my early love of reading and literature and whose everyday demonstration of virtues such as commitment, love, and sacrifice it is my continued goal to emulate. Finally, to my wife, Biz: thank you for your unwavering love and support and for your daily example to me of what friendship and sympathy truly mean. iv Table of Contents Title Page……………………………………………………………………………………i Abstract…………………………………………………………………………………….. ii Key Words…………………………………………………………………………………. iii Acknowledgements………………………………………………………………………… iv Introduction Narrating Fellow-Feeling: Postwar American Poetics and the Politics of Identification….. 1 I. Theorizing the “Intimate Community”…………………………………….. 1 II. The Roots of Sympathy……………………………………………………. 6 III. Contemporary Critical Interventions………………………………………. 13 IV. Feeling With Imagination: An Overview………………………………….. 17 V. Sympathy’s Ethical Injunction…………………………………………….. 21 PART ONE SYMPATHY AND AFFECT IN LOWELL AND BISHOP Chapter One The Politics of Affect: Lowell, Bishop, Tomkins………………………………………….. 24 VI. Mass Culture and the “Middle Generation” Poets…………………………. 24 VII. Lowell, Bishop, and the Politics of Poetry………………………………… 28 VIII. Merging Politics and Aesthetics: The Function of Sympathy……………... 32 IX. Sympathy and Affect Theory………………………………………………. 34 X. The Socialization of Affect in Tomkins…………………………………….36 XI. “National Sentimentalism” and the Poetics of Sympathy…………………..40 Chapter Two A Heart Grown Tense: Robert Lowell’s Affective Identifications………………………… 43 I. Lowell, Life, and Art………………………………………………………. 43 II. Life Studies and Sympathy…………………………………………………. 46 v III. “My mind’s not right”: “Skunk Hour”…………………………………….. 48 IV. Isolation and Identification in “Waking in the Blue”……………………… 52 V. Clearing the Surface: “Night Sweat”………………………………………. 57 Chapter Three “Untidy Feelings”: Elizabeth Bishop’s Soft Politics of Sympathy………………………… 61 I. Bishop’s Sympathetic Tone………………………………………………... 61 II. Gendered Affect and Sympathy in “Roosters”…………………………….. 64 III. Identifying with the Other: “Filling Station”………………………………. 70 IV. “At the Fishhouses” and the Limits of Knowledge………………………... 73 V. Loneliness and Shared Affect in “Crusoe in England”…………………….. 77 PART TWO SYMPATHY AND SELFHOOD IN O’HARA AND ASHBERY Chapter Four O’Hara, Ashbery, and the Post-Romantic Self…………………………………………….. 85 I. Avant-Garde Politics and the New York School…………………………... 85 II. Gestures of Invitation……………………………………………………… 92 III. Affect and the Shaping of the Subject……………………………………... 96 IV. Performativity and the Postmodern Poem…………………………………. 100 V. “Pity me . gentle reader”: Rousseau and the Romantic Subject………… 104 VI. Retaining the Romantic Ideal……………………………………………… 109 Chapter Five Meditations in an Emergency: Frank O’Hara and the Self as Process…………………….. 112 I. Emergence and Selfhood…………………………………………………... 112 II. O’Hara and the Reader…………………………………………………….. 116 III. Despondency and Recovery in “Joe’s Jacket”……………………………... 118 IV. Self and Society in “Adieu to Norman, Bon Jour to Joan and Jean-Paul”….123 V. Politics, Selfhood, and the Post-Romantic…………………………………. 130 vi Chapter Six “A Backward Way of Becoming”: John Ashbery’s Mystical Kingdoms………………….. 134 I. Sympathy, Memory, and Subjectivity in Ashbery…………………………. 134 II. Ashbery and the Desire to Communicate…………………………………...138 III. “Together at last, though far apart”: “The Picture of Little J.A. in a Prospect of Flowers” and “The Ecclesiast”…………………………….143 IV. “Borne on Shoulders, at Last”……………………………………………... 151 V. Moving On, Standing Still…………………………………………………. 156 PART THREE SYMPATHY AND TRANSNATIONAL OPTIMISM IN HAYDEN AND TOLSON Chapter Seven Racial Politics Reconsidered: Forms of Recognition in Hayden and Tolson……………… 160 I. The Fisk Conference and the Black Aesthetic……………………………... 160 II. Authorial Ambitions: The Situational Politics of Hayden and Tolson…….. 164 III. Responding to Racial Melancholia………………………………………… 169 IV. Navigating Sympathy’s Preconditions…………………………………….. 171 V. Recognition in Fanon and Hegel……………………………………………174 VI. Language, Idiom, Ethnicity……………………………………....................177 Chapter Eight “You keep going on now or die”: The Will to Freedom in Robert Hayden’s
Load more

Recommended publications
  • April 2005 Updrafts
    Chaparral from the California Federation of Chaparral Poets, Inc. serving Californiaupdr poets for over 60 yearsaftsVolume 66, No. 3 • April, 2005 President Ted Kooser is Pulitzer Prize Winner James Shuman, PSJ 2005 has been a busy year for Poet Laureate Ted Kooser. On April 7, the Pulitzer commit- First Vice President tee announced that his Delights & Shadows had won the Pulitzer Prize for poetry. And, Jeremy Shuman, PSJ later in the week, he accepted appointment to serve a second term as Poet Laureate. Second Vice President While many previous Poets Laureate have also Katharine Wilson, RF Winners of the Pulitzer Prize receive a $10,000 award. Third Vice President been winners of the Pulitzer, not since 1947 has the Pegasus Buchanan, Tw prize been won by the sitting laureate. In that year, A professor of English at the University of Ne- braska-Lincoln, Kooser’s award-winning book, De- Fourth Vice President Robert Lowell won— and at the time the position Eric Donald, Or was known as the Consultant in Poetry to the Li- lights & Shadows, was published by Copper Canyon Press in 2004. Treasurer brary of Congress. It was not until 1986 that the po- Ursula Gibson, Tw sition became known as the Poet Laureate Consult- “I’m thrilled by this,” Kooser said shortly after Recording Secretary ant in Poetry to the Library of Congress. the announcement. “ It’s something every poet dreams Lee Collins, Tw The 89th annual prizes in Journalism, Letters, of. There are so many gifted poets in this country, Corresponding Secretary Drama and Music were announced by Columbia Uni- and so many marvelous collections published each Dorothy Marshall, Tw versity.
    [Show full text]
  • Writ 205A, Poetry
    ENGLISH 200: INTRODUCTION TO POETRY WRITING Fall Semester 2013 Tu/Th 9:30–10:45 PM, Clough Hall 300 CRN: 14521 Dr. Caki Wilkinson Office: Palmer 304 Phone: x3426 Office hours: Tu/W/Th 11:00 AM – noon, and by appt. Email: [email protected] TEXTS Harmon, William, ed. The Poetry Toolkit. Hoboken, NJ: Wiley-Blackwell, 2012. McClatchy, J.D., ed. The Vintage Book of Contemporary American Poetry. 2nd edition. New York: Vintage Books, 2003. ―As a rule, the sign that a beginner has a genuine original talent is that he is more interested in playing with words than in saying something original; his attitude is that of the old lady, quoted by E.M. Forster—‗How can I know what I think until I see what I say?‘‖ – W.H. Auden COURSE DESCRIPTION This course is designed to help participants broaden their understanding and appreciation of the craft of poetry. Bearing in mind that the English word poetry derives from the Greek poēisis (an act of ―making‖) we will approach writing as a means of producing ideas rather than simply expressing them. Throughout the semester we will be, as Auden put it, ―playing with words,‖ and our work will focus on elements of poetry such as diction, rhythm, imagery, and arrangement. We will read a large sampling of contemporary poetry; we will do a lot of writing, from weekly exercises to polished poems; we will discuss this writing in workshop format and learn how to make it better. COURSE REQUIREMENTS Nine writing exercises Six poems and a final portfolio A poetic catalog consisting of ten reading lists Memorization of fourteen lines of poetry Active participation in workshop and written responses to poems Writing exercises.
    [Show full text]
  • Furiousflower2014 Program.Pdf
    Dedication “We are each other’s harvest; we are each other’s business; we are each other’s magnitude and bond.” • GWENDOLYN BROOKS Dedicated to the memory of these poets whose spirit lives on: Ai Margaret Walker Alexander Maya Angelou Alvin Aubert Amiri Baraka Gwendolyn Brooks Lucille Clifton Wanda Coleman Jayne Cortez June Jordan Raymond Patterson Lorenzo Thomas Sherley Anne Williams And to Rita Dove, who has sharpened love in the service of myth. “Fact is, the invention of women under siege has been to sharpen love in the service of myth. If you can’t be free, be a mystery.” • RITA DOVE Program design by RobertMottDesigns.com GALLERY OPENING AND RECEPTION • DUKE HALL Events & Exhibits Special Time collapses as Nigerian artist Wole Lagunju merges images from the Victorian era with Yoruba Gelede to create intriguing paintings, and pop culture becomes bedfellows with archetypal imagery in his kaleidoscopic works. Such genre bending speaks to the notions of identity, gender, power, and difference. It also generates conversations about multicultur- alism, globalization, and transcultural ethos. Meet the artist and view the work during the Furious Flower reception at the Duke Hall Gallery on Wednesday, September 24 at 6 p.m. The exhibit is ongoing throughout the conference, 10 a.m. to 5 p.m. FUSION: POETRY VOICED IN CHORAL SONG FORBES CENTER FOR THE PERFORMING ARTS Our opening night concert features solos by soprano Aurelia Williams and performances by the choirs of Morgan State University (Eric Conway, director) and James Madison University (Jo-Anne van der Vat-Chromy, director). In it, composer and pianist Randy Klein presents his original music based on the poetry of Margaret Walker, Michael Harper, and Yusef Komunyakaa.
    [Show full 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.
    [Show full text]
  • The Adroit Journal Summer Mentorship 2016 Booklet
    THE ADROIT JOURNAL SUMMER MENTORSHIP 2016 BOOKLET LEARN : COLLABORATE : GROW About the Program How do I apply? As a way of maintaining and extending our deep-rooted com- Applications for this year’s mentorship program consist of two mitment to emerging writers, The Adroit Journal’s Summer mandatory parts—a Writer’s Statement and a Writing Sample, with Mentorship Program aims to pair experienced writers with high the additional voluntary component of an academic transcript in school students (as of the current academic year) interested in .PDF form. The Writer’s Statement should detail the applicant’s learning more about the creative writing processes of drafting, specific interest in pursuing The Adroit Journal’s summer men- redrafting and editing. torship program. What is it about our program and mission that piques your interest? Why this workshop? How would you spend The program is free to all, and is entirely online. The 2016 pro- your time with us? We want to know. Aim for between 1-1.5 pages gram will cater to the literary genres of poetry, fiction, and double spaced, and don’t be afraid to be creative and original. We nonfiction.The aim of the mentorship program is not formalized like that. instruction, but rather an individualized, flexible, and often informal correspondence. It is our hope that mentees will feel comfortable While we of course suggest mentioning your experience and sharing work at their own leisure with their mentors and, ultimately, accomplishment with the writing and workshop processes, we will with each other. evaluate applications looking primarily for demonstrated passion and interest.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 115, 1995-1996, Subscription, Volume 02
    BOSTON ii_'. A4 SYMPHONY . II ORCHESTRA A -+*\ SEIJIOZAWA MUSIC DIRECTOR 9 6 S E SON The security of a trust, Fidelity investment expertise. A CLjmIc Composition Just as a Beethoven score is at its Fidelity i best when performed by a world- Pergonal ** class symphony — so, too, should your trust assets be managed by Trudt r a financial company recognized Serviced globally for its investment expertise. Fidelity Investments. hat's why Fidelity now offers a naged trust or personalized estment management account ** »f -Vfor your portfolio of $400,000 or ^^ more. For more information, visit -a Fidelity Investor Center or call Fidelity Pergonal Triut Serviced at 1-800-854-2829. Visit a Fidelity Investor Center Near You: Boston - Back Bay • Boston - Financial District Braintree, MA • Burlington, MA Fidelity Investments" SERVICES OFFERED ONLY THROUGH AUTHORIZED TRUST COMPANIES. TRUST SERVICES VARY BY STATE. FIDELITY BROKERAGE SERVICES, INC., MEMBER NYSE, SIPC. Seiji Ozawa, Music Director Bernard Haitink, Principal Guest Conductor One Hundred and Fifteenth Season, 1995-96 Trustees of the Boston Symphony Orchestra, Inc. J. P. Barger, Chairman Nicholas T. Zervas, President Peter A. Brooke, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Mrs. Edith L. Dabney, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Mrs. John H. Fitzpatrick, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson Nader F. Darehshori Edna S. Kalman Mrs. Robert B. Newman James F. Cleary Deborah B. Davis Allen Z. Kluchman Robert P. O'Block John E. Cogan, Jr. Nina L. Doggett George Krupp Peter C. Read Julian Cohen Avram J. Goldberg R. Willis Leith, Jr. Carol Scheifele-Holmes William F.
    [Show full text]
  • Mary Jo Bang
    MARY JO BANG English Department | Washington University | Box 1122 | One Brookings Drive | St. Louis, MO 63130 Home: 20 N. Kingshighway, Boulevard, #10A | St. Louis, MO 63108-1367 | (314) 780-9765 [email protected] | [email protected] EDUCATION Columbia University, New York, M.F.A. Poetry, 1998 Polytechnic of Central London, London, U.K., B.A. Photography, Degree with Distinction, 1989 Northwestern University, Evanston, Illinois, M.A. Sociology, 1975 Northwestern University, Evanston, Illinois, B.A. Summa Cum Laude, 1971 TEACHING EXPERIENCE Washington University, St. Louis, MO, Professor of English, 2007—present Director of the Creative Writing Program, 2005—2008 Associate Professor of English, 2003—2007 Assistant Professor of English, 2000—2003 University of Iowa, Iowa Writer’s Workshop, Iowa City, Iowa, Visiting Professor, Fall 2008 Columbia University, New York, NY, Visiting Associate Professor, Fall 2006 University of Montana, Missoula, MT, Visiting Writer, M.F.A. Creative Writing Program, Spring 1999 The New School for Social Research, New York, NY, Instructor, Creative Writing, Fall 1998 Yale University, New Haven, CT, Visiting Lecturer, Creative Writing, Fall 1997, Fall 1998 Columbia College, Chicago, IL, Instructor, Humanities Division, 1992—1993 Columbia College, Chicago, IL, Instructor, Department of English, 1991—1993 BOOK PUBLICATIONS Purgatorio: A New Translation, Graywolf Press, (forthcoming July 13, 2021) A Doll for Throwing, Graywolf Press, August 15, 2017; one of the Academy of American Poets’ Notable Books for 2017 ReViewed in: Publishers Weekly (starred/boxed review); in the Washington Post; Minneapolis Star Tribune; ReViewed online in: The Millions, “Must-Read Poetry: August 2017”; Ms. Magazine, “Six Poetry and Prose Collections Feminists Should Read This Summer; in Rhino Poetry, Music & Literature; American Poets (Fall/Winter 2017); Book Page.
    [Show full text]
  • Get Lit Classic Poems 2014-2015
    GET LIT’S CLASSIC SLAM POEMS & EXCERPTS, 2014-2015 © 2014 Yellow Road Productions, Inc. All rights reserved. 1 Table of Contents All Lovely Things by Conrad Aiken ...................................................................................................................................................... 7 Lot’s Wife by Anna Akhmatova ............................................................................................................................................................ 8 Grief Calls Us to the Things of This World by Sherman Alexie .................................................................................................... 9 The Diameter of the Bomb by Yehuda Amichai ............................................................................................................................. 10 Life Doesn’t Frighten Me by Maya Angelou ..................................................................................................................................... 11 I am a Mute Iraqi with a Voice by Anonymous ................................................................................................................................ 13 Siren Song by Margaret Atwood .......................................................................................................................................................... 14 Green Chile by Jimmy Santiago Baca ................................................................................................................................................
    [Show full text]
  • View Latest Version Here. WGR 19.09
    This transcript was exported on Sep 09, 2019 - view latest version here. Sarah McConnell: The Furious Flower Poetry Center is dedicated to ensuring the visibility and celebration of African American poets. Here's Maya Angelou speaking in 2012 as Furious Flower celebrated Toni Morrison. Maya Angelou: I am a great respecter and love of Toni Morrison. All those years ago, I read Sula, and I was so moved and strengthened by that book, that in the midst of my misery, I wrote a letter to Toni Morrison. We hadn't even met at the time. But I wrote a letter to her to say thank you for seeing me as an African American woman, seeing me and loving me. Sarah McConnell: From Virginia Humanities, this is With Good Reason. I'm Sarah McConnell, today celebrating Furious Flower. Sarah McConnell: Many of the most notable poets in the country will gather in Washington D.C. September 27th and 28th for a two-day gala celebrating the 25th anniversary of the Furious Flower Poetry Center. Joining me in our studios are Joanne Gabbin and Lauren Alleyne. Joanne is the founder and executive director of Furious Flower and a professor of English at James Madison University. Lauren's the assistant director of Furious Flower and also a JMU professor of English. We'll hear the voices and discuss the great African American writers who've been featured by Furious Flower over the years, including among others, Toni Morrison, Maya Angelou, Sonia Sanchez and Rita Dove. Sarah McConnell: Joanne, you conceived of Furious Flower 25 years ago.
    [Show full text]
  • Ii Table of Contents GENERAL INTRODUCTION to THE
    Table of Contents GENERAL INTRODUCTION TO THE PROGRAM 1.0 EXECUTIVE SUMMARY 1.1 Brief History of the Program ………………………………………..1-2 1.2 Brief Synopsis of Previous Program Review Recommendations……2-5 1.3 Summary of How Program Meets the Standards…………………….6-7 1.4 Summary of Present Program Review Recommendations…………..7-8 2.0 PROFILE OF THE PROGRAMS AND DISCIPLINES 2.1 Overview of the Programs and Disciplines…………………………8-17 2.2 The Programs in the Context of the Academic Unit………………..17-22 HOW PROGRAM MEETS UNIVERSITY WIDE INDICATORS AND STANDARDS 3.0 ADMISSIONS REQUIREMENTS 3.1 Evidence of Prior Academic Success……………………………….22 3.2 Evidence of Competent Writing…………………………………….22 3.3 English Preparation of Non-Native Speakers……………………….23 3.4 Overview of Program Admissions Policy…………………………..23 4.0 PROGRAM REQUIREMENTS 4.1 Number of Course Offerings………………………………………..24 4.2 Frequency of Course Offerings…………………………………….24 4.3 Path to Graduation………………………………………………….24 4.4 Course Distribution on ATC………………………………………..25 4.5 Class Size…………………………………………………………...25 4.6 Number of Graduates……………………………………………….25 4.7 Overview of Program Quality and Sustainability Indicators……….25-26 5.0 FACULTY REQUIREMENTS 5.1 Number of Faculty in Graduate Programs…………………………..26-27 5.2 Number of Faculty per Concentration……………………………....27 6.0 PROGRAM PLANNING AND QUALITY IMPROVEMENT PROCESS…27-29 7.0 THE STUDENT EXPERIENCE 7.1 Student Statistics……………………………………………………29-31 7.2 Assessment of Student Learning……………………………………31-34 7.3 Advising…………………………………………………………….34-35 7.4 Writing Proficiency…………………………………………………35
    [Show full text]
  • Creating Another Self : Voice in Modern American Personal Poetry / Samuel Maio.—2Nd Ed
    CREATING ANOTH ER SELF VOICE IN MODERN AMERICAN PERSONAL POETRY second edition SAMUEL MAIO Truman State University Press prelimsMaio.fm Page iv Tuesday, July 5, 2005 12:43 PM Copyright © 2005 Truman State University Press, Kirksville, Missouri 63501 All rights reserved. tsup.truman.edu Cover design: Teresa Wheeler Type: text in Minion © Adobe Systems Inc.; display in OptimumDTC Printed by: McNaughton & Gunn, Inc., Saline, MI USA Second Edition Library of Congress Cataloging-in-Publication Data Maio, Samuel, 1955– Creating another self : voice in modern American personal poetry / Samuel Maio.—2nd ed. p. cm. Includes index. ISBN–13: 978-1-931112-50-5 (pbk. : alk. paper) ISBN–10: 1-931112-50-9 1. American poetry—20th century—History and criticism. 2. Self in literature. 3. Ameri- can poetry—21st century—History and criticism. 4. Persona (Literature). 5. Voice in literature. I. Title. PS310.S34M35 2005 811'.509353—dc22 2005011592 No part of this work may be reproduced or transmitted in any format by any means without written permission from the publisher. ∞ The paper in this publication meets or exceeds the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48–1992. 2005_Maio_creating.book Page v Wednesday, June 29, 2005 11:54 AM CONTENTS Acknowledgments . .vii Preface. ix ONE The Poet’s Voice as Persona . 1 TWO The Confessional Mode . 30 Robert Lowell. 32 James Wright . 58 Anne Sexton . 78 THREE The Persona Mode. 103 John Berryman. 104 Weldon Kees . 135 Galway Kinnell. 152 FOUR The Self-Effacing Mode. 180 Mark Strand .
    [Show full text]
  • Nature, Fidelity, and the Poetry of Robert Hass
    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. Nature, Fidelity, and the Poetry of Robert Hass A thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English at Massey University, Palmerston North, New Zealand Sarah Jane Barnett 2014 Abstract This thesis uses two methods of investigation—a critical essay on Robert Hass and a collection of poetry—to explore the relationship between contemporary poetry and the natural world. Central to the early collections of American poet Robert Hass is the question of whether language can depict the natural world. Hass uses techniques to try to accurately describe the natural world in some poems, while suggesting in others that language is limited in its ability to represent the natural world. Hass’s use and refusal of poetic technique, and the tension it creates, has not previously been explored in the critical literature. To address this critical gap, I use a third-wave ecocritical approach to examine Hass’s depiction of “nature” in his collections Field Guide, Praise, Human Wishes, and Sun Under Wood. The examination explores Hass’s use of scientifically accurate names and descriptions to realistically depict the natural world, which suggest that Hass sees the natural world as knowable, particular, and valuable; the way his poems depict humans as animals by drawing comparisons between human and nonhuman behaviour, but also suggests that humans are separated from other animals by language, rational thought, and self-awareness; and Hass’s use of three strategies—that of showing the limitations of language, qualifying language, and the theme of loss—to explore the role of the poem in our relationship to the natural world.
    [Show full text]