21St-Century Moore Scholarship, a Bibliography in Progress
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The Dial and Transcendentalist Music Criticism” by WESLEY T
The ‘yearnings of the heart to the Infinite’: The Dial and Transcendentalist Music Criticism” by WESLEY T. MOTT “When my hoe tinkled against the stones, that music echoed to the woods and the sky . and I remembered with as much pity as pride, if I remembered at all, my acquaintances who had gone to the city to attend the oratorios.” So wrote contrary Henry Thoreau in “Walden” (1854; [Princeton UP, 1971], p. 159). His literary acquaintances, in fact, had made important contributions to the emergence of music criticism in Boston a decade earlier in the Transcendentalist periodical, the Dial. Published from 1840 to 1844 and edited by Margaret Fuller and Ralph Waldo Emerson, the Dial promised readers in the first issue to give voice to a “new spirit” and to “new views and the dreams of youth,” to aid “the progress of a revolution . united only in a common love of truth, and love of its work” (the Dial, 4 vols. [rpt. New York: Russell & Russell, 1961], 1:1-2. The definitive study is Joel Myerson, The New England Transcendentalists and the Dial: A History of the Magazine and Its Contributors [Rutherford, NJ: Fairleigh Dickinson UP, 1980]). Featuring poetry, essays, reviews, and translations on an eclectic range of literary, philosophical, theological, and aesthetic topics, the Dial published only four articles substantially about music: one by John Sullivan Dwight, one by John Francis Tuckerman, and two by Fuller (excluding her lengthy study Romaic and Rhine Ballads [3:137-80] and brief commentary scattered in review articles). Each wrote one installment of an annual Dial feature for 1840-42—a review of the previous winter’s concerts in Boston. -
May-June 2010
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Dial M for Marianne: the Dial’S Refusals of ‘Work in Progress’
GENETIC JOYCE STUDIES – Issue 15 (Spring 2015) Dial M for Marianne: The Dial’s Refusals of ‘Work in Progress’ Ronan Crowley University of Passau Joyce was extremely anxious to introduce his heroine to readers in the United States. Aiming high, I sent her off to the Dial, hoping its editor, Marianne Moore, would find her attractive. I was glad to get word that the Dial had accepted the work, but it turned out that this was a mistake. It had come in when Miss Moore was away, and she was reluctant to publish it. The Dial didn’t back out altogether. I was told, however, that the text would have to be considerably cut down to meet the requirements of the magazine. Now Joyce might have considered the possibility of expanding a work of his, but never, of course, of whittling it down. On the other hand, I couldn’t blame the Dial for its prudence in dealing with a piece so full of rivers that they might have been overflooded at 152 West Thirteenth Street. I was sorry about ‘A.L.P.’s’ failure to make the Dial. Joyce, who was still in Belgium, was not surprised. ‘Why did you not bet with me?’ he wrote. ‘I should have won something.’ He added that he regretted the loss of a ‘strategical position’. Joyce always looked upon his Finnegans Wake as a kind of battle.1 In this characteristically muddled account, Sylvia Beach provides the canonical version of ‘Work in Progress’s’ rejection by the Dial. Implicit in her reference to rivers and the witty image of the flooded Greenwich Village office, explicit in the inclusion of its title is Beach’s conviction that at issue was the ‘Anna Livia Plurabelle’ section (I.8) of the Wake. -
March 2021 ACADEMIC BIOGRAPHY Lynn Keller E-Mail: Rlkeller@Wisc
March 2021 ACADEMIC BIOGRAPHY Lynn Keller E-mail: [email protected] Education: Ph.D., University of Chicago, Chicago, Illinois, 1981 Dissertation: Heirs of the Modernists: John Ashbery, Elizabeth Bishop, and Robert Creeley, directed by Robert von Hallberg M.A., University of Chicago, Chicago, Illinois, 1976 B.A., Stanford University, Palo Alto, California, 1973 Academic Awards and Honors: Bradshaw Knight Professor of Environmental Humanities (while director of CHE, 2016-2019) Fellow of the John Simon Guggenheim Memorial Foundation, 2015-2016 Martha Meier Renk Bascom Professor of Poetry, January 2003 to August 2019; emerita to present UW Institute for Research in the Humanities, Senior Fellow, Fall 1999-Spring 2004 American Association of University Women Fellowship, July 1994-June 1995 Vilas Associate, 1993-1995 (summer salary 1993, 1994) Chancellor’s Award for Excellence in Teaching, 1989 University nominee for NEH Summer Stipend, 1986 Fellow, University of Wisconsin Institute for Research in the Humanities, Fall semester 1983 NEH Summer Stipend, 1982 Doctoral Dissertation awarded Departmental Honors, English Department, University of Chicago, 1981 Whiting Dissertation Fellowship, 1979-80 Honorary Fellowship, University of Chicago, 1976-77 B.A. awarded “With Distinction,” Stanford University, 1973 Employment: 2016-2019 Director, Center for Culture, History and Environment, Nelson Institute for Environmental Studies, UW-Madison 2014 Visiting Professor, Stockholm University, Stockholm Sweden, Spring semester 2009-2019 Faculty Associate, Center for Culture, History, and Environment, UW-Madison 1994-2019 Full Professor, English Department, University of Wisconsin-Madison [Emerita after August 2019] 1987-1994 Associate Professor, English Department, University of Wisconsin-Madison 1981-1987 Assistant Professor, English Department, University of Wisconsin-Madison 1981 Instructor, University of Chicago Extension (course on T.S. -
The Waste Land by T
The Waste Land by T. S. Eliot Copyright Notice ©1998−2002; ©2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design® and Thomson Learning are trademarks used herein under license. ©2007 eNotes.com LLC ALL RIGHTS RESERVED. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher. For complete copyright information on these eNotes please visit: http://www.enotes.com/waste−land/copyright Table of Contents 1. The Waste Land: Introduction 2. Text of the Poem 3. T. S. Eliot Biography 4. Summary 5. Themes 6. Style 7. Historical Context 8. Critical Overview 9. Essays and Criticism 10. Topics for Further Study 11. Media Adaptations 12. What Do I Read Next? 13. Bibliography and Further Reading 14. Copyright Introduction Because of his wide−ranging contributions to poetry, criticism, prose, and drama, some critics consider Thomas Sterns Eliot one of the most influential writers of the twentieth century. The Waste Land can arguably be cited as his most influential work. When Eliot published this complex poem in 1922—first in his own literary magazine Criterion, then a month later in wider circulation in the Dial— it set off a critical firestorm in the literary world. The work is commonly regarded as one of the seminal works of modernist literature. Indeed, when many critics saw the poem for the first time, it seemed too modern. -
The Dial and the Transcendentalist Theory of Reading
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2008 The Dial and the Transcendentalist Theory of Reading Emily A. Cope University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the English Language and Literature Commons Recommended Citation Cope, Emily A., "The Dial and the Transcendentalist Theory of Reading. " Master's Thesis, University of Tennessee, 2008. https://trace.tennessee.edu/utk_gradthes/348 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Emily A. Cope entitled "The Dial and the Transcendentalist Theory of Reading." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Arts, with a major in English. Dawn Coleman, Major Professor We have read this thesis and recommend its acceptance: Janet Atwill, Martin Griffin Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a thesis written by Emily Ann Cope entitled “The Dial and the Transcendentalist Theory of Reading.” I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in English. -
Cristanne Miller SUNY Distinguished Professor of English and Edward H
Cristanne Miller SUNY Distinguished Professor of English and Edward H. Butler Professor of Literature, SUNY at Buffalo Fulbright-Tocqueville Distinguished Chair in American Studies, Université de Paris Diderot Fall 2013 Cristanne Miller is SUNY Distinguished Professor of English and Edward H. Butler Professor of Literature at the University at Buffalo. Since 2006 she has also served as the chair of the English Department at the University at Buffalo, SUNY. Her research interests include comparative modernist poetry, nineteenth- and early twentieth-century American poetry and the effects of the Civil War on U.S. poetry as a genre as well as gender and language issues. Professor Miller focuses mainly on Emily Dickinson, Mina Loy, Else Lasker-Schüler, Marianne Moore, Civil War poetry, and the cities of New York and Berlin between 1900 and 1930. Among her publications are Cultures of Modernism: Marianne Moore, Mina Loy, Else Lasker-Schüler. Gender and Literary Community in New York and Berlin (2005), and Marianne Moore: Questions of Authority (1995). In 1993, she co-authored, with Suzanne Juhasz and Martha Nell Smith, Comic Power in Emily Dickinson. Her book Emily Dickinson: A Poet´s Grammar (1987) received outstanding reviews. Professor Miller also co-edited, amongst others, The Emily Dickinson Handbook (1998), with Roland Hagenbüchle and Gudrun Grabher, and “Words for the Hour”: A New Anthology of American Civil War Poetry (2005) with Faith Barrett. She is currently working on Emily Dickinson’s Poems and Poetry After Gettysburg. Since 2005, Professor Miller has edited The Emily Dickinson Journal. In addition, she is a member of The Emily Dickinson International Society, The Modern Language Association, and The American Literature Association, among others. -
Modernism and the Periodical Scene in 1915 and Today
Modernism and the Periodical Scene in 1915 and Today Andrew Thacker* Keywords Pessoa, Modernism, Magazines, Orpheu, Periodization. Abstract This article considers the Portuguese magazine Orpheu (1915) within the wider context of periodicals within modernism, drawing upon work carried out by the Modernist Magazines Project. It does this by considering such crucial features of the modernist magazine as its chronology and its geographical reach, and also points to new methods of analysing the materiality of magazines. By understanding the broader milieu of the modernist magazine we gain a clearer sense of how Orpheu can begin to be placed within the cultural field of the modernism. Palavras-chave Pessoa, Modernismo, Revistas, Orpheu, Periodização. Resumo Este artigo considera a revista portuguesa Orpheu (1915) no contexto mais alargado dos periódicos no âmbito do modernismo, baseando-se em trabalho desenvolvido ao abrigo do projeto de investigação Modernist Magazines Project. Fá-lo, considerando aspetos cruciais da revista modernista tais como a sua cronologia e a sua abrangência geográfica, propondo além disso novos métodos de análise da materialidade da revista. Ao compreendermos o meio mais alargado da revista modernista, ganhamos uma visão mais clara do posicionamento de Orpheu no campo cultural do modernismo. * Department of English, Nottingham Trent University Thacker Modernism and the Periodical Scene Orpheu is a significant example of the modernist “little magazine,” a phenomenon with a complex history and multiple iterations across -
MA CC VI and VII Professor C Guha the Waste Land by TS Eliot
M.A. CC VI and VII Professor C Guha The Waste Land by T S Eliot (1922) I had discussed extensively in my earlier classes T S Eliot’s contribution to the Modernist poetic discourse, the characteristics of WL, Ezra Pound’s role in the composition of the poem, Eliot’s nervous breakdown, his ‘awful nightmare of anxiety’ and his ‘mental aboulie’, the epigraph, the five-part structure of the poem (reminiscent of Charles Baudelaire’s Les Fleurs du mal), its unconventional collage- like style, the ‘scaffold’ of the Fisher King and the Grail Legend, the central concerns of the poem, the influences of Dante and Jules Laforgue. Relevant quotes: ‘Because the material [of the psychoanalytic novel] is so clearly defined… there is no possibility [in it] of tapping the atmosphere of unknown terror and mystery in which our life is passed and which psychoanalysis has not yet analysed.’ T S Eliot, “London Letter”, The Dial, September 1922. ‘In using the myth, in manipulating a continuous parallel between contemporaneity and antiquity, Mr Joyce is pursuing a method which others must pursue after him. They will not be imitators, any more than the scientist who uses the discoveries of an Einstein in pursuing his own, independent, further investigations. It is simply a way of controlling, of ordering, of giving a shape and a significance to the immense panorama of futility and anarchy, which is contemporary history.’ T S Eliot, on the Mythical Method in a 1923 review of Ulysses. Books which can be useful: 1. Valerie Eliot Ed.: The Waste Land: Facsimile and Transcript of the Original Draft, 1971. -
The Emily Dickinson Journal
The Emily Dickinson Journal The Emily Dickinson Journal Volume 7, Number 1, Spring 1998 Johns Hopkins University Press Article Viewed | Saved to MyMUSE library View Citation “The Plucked String”: Emily Dickinson, Marianne Moore and the Poetics of Select Defects Cynthia Hogue (bio) [M]any who are “helped” by a brave note, do not admire the plucked string; by some the note of rapture is not caught; and by the self-suicient, Emily Dickinson has been accused of vanity. A certain buoyancy that creates an eect of inconsequent bravado—a sense of drama with which we may not be quite at home — was for her a part of that expansion of breath necessary to existence, and unless it is conceited for the hummingbird or the osprey to not behave like a chicken, one does not find her conceited. Marianne Moore In connection with personality, it is a curiosity of literature how oen what one says of another seems descriptive of one’s self. Marianne Moore In her important study of American women poets’ relations with masculine and feminine literary traditions, The Wicked Sisters, Betsy Erkkila draws the conclusion that Marianne Moore “had no desire to place herself in the literary tradition of Emily Dickinson,” based on the fact that, as Erkkila’s note states, she never mentioned Dickinson to Elizabeth Bishop (102, 239n.1). Moore, Erkkila observes, “found her precursors among men rather than women” (102). 1 Erkkila’s conclusion is literally correct (there is indeed a paucity of references to Dickinson by Moore), but in being quite precisely partial (that is, in taking Moore — or rather, Bishop — at her word), Erkkila may, in fact, be too hasty. -
Thomas Mann, World Author: Representation and Autonomy in the World Republic of Letters
7KRPDV0DQQ:RUOG$XWKRU5HSUHVHQWDWLRQDQG$XWRQRP\ LQWKH:RUOG5HSXEOLFRI/HWWHUV 7RELDV%RHV Seminar: A Journal of Germanic Studies, Volume 51, Number 2, May 2015, pp. 132-147 (Article) 3XEOLVKHGE\8QLYHUVLW\RI7RURQWR3UHVV For additional information about this article http://muse.jhu.edu/journals/smr/summary/v051/51.2.boes.html Access provided by University of Notre Dame (5 Dec 2015 22:19 GMT) Thomas Mann, World Author: Representation and Autonomy in the World Republic of Letters Tobias Boes University of Notre Dame In her influential study The World Republic of Letters, Pascale Casanova draws a firm line between what she calls “national” and “international” writers. For national writers, “literary aesthetics (because they are connected with political questions) are necessarily neonaturalistic.” International writers, on the other hand, are described as “cosmopolitans and polyglots who, owing to their knowl- edge of the revolutions that have taken place in the freest territories of the literary world, attempt to introduce new norms” (110–11). There are a number of different criticisms that could be levelled at this dis- tinction. Here, I want simply to point out the striking similarities between what Casanova alleges are universal sociological categories, on the one hand, and a particular historicizing narrative about literary modernism, on the other. Casa- nova insists, for instance, that the struggle for “autonomy,” which she defines as “literary emancipation in the face of political (and national) claims to authority” (39), represents the most distinctive characteristic of international writing. She thereby echoes claims that have been made about “modern” art since at least the late nineteenth century (for an overview of these debates, see Goldstone). -
Those Various Scalpels: Poetry Made New in Marianne Moore's
Those Various Scalpels: Poetry Made New in Marianne Moore’s Observations Claire O. Grossman Submitted in Partial Fulfillment of the Prerequisite for Honors in English April 2012 Acknowledgements I owe thanks to Dan Chiasson, Larry Rosenwald, and Margery Sabin for their helpful criticisms and suggestions. I would also like to thank my esteemed colleagues at El Table for providing words of encouragement (and many cups of coffee) without which I might have never completed this thesis. 2 CONTENTS Introduction 4 Virtues 6 Acquisitions 20 Accidents 33 Armor & Scalpels 46 3 Introduction This thesis will be dedicated to an examination of Observations , Marianne Moore’s first authorized book of poetry. Moore did not have editorial control over her first book, Poems , published in London in 1921 by the Egoist press. Though the bulk of the work in Poems reappeared in Observations , Moore made changes to many of the original drafts before arranging them carefully in the second book, which was published by the Dial press in New York in 1924. By studying the second volume, I hope to draw conclusions about Moore’s role in the development of modern poetry. Moore was born in Kirkwood, Missouri in 1887. She grew up in the home of her grandfather, a Presbyterian pastor, and moved with her mother and brother to Carlisle, Pennsylvania. She attended Bryn Mawr College, where she studied biology after being rejected by the English department. After graduating from Bryn Mawr in 1909, Moore studied typing, worked as a schoolteacher and librarian, and started to submit her poems to various magazines for publication.