Ted Hughes: a Bibliographical Supplement 1996-2013
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Anna Journey, University of Southern California
Plath Profiles 83 After Ariel: An Argument for Sylvia Plath's Phantom Third Poetry Collection Anna Journey, University of Southern California Phantoms abound in the Sylvia Plath canon. Plath burned her second novel, meant as a gift for her husband, the British poet Ted Hughes, on his birthday in August 1962. Doubletake, Plath's unfinished third novel, "disappeared somewhere around 1970"—long after Plath's suicide in February 1963—Hughes suggests in his introduction to Johnny Panic and the Bible of Dreams (1). According to Diane Middlebrook's biography of the Hughes/Plath marriage, Her Husband, Plath wrote her patroness, Olive Higgins Prouty, that "[Doubletake's] plot was 'semiautobiographical about a wife whose husband turns out to be a deserter and philanderer'" (198). Hughes's mistress, Assia Wevill, after reading the nascent novel, grew offended by the manner in which Plath caricatured the Wevills, as "a 'detestable and contemptible' couple called 'The Goos-Hoppers'"; Wevill openly hoped Hughes would destroy the unfinished novel (Middlebrook 220). More disturbingly, Wevill absconded with some of Plath's valuable manuscripts, which she sent to her sister, intending the stolen literary relics as a "nest egg" for Shura (the daughter Wevill had with Hughes; the daughter she later murdered during her own suicide via a gas oven) (Middlebrook 232). One is left wondering, "What happened to Doubletake?" Even The Unabridged Journals of Sylvia Plath (2000), edited by Karen Kukil, remain incomplete, as a total of two bound journals that Plath used during the last three years of her life are missing from the oeuvre. Hughes, in his foreword to Frances McCullough's 1982 abridged edition of Plath's journals, claims that one of the journals simply "disappeared," much like the draft of Doubletake, while he deliberately destroyed his wife's other "maroon-backed ledger," in order to spare their children from reading about the darkness of their mother's final days (xiv). -
Post-War English Literature 1945-1990
Post-War English Literature 1945-1990 Sara Martín Alegre P08/04540/02135 © FUOC • P08/04540/02135 Post-War English Literature 1945-1990 Index Introduction............................................................................................... 5 Objectives..................................................................................................... 7 1. Literature 1945-1990: cultural context........................................ 9 1.1. The book market in Britain ........................................................ 9 1.2. The relationship between Literature and the universities .......... 10 1.3. Adaptations of literary works for television and the cinema ...... 11 1.4. The minorities in English Literature: women and post-colonial writers .................................................................... 12 2. The English Novel 1945-1990.......................................................... 14 2.1. Traditionalism: between the past and the present ..................... 15 2.2. Fantasy, realism and experimentalism ........................................ 16 2.3. The post-modern novel .............................................................. 18 3. Drama in England 1945-1990......................................................... 21 3.1. West End theatre and the new English drama ........................... 21 3.2. Absurdist drama and social and political drama ........................ 22 3.3. New theatre companies and the Arts Council ............................ 23 3.4. Theatre from the mid-1960s onwards ....................................... -
I Have a Self to Recover: Sylvia Plath and the Literary Success of the Failed Suicide Clare Emily Clifford, Birmingham-Southern College
Plath Profiles 285 I Have a Self to Recover: Sylvia Plath and the Literary Success of the Failed Suicide Clare Emily Clifford, Birmingham-Southern College How shall I age into that state of mind? I am the ghost of an infamous suicide, My own blue razor rusting in my throat. Sylvia Plath, "Electra on Azalea Path" For most people, Sylvia Plath's work represents the epitome of suicidal poetry. The corpus of her poetic oeuvre forever captures the exhumation and resurrection of the material corpses it recomposes through figuration—fragments of bone from the colossal father, the "rubble of skull plates" in the cadaver room, Lady Lazarus' perpetual suicide strip-tease (Collected Poems 114). Plath's poetry is virtually a playground of decomposition; her speakers inhabit a "cramped necropolis," piecing together a ferocious love gathered among the graves (117). By collecting the force of this energy, Plath's work evidences a honed, disciplined voice of controlled extremity. This leads many critics, and often my students, to read into Plath's poetic intensity that she is an angry poet—considering her characters and poetic speakers' fierce energy as evidence of Plath's own anger. But as Plath's speakers wrestle with their anger on the page, they reveal the pain they feel and peace they fiercely and desperately wish for. This anger derives from their frustrated desire to find a lasting peace by recovering language from the constriction of suicidal thinking. Her speakers' rage represents the voice of anger turned against the self. Scavenging the ruins of the suicide's inner landscape—their inscape—Plath's speakers piece themselves together, death after self-inflicted death, becoming virtual experts at trying to recover from failed suicides.1 1 The field of Suicidology uses the term "completed suicide" to distinguish "individuals who have died by their own hand; have been sent to a morgue, funeral home, burial plot, or crematory; and are beyond any therapy" (Maris 15). -
2006 Another Remarkable Year for the National Library 29 December 2006: 2006 Was Another Remarkable Year for the National Library of Ireland
2006 another remarkable year for the National Library 29 December 2006: 2006 was another remarkable year for the National Library of Ireland. Signal events included the opening of a major exhibition on the life and work of WB Yeats; the acquisition of several major literary archives and photographic collections; an official visit by Her Majesty Queen Sonja of Norway; a major award for the Library’s Yeats exhibition at a ceremony held in Bristol; a first prize win at the Irish Design Effectiveness Awards (IDEA) for the 1916 online exhibition. In May, John O’Donoghue, TD, Minister for Arts, Sport and Tourism opened Yeats: the life and works of William Butler Yeats which explores WB Yeats’ literary and cultural legacy and features manuscripts from the Library’s Yeats collection, the world’s most important archive of Yeats material. The exhibition continues until the end of 2008. Throughout 2006 the Library continued to host its popular ‘Library Late’ series of monthly public interviews with critically acclaimed writers. The featured writers this year included Patrick McCabe, Frank McGuinness, Andrew O’Hagan, Colum McCann, Anne Enright, Eavan Boland, Joseph O’Connor, John Connolly, John Boyne, Claire Kilroy and Bernard Mac Laverty. Centenary celebrations of major literary figures 2006 marked the international centenaries of two major literary figures – Norwegian poet and playwright Henrik Ibsen and Samuel Beckett. In March, the National Library was one of a number of cultural institutions, nationally and internationally, which marked the 100th anniversary of Samuel Beckett’s birth. The Centenary Shadows exhibition, which was held at the National Photographic Archive, featured some 40 photographs, including many portraits of Beckett taken by the Irish photographer John Minihan. -
Fine Books and Manuscripts Books Fine
Wednesday 21 March 2018 21 March Wednesday FINE BOOKS AND MANUSCRIPTS FINE BOOKS AND MANUSCRIPTS | Knightsbridge, London | Wednesday 21 March 2018 24633 FINE BOOKS AND MANUSCRIPTS Wednesday 21 March 2018 at 10am Knightsbridge, London BONHAMS ENQUIRIES Please see page 2 for bidder Montpelier Street Matthew Haley information including after-sale Knightsbridge Simon Roberts collection and shipment. London SW7 1HH Luke Batterham www.bonhams.com Sarah Lindberg Please see back of catalogue +44 (0) 20 7393 3828 for important notice to bidders VIEWING +44 (0) 20 7393 3831 Sunday 18 March ILLUSTRATIONS 11am - 3pm Shipping and Collections Front cover: Lot 83 Monday 19 March Leor Cohen Back cover: Lot 245 9am - 4.30pm +44 (0) 20 7393 3841 Tuesday 20 March +44 (0) 20 7393 3879 Fax 9am - 4.30pm [email protected] Please note that Bonhams will be closed Friday 30 March BIDS PRESS ENQUIRIES 2018 – Monday 2 April 2018 +44 (0) 20 7447 7447 [email protected] for the Easter Holiday. +44 (0) 20 7447 7401 fax [email protected] CUSTOMER SERVICES To bid via the internet Monday to Friday please visit www.bonhams.com 8.30am – 6pm +44 (0) 20 7447 7447 New bidders must also provide proof of identity when submitting LIVE ONLINE BIDDING IS bids. Failure to do this may result AVAILABLE FOR THIS SALE in your bids not being processed. Please email [email protected] with “Live bidding” in the subject Please note that bids should be line up to 48 hours before the submitted no later than 4pm on auction to register for this service. -
Sylvia and the Absence of Life Before Ted
http://dx.doi.org/10.5007/2175-7917.2018v23n1p133 SYLVIA AND THE ABSENCE OF LIFE BEFORE TED. Mariana Chaves Petersen* Instituto Federal de Educação, Ciência e Tecnologia do Rio Grande do Sul Abstract: As Bronwyn Polaschek mentions in The Postfeminist Biopic, the film Sylvia (Christine Jeffs, 2003) is based on biographies of Sylvia Plath that focus on her relationship with husband Ted Hughes – such as Janet Malcolm’s The Silent Woman. In this paper, grounded in the works of Linda Hutcheon, Mary E. Hawkesworth, and Tracy Brain, I argue that this biography works as a palimpsest of Sylvia and that the film constructs Plath as the Ariel persona, neglecting her “Juvenilia” – her early poetry, as it has been defined by Hughes. Sylvia actually leaves Plath’s early life – before she met Hughes – aside and it thus ends up portraying her more as a wife than as a writer. Finally, by bringing information on Plath’s life before she met Hughes from a more recent biography (by Andrew Wilson), I analyze how a different image of Plath might have been created if this part of her life were not missing in the film. Keywords: Sylvia. Sylvia Plath. Adaptation studies. Biopic. Feminist criticism. She wanted to be everything, I think. She was always searching for the self that she was going to be. — Elinor Friedman Klein, qtd. in Andrew Wilson, Mad Girl Love’s Song How can you be so many women to so many people, oh you strange girl? — Sylvia Plath, from her journals Introduction: a chosen branch Several were the attempts to fictionalize Sylvia Plath by making her a character in novels, poems, films, and biographies. -
Phd Thesis Tunstall Corrected 11:12:15
Vision and Visual Art in Sylvia Plath’s Ariel and Last Poems Submitted by Lucy Suzannah Tunstall to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English June 2015 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 1 ABSTRACT This dissertation is concerned with Sylvia Plath’s late works. Engaging with critical discussion of what constitutes the corpus of Ariel I show that an appreciation of the editorial history reveals the beginnings of a third book (the last poems) and opens up those difficult and important texts to fresh enquiry. Recent work in Plath studies has focused on visual art. Kathleen Connors and Sally Bayley’s Eye Rhymes examines Plath’s own artwork in an ‘attempt to answer the question, How did Plath arrive at Ariel?’ (1). I contribute to that discussion, but also ask the questions, How did Plath leave Ariel behind and arrive at the even more remarkable last poems, and how did visual art contribute to those journeys? I argue that Ariel’s characteristically lucid style is informed by the dismantling of depth perspective in Post-impressionist painting, and by the colour theory and pedagogy of the Bauhaus teachers. My work is underpinned by an appreciation of Plath’s unique cultural moment in mid-century East Coast America. -
The Love Triangle in Harold Pinter
PINTER 'S T\vO LOVES OF Cm11FORT AND DESPA I R n~o LOVES OF COMFORT AND DESPAIR: THE LOVE TRIANGLE IN HAROLD PINTER By ROBERT JOHN MOORE, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfi Iment of the Requirements for the Degree Master of Arts McMaster Un i vers i ty November, 1978 MASTER OF ARTS (1978) Md1ASTER UN I VERS I TY (Eng Ii sh) Hami Iton, Ontario TITLE: TVlo Loves of Comfort and Oespa i r: The Love Tr i ang I e in Harold Pinter AUTHOR: Robert John Moore, B. A. (Md,1aster University) SUPERVISOR: Dr. A. S. Brennan NUMBER OF PAGES: 98 i i ABSTRACT Using the poem "Afternoon", an early sketch, Dialogue for Three and a late play, Monologue, as a basis for discussion, this thesis attempts to locate the essential core relationship that lies at the heart, not only of the above three works, but the whole range of Pinter's work. The core relationship or pattern upon which Pinter's drama is arranged is revealed as a love triangle. Once we have isolated the triangle it is possible to identify the various corners of the triangle using both the symbol ic vocabulary Pinter provides in the dichotomy between light and dark, betltJeen b Ii ndness and potence and the psychoanalytic terms, ego and id, which correspond exactly to the corners of light and dark, respectively. The Pinter protagonist is typically confronted with tltlO psycho sexual alternatives~ one in the guise of a guardian and the other in the guise of a thief. -
Page 1 of 562 JEK James and Elizabeth Knowlson Collection This Catalogue Is Based on the Listing of the Collection by James
University Museums and Special Collections Service JEK James and Elizabeth Knowlson Collection This catalogue is based on the listing of the collection by James and Elizabeth Knowlson 1906-2010 JEK A Research material created by James and Elizabeth Knowlson JEK A/1 Material relating to Samuel Beckett JEK A/1/1 Beckett family material JEK A/1/1/1 Folder of Birth Certificates, Parish registers and Army records Consists of a copy of the Beckett Family tree from Horner Beckett, a rubbing of the plaque on William Beckett’s Swimming Cup, birth certificates of the Roes and the Becketts, including Samuel Beckett, his brother, mother and father and photograph of the Paris Register Tullow Parish Church and research information gathered by Suzanne Pegley Page 1 of 562 University Museums and Special Collections Service James Knowlson note: Detailed information from Suzanne Pegley who researched for James and Elizabeth Knowlson the families of both the Roes – Beckett’s mother was a Roe - and the Becketts in the records of the Church Body Library, St Peter’s Parish, City of Dublin, St Mary’s Church Leixlip, the Memorial Registry of Deeds, etc. Very detailed results. 2 folders 1800s-1990s JEK A/1/1/2 Folder entitled May Beckett’s appointment as a nurse Consists of correspondence James Knowlson note: Inconclusive actually 1 folder 1990s JEK A/1/1/3 Folder entitled Edward Beckett Consists of correspondence James Knowlson note: Beckett’s nephew with much interesting information. 1 folder 1990s-2000s JEK A/1/1/4 Folder entitled Caroline Beckett Murphy Consists -
INSTABILITIES in CONTEMPORARY BRITISH POETRY Also by Alan Robinson
INSTABILITIES IN CONTEMPORARY BRITISH POETRY Also by Alan Robinson POETRY, PAINTING AND IDEAS, 1885-1914 Instabilities in Contemporary British Poetry ALAN ROBINSON Lecturer in English University of Lancaster M MACMILLAN PRESS ©Alan David Robinson 1988 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright Act 1956 (as amended), or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 33-4 Alfred Place, London WC1E 7DP Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. First published 1988 Published by THE MACMILLAN PRESS LTO Houndmills, Basingstoke, Hampshire RG21 2XS and London Companies and representatives throughout the world British Library Cataloguing in Publication Data Robinson, Alan, 1957- Instabilities in contemporary British poetry. 1. English poetry--20th century- History and criticism I. Title 821 '.914'09 PR601 ISBN 978-0-333-46769-5 ISBN 978-1-349-19397-4 (eBook) DOI 10.1007/978-1-349-19397-4 For Elaine, with love Contents Preface ix Acknowledgements xi 1 James Fenton's 'Narratives': Some Reflections on Postmodernism 1 2 Theatre of Trope: Craig Raine and Christopher Reid 16 3 Waiting for the End: Absences in the Poetry of Michael Hofmann 49 4 History to the Defeated: Geoffrey Hill's The Mystery of the Charity of Charles Peguy 62 5 The Mastering Eye: Douglas Dunn's Social Perceptions 82 6 The Civil Art: Tom Paulin's Representations of Ulster 100 7 Seamus Heaney: the Free State of Image and Allusion 123 8 Declarations of Independence: Some Responses to Feminism 161 Notes 209 Index 230 vii Preface This collection of essays makes no claim to be a comprehensive survey; my sins of omission are obvious, but my necessarily restricted focus is, I hope, not invidious. -
Neuroscience and Connection-Making in Contemporary Poetry. Helen Mort
‘Something else, then something else again’: neuroscience and connection-making in contemporary poetry. Helen Mort PhD Thesis The University of Sheffield English Language and Linguistics March 2015 1 Acknowledgements I am indebted to The University of Sheffield for awarding me a University Prize Scholarship that enabled the completion of this PhD thesis over three years. I also owe a debt of gratitude to my patient and supportive supervisors, Dr Joanna Gavins and Professor Adam Piette in the School of English. Thanks also to Dr Tom Stafford in the Department of Psychology for his support and many useful reading and research suggestions and to both the School of English Work in Progress group and the Cognitive Poetics Reading Group which provided forums for discussing new ideas. I am also indebted to all the poets who agreed to be interviewed as part of this thesis and gave up their time so generously, not just in the interview process but throughout the whole project and to everyone who has read or commented on the blog I kept throughout my research ‘Poetry on the Brain’. Thank you to my friends and family, particularly Ben, Alan, Jill, Ed, Kathy, Andrew, Grace, Mike, Jim, Ruth, Iain and Ian, all of whom have helped out in vital ways. And a special thanks to my dad, Andy Mort for his meticulous proof reading skills. Last but not least, thank you to all the members of Derbyshire Irregulars Climbing Society for helping me keep my feet on the rock and my head out of the clouds. 2 Abstract This thesis establishes a dialogue between neuroscience and contemporary poetry, based on Bakhtin’s principle of dialogicality (1981) and presents a novel approach to combining two disciplines usually regarded as separate. -
Owen Johnson TED HUGHES
Owen Johnson TED HUGHES: SPEAKING FOR THE EARTH Submitted for the degree of Doctor of Philosophy, 1991. This thesis explores the attempt in Ted Hughes' poems to reconcile 'fallen' human consciousness and unreflecting, instinctive involvement in the Earth: consciousness must learn to understand, and to speak for, the Earth it is alienated from. Part One suggests the relevance of the thinking in Hughes' poetry and prose to contemporary ecological theories; it also tries to answer liberal, Marxist, feminist and other critiques of Hughes' work and to justify his ideas on free will, reason, violence, schizophrenia, ritual, shamanism and other subjects. The thesis, secondly, argues for poems' aesthetic importance: Part Two explores a large number of individual poems, offering paraphrases for their more philosophically complex arguments and showing how themes such as the flux of existence (symbolized by wheels and rivers) run through Hughes' oeuvre. Wodwo, Crow, Cave Birds, the Gaudete epilogue, Moortown and River are considered as unified wholes, whose end, of speaking for the Earth, is occasionally and briefly attained. The copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. 18 AUG 1992 CONTENTS Page Introduction: Literary Criticism and Hughes' Poetry 1 PART ONE Chapter 1: The Earth la: Hughes and Human Ecology 10 lb: Poetry and Ecology 22 2a: David Holbrook on Hughes 26 2b: Hughes' 'Natural Scientism' 27 2c: Contradictory Influences of Blake and Graves 32 2d: Zen, Memory, Subjectivity 35 3a: Graham Bradshaw on Hughes 38 3b: Reason 39 3c: Myth and Ritual 41 3d: Shamanism 44 4a: Dennis Walder on Hughes 46 4b: Hughes and Feminism 48 5a: Martin Dodsworth on Hughes.