Agrégation Externe D'anglais 2018
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Walt Whitman (1819-1892)
Whitman 1 Walt Whitman (1819-1892) 2 Section headings and information Poems 6 “In Cabin’d Ships at Sea” 7 “We Two, How Long We Were Foole’d” 8 “These I Singing in Spring” 9 “France, the 18th Year of These States” 10 “Year of Meteors (1859-1860)” 11 “Song for All Seas, All Ships” 12 “Gods” 13 “Beat! Beat! Drums!” 14 “Vigil Strange I Kept on the Field one Night” 15 “A March in the Ranks Hard-Prest, and the Road Unknown” 16 “O Captain! My Captain!” 17 “Unnamed Lands” 18 “Warble for Lilac-Time” 19 “Vocalism” 20 “Miracles” 21 “An Old Man’s Thought of School” 22 “Thou Orb Aloft Full-Dazzling” 23 “To a Locomotive in Winter” 24 “O Magnet-South” 25 “Years of the Modern” Source: Leaves of Grass. Sculley Bradley and Harold W. Blodgett, ed. NY: W.W. Norton & Company, 1973. Print. Note: For the IOC, copies of the poems will contain no information other than the title, the poem’s text, and line numbers. Whitman 2 Leaves of Grass, 1881, section headings for those poems within this packet WW: Walt Whitman LG: Leaves of Grass MS: manuscript “Inscriptions” First became a group title for the opening nine poems of LG 1871. In LG 1881 the group was increased to the present twenty-four poems, of which one was new. “Children of Adam” In two of his notes toward poems WW set forth his ideas for this group. One reads: “A strong of Poems (short, etc.), embodying the amative love of woman—the same as Live Oak Leaves do the passion of friendship for man.” (MS unlocated, N and F, 169, No. -
Elizabeth Bishop and the Endurance of Emerson
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2012 My Higher Self: Elizabeth Bishop and the Endurance of Emerson Joshua Andrew Mayo Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the English Language and Literature Commons Recommended Citation Mayo, Joshua Andrew, "My Higher Self: Elizabeth Bishop and the Endurance of Emerson" (2012). Electronic Theses and Dissertations. 190. https://egrove.olemiss.edu/etd/190 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. “MY HIGHER SELF”: ELIZABETH BISHOP AND THE ENDURANCE OF EMERSON A Thesis presented in partial fulfillment of requirements for the degree of Master of Arts in the Department of English The University of Mississippi by JOSHUA ANDREW MAYO April 2012 Copyright Joshua A. Mayo 2012 ALL RIGHTS RESERVED ABSTRACT While there exists some scholarship affirming the aesthetic and intellectual connections between transcendentalism and the poetry of Elizabeth Bishop, there is to date no substantial study of what role Ralph Waldo Emerson singularly played in the inheritance of that tradition. This essay seeks to validate Emerson as Bishop’s literary parentage, an influence that, though not immediately identifiable, greatly shaped her creative process. In so doing, it addresses the critical mistakes which have prevented a thorough discussion of Emerson’s relevance and, moreover, negatively dominated the imagination of Bishop scholarship. As an exploration of the writers’ shared iconography, their mutual metaphors, the following traces three common subjects: nature, language, and vision. -
Emerson's Philosophy
EMERSON’S PHILOSOPHY: A PROCESS OF BECOMING THROUGH PERSONAL AND PUBLIC TRAGEDY Amy L. Simonson Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Department of English, Indiana University August 2019 Accepted by the Graduate Faculty of Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. Master's Thesis Committee ______________________________________ Jane E. Schultz, PhD, Chair ______________________________________ Robert Rebein, MFA, PhD ______________________________________ Samuel Graber, PhD ii © 2019 Amy L. Simonson iii ACKNOWLEDGEMENT Thank you. To Professor Jane E. Schultz, thank you for the innumerable hours of listening, suggestions, and feedback you provided as the chair of my thesis committee. I am grateful for your involvement from the first e-mail when you agreed to discuss my appreciation of Emerson to pots of tea while conferring about the places that gave me trouble to hundreds of edits and suggestions for revision to take my project deeper and make it more readable. To Professors Samuel Graber and Robert Rebein, I am grateful for the thought-provoking feedback that pushed me to create a stronger, communicable argument. Professor Megan Musgrave, thank you for your excitement, support, and engaging courses that kept my brain excited about academics for most of this process. To Debbie Oesch-Minor, thank you for giving me interesting articles to read, talking through ideas, and being a kindred spirit. To the Ians and others in our informal post-class class, thank you for the plethora of ideas and frequent discourse regarding my topic, from its first inception to presentations to completion. -
20890 Hamaca Court • Boca Raton • Florida • 33433 954-304-7027 • [email protected] ______
MARK SCROGGINS Curriculum Vitae 20890 Hamaca Court • Boca Raton • Florida • 33433 954-304-7027 • [email protected] ________________________________________________________________________ Professor and Director of Graduate Studies Department of English Florida Atlantic University 777 Glades Road Boca Raton, Florida 33431 EDUCATION CORNELL UNIVERSITY Ph.D. in English, 1993 Dissertation: “Zukofsky and Stevens: Poetry, Music, and Knowledge” (Joel Porte, director) M.A. in English, 1990 M.F.A. in English (poetry writing), 1990 Thesis: “Broken Book” (A. R. Ammons, director) VIRGINIA POLYTECHNIC INSTITUTE AND STATE UNIVERSITY B.A. in English (in honors) and Philosophy, Magna Cum Laude, 1986 ACADEMIC POSTS Florida Atlantic University, Professor of English, 2009 – present. Florida Atlantic University, Associate Professor of English, 2001 – 2009. Florida Atlantic University, Assistant Professor of English, 1996 – 2001. PUBLICATIONS BOOKS: Red Arcadia (poetry). Bristol, UK: Shearsman Books, 2012. Sean Colletti, Stride Magazine April 2012: http://www.stridemagazine.co.uk/Stride%20mag%202012/April%202012/collettireviews.htm Torture Garden: Naked City Pastorelles (poetry). Brooklyn: The Cultural Society, 2011. The Poem of a Life: A Biography of Louis Zukofsky. Emeryville, CA: Shoemaker & Hoard, 2007. Marjorie Perloff, Times Literary Supplement 7 September 2007 (full-page review). Mike Doyle, Pacific Rim Review of Books 7 (Winter 2007): 4. Dan Chiasson, New York Times Book Review 20 January 2008 (full-page review). “Editor’s Choice,” New York Times Book Review 27 January 2008. Nicholas Manning, Jacket 35 (2008): http://jacketmagazine.com/35/r-scroggins-rb-manning.shtml. Michael Dirda, Washington Post Book World 20 April 2008 (full-page review). August Kleinzahler, London Review of Books 22 May 2008. Rachel Blau DuPlessis, Contemporary Literature 50.1 (2009). -
DSJ 139 Spring 2006.Indd
The Delius Society Journal Spring 2006, Number 139 The Delius Society (Registered Charity No. 298662) President Dr Lionel Carley BA PhD Vice Presidents Sir Andrew Davis CBE Mark Elder CBE Vernon Handley CBE, MA, FRCM Richard Hickox CBE, FRCO Lyndon Jenkins Richard Kitching Tasmin Little FGSM ARCM (Hons) Hon D.Litt DipGSM David Lloyd-Jones BA FGSM Hon DMus Julian Lloyd Webber FRCM Sir Charles Mackerras CBE Robert Threlfall Website: http://www.delius.org.uk ISSN-0306-0373 1 Chairman Roger J. Buckley Treasurer and Membership Secretary Stewart Winstanley Windmill Ridge, 82 Highgate Road, Walsall, WS1 3JA Tel: 01922 633115 Email: [email protected] Secretary Ann Dixon 21 Woodlands Drive, Brooklands, Sale, Cheshire, M33 3PQ Tel: 0161 282 3654 Email: [email protected] Journal Editor Martin Lee-Browne Chester House, Fairford, Gloucestershire GL7 4AD Tel: 01285 711417 Email: [email protected] Front cover: Maine Cliffs (1883) Winslow Homer (USA 1836-1910) (Collection of the Brooklyn Museum, New York) Back cover: Sir Thomas Beecham (and friend?) c.1924 2 CONTENTS Chairman’s Notes .............................................................................................. 5 Editorial .............................................................................................................. 7 OBITUARIES Ron Kirkman ..................................................................................................... 9 Michael le Harivel ............................................................................................ -
Leaves of Grass
Leaves of Grass by Walt Whitman AN ELECTRONIC CLASSICS SERIES PUBLICATION Leaves of Grass by Walt Whitman is a publication of The Electronic Classics Series. This Portable Document file is furnished free and without any charge of any kind. Any person using this document file, for any pur- pose, and in any way does so at his or her own risk. Neither the Pennsylvania State University nor Jim Manis, Editor, nor anyone associated with the Pennsylvania State University assumes any responsibility for the material contained within the document or for the file as an electronic transmission, in any way. Leaves of Grass by Walt Whitman, The Electronic Clas- sics Series, Jim Manis, Editor, PSU-Hazleton, Hazleton, PA 18202 is a Portable Document File produced as part of an ongoing publication project to bring classical works of literature, in English, to free and easy access of those wishing to make use of them. Jim Manis is a faculty member of the English Depart- ment of The Pennsylvania State University. This page and any preceding page(s) are restricted by copyright. The text of the following pages are not copyrighted within the United States; however, the fonts used may be. Cover Design: Jim Manis; image: Walt Whitman, age 37, frontispiece to Leaves of Grass, Fulton St., Brooklyn, N.Y., steel engraving by Samuel Hollyer from a lost da- guerreotype by Gabriel Harrison. Copyright © 2007 - 2013 The Pennsylvania State University is an equal opportunity university. Walt Whitman Contents LEAVES OF GRASS ............................................................... 13 BOOK I. INSCRIPTIONS..................................................... 14 One’s-Self I Sing .......................................................................................... 14 As I Ponder’d in Silence............................................................................... -
Performing Loss, Elegy, and Transcendental Friendship
Performing Loss, Elegy, and Transcendental Friendship william rossi —For Joel “Friendship, like the immortality of the soul, is too good to be believed.” —Ralph Waldo Emerson, “Friendship,” 1841 HE broad outlines of Henry Thoreau’s complicated re- T lationship with Ralph Waldo Emerson are well known. Embraced as a proteg´ e´ following his graduation from Har- vard College in 1837 and admitted to the circle of radical thinkers and young seekers who had gathered around Emerson, Thoreau benefited enormously, throughout the first decade of their friendship, from the older man’s encouragement, mate- rial assistance, professional advice, and rising stature as a writer and philosopher. In the seven-year period between April 1841, when he first moved into the Emerson house, and July 1848, when Emerson returned from an eight-month lecture tour in Britain, Thoreau passed more time with Emerson—under his roof or under his sponsorship—than with his own family. “For the simple reason that Emerson was the inspiration of his early years,” Thoreau was more invested in the friendship.1 The author gratefully acknowledges the assistance of John Lysaker, whose ini- tiative provided a first occasion for these thoughts, as well as the vital encour- agement and valuable criticism he received from Karen Ford, Jim Crosswhite, and Lynne Rossi. 1Robert Sattelmeyer, “Emerson and Thoreau,” in The Cambridge Companion to Henry David Thoreau, ed. Joel Myerson (New York: Cambridge University Press, The New England Quarterly, vol. LXXXI, no. 2 (June 2008). C 2008 by The -
Distribution Agreement
Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. _____________________________ ______________ Claire Laville July 17, 2014 Reading to the Test: Character, Method, and Complicity in U.S. Writing from Emerson to Adorno by Claire Laville Doctor of Philosophy English _____________________________________ Michael Moon Advisor _____________________________________ Walter Kalaidjian Committee Member _____________________________________ Benjamin Reiss Committee Member _____________________________________ Deborah Elise White Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date Reading to the Test: Character, Method, and Complicity in U.S. Writing from Emerson to Adorno by Claire Laville Hon. B.A., University of Toronto M.A., Emory University Advisor: Michael Moon, Ph.D. An abstract of a dissertation submitted to the Faculty of the James T. Laney School of Graduate Studies of Emory University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English 2014 Abstract Reading to the Test: Character, Method, and Complicity in U.S. -
Julie Ellison University of Michigan
JULIE ELLISON UNIVERSITY OF MICHIGAN EDUCATION 1965-69 Northfield School 1969-73 B.A. Magna cum laude, American History and Literature, Harvard University 1975-80 Ph.D. English Language and Literature, Yale University FACULTY AND ADMINISTRATIVE APPOINTMENTS* 1978-1979 Instructor, English, Yale University 1980-1986 Assistant Professor, English 1987-1990 Associate Professor, English 1990-2003 Professor, English 1995-1996 Director of Graduate Studies, English 1996-2001 Associate Vice President for Research Founding Director, Imagining America: Artists and Scholars in Public Life, White House Millennium Council Partner Program (1998-2000) 2001-2007 Founding Director, Imagining America: Artists and Scholars in Public Life (consortium of colleges and universities) 2003-2010 Professor of American Culture; Faculty Associate in English and School of Art and Design 2008-2010 Director of Undergraduate Studies, Program in American Culture 2009-2010 Co-founder and leader (with Professor Kristin Hass), Public Humanities Institute, Rackham School of Graduate Studies 2011- Professor of American Culture and English; Faculty Associate in Stamps School of Art and Design and Department of Afroamerican and African Studies Ellison 2 2012- Founder and Lead Organizer, Citizen Alum (national initiative) * At University of Michigan unless otherwise indicated SELECTED FELLOWSHIPS AND HONORS 1985 Bredvoldt Prize, Outstanding Junior Faculty Member, University of Michigan English Department 1987 National Endowment for the Humanities Fellowship 1993-1994 John Rich -
Music for a Time of War
MUSIC FOR A TIME OF WAR THE OREGON SYMPHONY CARLOS KALMAR Charles Ives (1874-1954) Charles Ives some of their most open and expansive works. 1 The Unanswered Question (1906, rev. c. 1930-1935) 5. 44 The Unanswered Question Jeffrey Work, Trumpet During the US Civil War, Whitman served as a nurse where he wit- harles Ives penned “The Unanswered Question” in 1906 for a soli- nessed the horror of battlefield hospitals. In The Wound-Dresser, for John Adams (b. 1947) Ctary probing trumpet, four quarrelsome woodwinds and only a baritone and orchestra, Adams memorializes the experience in a hushed 2 The Wound-Dresser (1989) 20. 18 Sanford Sylvan, Baritone small complement of strings. There is something quintessentially and dignified manner. It was composed in 1989, the year after Adams’ Jun Iwasaki, Violin American about the notion of addressing the meaning of existence in father died. The composer had watched his mother care for her husband under five minutes. But no one has accused it of being any the less for for several years, and during the same period he’d seen friends suffer Benjamin Britten (1913-1976) its economy of scale, and Ives’ innovations are still with us. and die of AIDS. He says “The Wound-Dresser is the most intimate, most Sinfonia da Requiem, Op. 20 (1940) 3 Lacrymosa (Andante ben misurato) 8. 34 Stasis is a problem for composers – like watching musical paint dry – graphic and most profoundly affecting evocation of the act of nursing 4 Dies Irae (Allegro con fuoco) 4. 53 so how to reveal timelessness? Ives devises a hushed, glacially revolving the sick and dying that I know of… It strikes me as a statement about 5 Requiem Aeternam (Andante molto tranquillo) 5. -
REVERBERATING REFLECTIONS of WHITMAN: a DARK ROMANTIC REVEALED DISSERTATION Presented to the Graduate Council of the University
3-iq REVERBERATING REFLECTIONS OF WHITMAN: A DARK ROMANTIC REVEALED DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By Lisa Kirkpatrick Lundy, B.A. Denton, Texas August, 1999 Lundy, Lisa A. Kirkpatrick, Reverberating Reflections of Whitman: A Dark Romantic Revealed. Doctor of Philosophy (English), August, 1999, 146 pp. Works cited, 150 entries. Walt Whitman has long been celebrated as a Romantic writer who celebrates the self, reveres Nature, claims unity in all things, and sings praises to humanity. However, some of what Whitman has to say has been overlooked. Whitman often questioned the goodness of humanity. He recognized evil in various shapes. He pondered death and the imperturbability of Nature to human death. He exhibited nightmarish imagery in some of his works and gory violence in others. While Whitman has long been called a celebratory poet, he is nevertheless also in part a writer of the Dark Romantic. Instead of always presenting the universe as an orderly, harmonious system, and perpetuating his vision of the self—one of order, harmony, and complexity of detail—his tendency is toward blackness, toward the "mind-gloom" of a movement that became an evident outgrowth of American Romanticism. Whitman's earlier works are, as Reynolds claims, "scarred with suffering" (53). Because of three periods in Whitman's life, he is in fact a Dark Romantic. As a young school teacher, Whitman suffered the humiliation of low pay, little respect, no privacy, and at some point a tragic crisis that reverberates throughout much of his literature on and about education and authority figures. -
Translating Carlyle: Ruminating on the Models of Metafiction at The
religions Article Translating Carlyle: Ruminating on the Models of Metafiction at the Emergence of an Emersonian Vernacular David LaRocca Cinema Department, Binghamton University, 4400 Vestal Parkway East, Binghamton, NY 13902, USA; [email protected] Received: 1 June 2017; Accepted: 28 July 2017; Published: 15 August 2017 Abstract: Given the exemplary studies of Thomas Carlyle’s influence on the Boston intelligentsia of the 1830s and 1840s, for instance by Robert D. Richardson and Barbara L. Packer, we may wonder if there are other questions to ask on the subject—and then, not so much as a point of disagreement or divergence, but rather in a spirit of seeking what may come to light given that so many elemental aspects have been so well digested by others. Avoiding a rehearsal of expert observations, much less a rote re-treading of key insights, I wish to focalize the present investigation by asking how, in particular, a single book—Sartor Resartus—affected Emerson’s conception of what might be possible for him to think about literary, religious, and philosophical expression in terms of humor, satire, genre, and translation (specifically cultural translation); thus, I am asking about the interaction between form and content, and specifically how the form and content of Sartor Resartus makes itself known and available to Emerson. Borrowing from George Eliot, the foregoing notes resolve themselves into the query that guides the present investigation: how was reading Sartor Resartus an “epoch in the history of” Emerson’s mind? Keywords: Ralph Waldo Emerson; Thomas Carlyle; Sartor Resartus; American Transcendentalism; transcendental thought; translational hermeneutics; metafiction; metaphor; genre; cultural translation In a late chapter of Thomas Carlyle’s Sartor Resartus: The Tailor Retailored (1833–1834), the bilious Teutonic professor Diogenes Teufelsdröckh remarks: In these distracted times, [ ..