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Mythic Metamorphosis: Re-Shaping Identity in the Works of H.D. Sarah Lewis Mitchem Thesis Submitted to the Faculty of the Virgin
Mythic Metamorphosis: Re-shaping Identity in the Works of H.D. Sarah Lewis Mitchem Thesis submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Master of Arts in English Thomas Gardner, Chair Frederick M. D’Aguiar Paul Sorrentino April 13, 2007 Blacksburg, Virginia Keywords: H.D., Imagism, Mythic Metamorphoses, Asklepios Copyright (Optional) Mythic Metamorphosis: Re-shaping Identity in the Works of H.D. Sarah Lewis Mitchem Abstract In section fifteen of the poem The Walls Do Not Fall author Hilda Doolittle (H.D.) address her audience and articulates the purpose of the poet in the following lines: “we are the keepers of the secret,/ the carriers, the spinners/ of the rare intangible thread/ that binds all humanity/ to ancient wisdom,/ to antiquity;/…every concrete object/ has abstract value, is timeless/ in the dream parallel” (Trilogy 24). H.D. mined her own life for charged relationships which she then, through writing, connected to the mythic characters of antiquity whose tales embodied the same struggles she faced. Reading concrete objects as universal symbols which transcend time, her mind meshed the 20th century with previous cultures to create a nexus where the questions embedded in the human spirit are alive on multiple planes. The purpose of this research project is not to define her works as “successful” or “unsuccessful,” nor to weigh the works against each other in terms of “advancement.” Rather it is to describe the way she manipulates this most reliable of tools, mythic metamorphosis, in works stretching from her early Imagist poetry, through her long poem Trilogy, and finally into her last memoir End To Torment, taking note of the way she uses this tool to form beauty from harsh circumstances and help heal her shattered psyche. -
Irish Authors Collections Guide 18 August 2020 English Literature Is One of the Two Greatest Strengths of the Rosenbach's Libr
Irish Authors Collections Guide 18 August 2020 English Literature is one of the two greatest strengths of the Rosenbach’s library collections (the other being American history). What we usually call English Literature is more precisely the English-language literature of Great Britain, Ireland, and surrounding islands. Some of the greatest writers in the English language have been Irish. Dr. Rosenbach certainly recognized this, and although we don't know that he had a special interest in Irish writers as such, it means that he did collect a number of them. His interest was chiefly in pre-20th-century literature, so apart from James Joyce there are few recent writers represented. Although they are not segregated by country of origin on the Rosenbach shelves, this guide highlights Irish authors as a particular sub-set of English-language authors. The guide is arranged in alphabetical order by author’s last name, and in the instances of James Joyce, Bram Stoker, and Oscar Wilde, the list is further broken down by collections category. Throughout this guide, all objects owned by Dr. Rosenbach are marked with an asterisk (*). Those marked with double (**) are part of Philip Rosenbach’s gift to the Foundation on January 12, 1953, consisting partly of objects from Dr. Rosenbach’s estate. This guide will be updated periodically to reflect new acquisitions and further cataloging of the Rosenbach collections. Objects acquired since 2014 are marked with a “+”. For further information on any item listed on this collections guide, please contact us at https://rosenbach.org/research/make-an-inquiry/. For information about on-site research, or to request an appointment to see specific materials, visit http://rosenbach.org/research/make-an- appointment/. -
Pictures from Brueghel: Pulitzer Prize, Poetry PDF Book
PICTURES FROM BRUEGHEL: PULITZER PRIZE, POETRY PDF, EPUB, EBOOK William Carlos Williams | 184 pages | 01 Feb 1967 | New Directions Publishing Corporation | 9780811202343 | English | New York, United States Pictures from Brueghel: Pulitzer Prize, Poetry PDF Book Related Pages :. Wikisource has original works written by or about: William Carlos Williams. Add to registry. A well-known example of the "triadic line [break]" can be found in Williams's love-poem " Asphodel, That Greeny Flower. Email address. New York Times. The ten poems were each based on a Brueghel painting. Williams perfected his "variable foot" metric and achieved full mastery of the "American idiom" which was his lifelong first concern. Recent searches Clear All. However, we can only email you if you include your email address! Many books have significant or minor changes between editions. New York: HarperCollins, See our disclaimer. Current selection is: Paperback. Email address. Your email address will never be sold or distributed to a third party for any reason. Customer Service. Scholars note that the Caribbean culture of the family home had an important influence on Williams. Revered for his modernist and imagist poetry, he published numerous poetry collections, including the five-volume epic Paterson and Pictures from Brueghel and Other Poems. In , Williams turned his attentions to Contact , a periodical launched by Williams and fellow writer Robert McAlmon : "The two editors sought American cultural renewal in the local condition in clear opposition to the internationalists—Pound, The Little Review , and the Baroness. Your question required. During the s, Williams began working on an opera. Combined Two Professions. The later poems depict an aging poet finding joy at the limits of his craft. -
Yeats's Discoveries of Self in the Wild Swans at Coole
Colby Quarterly Volume 8 Issue 1 March Article 3 March 1968 Yeats's Discoveries of Self in The Wild Swans at Coole James H. O'Brien Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, series 8, no.1, March 1968, p.1-13 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. O'Brien: Yeats's Discoveries of Self in The Wild Swans at Coole Colby Library Quarterly Series VIII March 1968 No.1 YEATS'S DISCOVERIES OF SELF IN THE WILD SWANS AT COOLE By JAMES H. O'BRIEN lthough a relatively small collection, The Wild Swans at A Coole (191'9) contains a complex presentation of a major theme in Yeats's work-his search for a fusion of the powers of self. From Responsibilities (1914) onwards, Yeats builds his volumes of poems around some crisis of the self. In The Wild Swans at Coole he continues this quest-despite the attrition of age, the death of friends, and the torment of broken memories. Here he binds the poems together with a plan for restoring the maimed powers of self. Frequently The Wild Swans at Coole is singled out for the series of didactic poems at its conclusion, poems that mix occultism with his art. But these concluding poems may be regarded as part of an intricate study of the self: ( 1) the poet's declaration of the plight of an ageing man with waning imaginative powers, (2) his deliberate withdrawal from the modern confusion, (3) his venture into a bewildering but sporadically ecstatic "reliving of the past," and (4) his revela tion of a system encompassing the intensities possible to the self. -
Whispers out of Time: John Ashbery's Collages by Josh Schneiderman
Whispers out of Time: John Ashbery’s Collages By Josh Schneiderman On December 31, 2017, the New York Times Magazine released its annual “The Lives They Lived” issue dedicated to the “artists, innovators, and thinkers” who had died that year. It featured a photo of John Ashbery’s collage-making desk, complete with paste can, scissors, and piles of ephemera. It might have seemed like an odd homage to the late poet. While there have been numerous critical studies of his poetry, there has been no sustained critical work on Ashbery’s collages. But two concurrent New York exhibitions— “Oh, What Fun! Collages 2015–2017” at Tibor de Nagy Gallery through October 14 and “The Construction of Fiction” at Pratt Manhattan Gallery through November 14—make it clear that Ashbery’s collages were in fact an integral part of his writing practice, shedding light on the nature of his idiosyncratic poetic technique. One might describe Ashbery’s collage art as “a weird ether of forgotten dismemberments,” to borrow a line from his 1977 poem “Collective Dawns.” He marshaled cultural detritus into zany, bustling compositions. In Buster and Friends(2015), on view at Pratt, a neon sign from the bygone Buster Brown Shoes chain depicting the eponymous comic-strip character and his dog, Tige, invades a blown-up background detail from Jan van Eyck’s Arnolfini Portrait (1434). The dopey glowing rictuses look voyeuristically at the figures whose backs are reflected in the convex mirror. I thought about Ashbery’s career-defining long poem “Self-Portrait in a Convex Mirror” (1975) and its meditations on the vagaries of representation in Western art. -
The Great War in Irish Poetry
Durham E-Theses Creation from conict: The Great War in Irish poetry Brearton, Frances Elizabeth How to cite: Brearton, Frances Elizabeth (1998) Creation from conict: The Great War in Irish poetry, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/5042/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Creation from Conflict: The Great War in Irish Poetry The copyright of this thesis rests with the author. No quotation from it should be published without the written consent of the author and information derived from it should be acknowledged. Frances Elizabeth Brearton Thesis submitted for the degree of Ph.D Department of English Studies University of Durham January 1998 12 HAY 1998 ABSTRACT This thesis explores the impact of the First World War on the imaginations of six poets - W.B. -
Frank O'hara As a Visual Artist Daniella M
Student Publications Student Scholarship Spring 2018 Fusing Both Arts to an Inseparable Unity: Frank O'Hara as a Visual Artist Daniella M. Snyder Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/student_scholarship Part of the American Art and Architecture Commons, Art and Design Commons, and the Theory and Criticism Commons Share feedback about the accessibility of this item. Snyder, Daniella M., "Fusing Both Arts to an Inseparable Unity: Frank O'Hara as a Visual Artist" (2018). Student Publications. 615. https://cupola.gettysburg.edu/student_scholarship/615 This open access student research paper is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. Fusing Both Arts to an Inseparable Unity: Frank O'Hara as a Visual Artist Abstract Frank O’Hara, a curator at the Museum of Modern Art in New York and a published poet in the 1950s and 60s, was an exemplary yet enigmatic figure in both the literary and art worlds. While he published poetry, wrote art criticism, and curated exhibitions—on Franz Kline, Robert Motherwell, and Jackson Pollock—he also collaborated on numerous projects with visual artists, including Larry Rivers, Michael Goldberg, Grace Hartigan, Joe Brainard, Jane Freilicher, and Norman Bluhm. Scholars who study O’Hara fail to recognize his work with the aforementioned visual artists, only considering him a “Painterly Poet” or a “Poet Among Painters,” but never a poet and a visual artist. Through W.J.T. Mitchell’s “imagetext” model, I apply a hybridized literary and visual analysis to understand O’Hara’s artistic work in a new way. -
SNL05-NLI WINTER 06.Indd
NEWS Number 26: Winter 2006 2006 marked the centenary of the death of the Norwegian poet and playwright Henrik Ibsen. In September, the Library, along with cultural institutions in many countries around the world participated in the international centenary celebration of this hugely influential writer with a number of Ibsen-related events including Portraits of Ibsen, an exhibition of a series of 46 oil paintings by Haakon Gullvaag, one of Norway’s leading contemporary artists, and Writers in Conversation an event held in the Library’s Seminar Room at which RTÉ broadcaster Myles Dungan interviewed the acclaimed Norwegian writer Lars Saabye Christensen. During both September and October, the Library hosted a series of lunchtime readings by the Dublin Lyric Players exploring themes in Ibsen’s writings, and drawing on his Leabharlann Náisiúnta na hÉireann poetry and prose as well as his plays. A series of lunchtime lectures looked at Ibsen’s influence on Irish writers and his impact upon aspects of the Irish Revival. National Library of Ireland The Portraits of Ibsen exhibition coincided with the 4-day State Visit to Ireland by Their Majesties King Harald V and Queen Sonja of Norway. On 19 September, Her Majesty Queen Sonja visited the Library to officially open the Portraits of Ibsen NUACHT exhibition, to visit Yeats: the life and works of William Butler Yeats and also to view a number of Ibsen-related exhibits from the Library’s collections; these included The Quintessence of Ibsenism by George Bernard Shaw (1891), Ibsen’s New Drama by James Joyce (1900); Padraic Colum’s copy of the Prose Dramas of Ibsen, given as a gift to WB Yeats, and various playbills for Dublin performances of Ibsen. -
Gertrude Stein and Her Audience: Small Presses, Little Magazines, and the Reconfiguration of Modern Authorship
GERTRUDE STEIN AND HER AUDIENCE: SMALL PRESSES, LITTLE MAGAZINES, AND THE RECONFIGURATION OF MODERN AUTHORSHIP KALI MCKAY BACHELOR OF ARTS, UNIVERSITY OF LETHBRIDGE, 2006 A Thesis Submitted to the School of Graduate Studies of the University of Lethbridge in Partial Fulfilment of the Requirements for the Degree MASTER OF ARTS Department of English University of Lethbridge LETHBRIDGE, ALBERTA, CANADA © Kali McKay, 2010 Abstract: This thesis examines the publishing career of Gertrude Stein, an American expatriate writer whose experimental style left her largely unpublished throughout much of her career. Stein’s various attempts at dissemination illustrate the importance she placed on being paid for her work and highlight the paradoxical relationship between Stein and her audience. This study shows that there was an intimate relationship between literary modernism and mainstream culture as demonstrated by Stein’s need for the public recognition and financial gains by which success had long been measured. Stein’s attempt to embrace the definition of the author as a professional who earned a living through writing is indicative of the developments in art throughout the first decades of the twentieth century, and it problematizes modern authorship by re- emphasizing the importance of commercial success to artists previously believed to have been indifferent to the reaction of their audience. iii Table of Contents Title Page ………………………………………………………………………………. i Signature Page ………………………………………………………………………… ii Abstract ……………………………………………………………………………….. iii Table of Contents …………………………………………………………………….. iv Chapter One …………………………………………………………………………..... 1 Chapter Two ………………………………………………………………………….. 26 Chapter Three ………………………………………………………………………… 47 Chapter Four .………………………………………………………………………... 66 Works Cited .………………………………………………………………………….. 86 iv Chapter One Hostile readers of Gertrude Stein’s work have frequently accused her of egotism, claiming that she was a talentless narcissist who imposed her maunderings on the public with an undeserved sense of self-satisfaction. -
W. B. Yeats Selected Poems
W. B. Yeats Selected Poems Compiled by Emma Laybourn 2018 This is a free ebook from www.englishliteratureebooks.com It may be shared or copied for any non-commercial purpose. It may not be sold. Cover picture shows Ben Bulben, County Sligo, Ireland. Contents To return to the Contents list at any time, click on the arrow ↑ before each poem. Introduction From The Wanderings of Oisin and other poems (1889) The Song of the Happy Shepherd The Indian upon God The Indian to his Love The Stolen Child Down by the Salley Gardens The Ballad of Moll Magee The Wanderings of Oisin (extracts) From The Rose (1893) To the Rose upon the Rood of Time Fergus and the Druid The Rose of the World The Rose of Battle A Faery Song The Lake Isle of Innisfree The Sorrow of Love When You are Old Who goes with Fergus? The Man who dreamed of Faeryland The Ballad of Father Gilligan The Two Trees From The Wind Among the Reeds (1899) The Lover tells of the Rose in his Heart The Host of the Air The Unappeasable Host The Song of Wandering Aengus The Lover mourns for the Loss of Love He mourns for the Change that has come upon Him and his Beloved, and longs for the End of the World He remembers Forgotten Beauty The Cap and Bells The Valley of the Black Pig The Secret Rose The Travail of Passion The Poet pleads with the Elemental Powers He wishes his Beloved were Dead He wishes for the Cloths of Heaven From In the Seven Woods (1904) In the Seven Woods The Folly of being Comforted Never Give All the Heart The Withering of the Boughs Adam’s Curse Red Hanrahan’s Song about Ireland -
William Blake
Ken Sanders Rare Books E-List: William Blake (cover Illustration taken from #9) © Ken Sanders Rare Books 2018 1. Blake, William; David Bindman (General Editor). William Blake's Illuminated Books: Collected Edition. Jerusalem; Songs of Innocence and of Experience; The Early Illuminated Books; The Continental Prophecies; Milton a poem and the Final Illuminated Works; The Urizen Books (6 volumes). Princeton, NJ: Princeton University Press in conjunction with the William Blake Trust, 1991-1995. First Princeton University Press editions. Quarto [30 cm] Brown cloth over boards. There is a light splash stain, measuring 3 x 1", to the top edge of the text block of volume 1. Pp. 130-133 of volume 1 have minor underlining. A couple of the boards have shallow dings in the edges. In the illustrated dust jackets with mild edge wear, slight toning, and periodic small stains, including several burn stains. The dust jacket of volume 1 is a bit chipped at the edges. [54118] $750 An attractively produced collected edition in uniform format of all of Blake's Illuminated Books. These Illuminated Books reflect the heart of the British Romantic's artistic essence, exquisitely blending his masterworks of art and text. Blake had hoped that the Books would would be widely circulated, but this did not happen, with some existing solely as unique copies, or if printed, only in very small numbers. The scarcity of the Illuminated books was noted early on and numerous attempts were made to reproduce them. The most complete and faithful of these reproductions was produced by Trianon Press for the William Blake Trust. -
Late Modernist Poetics and George Schneeman's Collaborations with the New York School Poets
Timothy Keane Studies in Visual Arts and Communication: an international journal Vol 1, No 2 (2014) on-line ISSN 2393 - 1221 No Real Assurances: Late Modernist Poetics and George Schneeman’s Collaborations with the New York School Poets Timothy Keane City University of New York Abstract: Painter George Schneeman’s collaborations with the New York School poets represent an under-examined, vast body of visual-textual hybrids that resolve challenges to mid-and-late century American art through an indirect alliance with late modernist literary practices. Schneeman worked with New York poets intermittently from 1966 into the early 2000s. This article examines these collagist works from a formalist perspective, uncovering how they incorporate gestural techniques of abstract art and the poetic use of juxtaposition, vortices, analogies, and pictorial and lexical imagism to generate non-representational, enigmatic assemblages. I argue that these late modernist works represent an authentically experimental form, violating boundaries between art and writing, disrupting the venerated concept of single authorship, and resisting the demands of the marketplace by affirming for their creators a unity between art-making and daily life—ambitions that have underpinned every twentieth century avant-garde movement. On first seeing George Schneeman’s painting in the 1960s, poet Alice Notley asked herself, “Is this [art] new? Or old fashioned?”1 Notley was probably reacting to Schneeman’s unassuming, intimate representations of Tuscan landscape and what she called their “privacy of relationship.” The potential newness Notley detected in Schneeman’s “old-fashioned” art might be explained by how his small-scale and quiet paintings share none of the self-conscious flamboyance in much American painting of the 1960s and 1970s.