DOCSLIB.ORG

Narrative Strategies in the Dream Songs Cooper Childers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 1-1-2009 "A Long Wonder the World Can Bear & Be" : Narrative Strategies in The Dream Songs Cooper Childers Follow this and additional works at: http://mds.marshall.edu/etd Part of the Literature in English, North America Commons, and the Poetry Commons Recommended Citation Childers, Cooper, ""A Long Wonder the World Can Bear & Be" : Narrative Strategies in The Dream Songs" (2009). Theses, Dissertations and Capstones. Paper 531. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. "A Long Wonder the World Can Bear & Be": Narrative Strategies in The Dream Songs Thesis Submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in English by Cooper Childers Dr. Mary B. Moore, Ph.D., Committee Chairperson Dr. Chris Green, Ph.D. Dr. Janet Badia, Ph.D. May 2009 ABSTRACT This thesis examines the narrative development of The Dream Songs while viewing Henry as the locus and the impetus of the various narrative strategies deployed therein. Through the abundance of generic and literary allusions present in The Dream Songs, Berryman's sequence functions both to engage and to interact with the Western literary canon. The first chapter of this thesis locates The Dream Songs within Petrarchan sequences. The second chapter treats Henry's and the unnamed speaker's local language and shows how their competing speech genres inform the sequence's modes. The third chapter examines the role of epic codes in creating the text's generic expectations and the generic modulations unique to the Songs. Though the narrative development of The Dream Songs functions to appropriate canonical texts ofthe Western literary tradition, the sequence refuses to adhere to generic expectations evoked by the texts appropriated and ultimately is revealed to be an inter-text. ii I TABLE OF CONTENTS Abstract ii Introduction 1 Chapter One . 7 Chapter Two. ......................................................... .. 41 Chapter Three 89 Conclusion 130 Notes 137 Works Cited 155 iii Introduction: The Field of The Dream Songs, Form, and the "Author Function" "I will not come again Or not come with this style." (The Dream Songs 379.17-8) The relatively recent publication of the collection of essays, "After Thirty Falls, "I indicates a renewal of critical interest in Berryman studies after a considerable lull following the poet's death in 1972. John Berryman, recipient of the Pulitzer Prize for 77 Dream Songs and the National Book Award for His Toy, His Dream, His Rest, can be seen as a continuation of the American tradition of the long poem initiated by Walt Whitman's "Song of Myself' and Emily Dickinson's fascicles-a tradition which dominates twentieth-century American poetics. Pound's Cantos, Eliot's The Waste Land, Williams' Paterson, H. D.'s Helen in Egypt, Hart Crane's The Bridge, and, more contemporary to Berryman writing in the 1950s and 1960s, Lowell's Notebook and Charles Olson's Maximus Poems are just a few of the many sequences and long poems that characterize American Modernism. Berryman's The Dream Songs shares much in common with these texts. The endless quality of Berryman's sequence bears resemblances to the lack of closure found in the Cantos, in Paterson, and the Maximus cycle; his tightly controlled, eighteen-line "Songs" evoke e. e. cummings' experiments with the sonnet in Tulips & Chimneys and Lowell's sonnets in Notebook. And the central character of The Dream Songs, Henry, grapples with the crises of modernity in a similar fashion as does Tiresias in The Waste Land, Maximus in Olson's sequence, the poet speaking for the city of Paterson in Williams' text, the poet-figure of The Bridge, and the wide historical cast of the Cantos. Berryman contributes to the chorus of voices dominating American poetry for most ofthe last century, and the affinities his sequence shares with his immediate precursors as well as his contemporaries highlight the common cultural concern of defining the poetic vision of America and its people. One of the features of The Dream Songs that distinguishes Berryman's text among other extended American sequences is the tight construction of the "Songs" on the local and cross­ textual levels. Encompassing 385 individual "Songs" and internally divided into the three sections of 77 Dream Songs and the four sections of His Toy, His Dream, His Rest, the single­ volume edition of The Dream Songs (1969) possesses a length comparable to Pound's Cantos and Olson's Maximus Poems. Though the scale of The Dream Songs is massive, Berryman does not choose to write in free verse and so differentiates his sequence from Pound's and Olson's. With a few exceptions,2 each "Song" of Berryman's sequence contains eighteen lines divided into three, six-line stanzas, and, internal to each stanza, Berryman employs a beat of 5-5-3-5-5-3. Though Berryman exercises considerable control over the metrics and, occasionally, the rhyme3 of each "Song," the narrative structure of The Dream Songs remains organic and open-ended. The narrative of the "Songs" can best be described as constructed through the process of accretion. Like the Cantos, Paterson, and the Maximus Poems, sequences that do not find conclusion or closure and to which their respective authors continuously returned to increase the scale, the 385 individual lyrics contained in The Dream Songs are the result of continuous addition over the roughly two decades of the "Songs'" composition. Part of this compositional strategy is the result of Berryman's choice to organize his sequence around the figure of Henry with whom, as Berryman's notes and letters indicate,4 Berryman personally identified. And by choosing to incorporate personal (autobiographical) experiences as raw material for the "Songs,"S Berryman's sequence, while maintaining the limitation of metrical control on the local, lyrical level, achieves the ability to continue ad infinitum. As Thornbury observes in his 2 introduction to Berryman's collected poetry: "While the rhythms of The Dream Songs ebb and flow, they may be more accurately characterized as a series of Henry's departures and returns, his deaths and rebirths" (xxxii). The continuity created by the cycle of Henry's "deaths" and "rebirths" shows The Dream Songs as following the basic pattern of more limited sequences within the larger sequence that characteristic of a number of American Modernist texts such as the Cantos. However, a great deal of contemporary Berryman criticism still reads Henry's character and, thus, the narrative of the "Songs" as a whole, as an extension of Berryman's own personality due in large part to the considerable amount of autobiographical detail found in connection with Henry. The label of "confessional poet" follows Berryman like a tin can tied to his tail, and such a reading impedes a larger appreciation of Henry's character and Berryman's text. The fashion of biographical positivism is making a resurgence in literary studies after falling out of favor with New Critical/Formalist attempts to remove the "author" from the consideration of the text as well as the efforts of Barthes, Foucault, and Derrida to reduce the "author" to a "function" (Foucault) and to consider the "author" as "dead" (Barthes) at a time contemporary with the composition of the "Songs." New Historicism is reviving the corpse of the "author," and though there is merit in contextualizing "authors" within their respective historical worlds, such contextualizing carries with it the power to shift agency away from the text and back to an "author" representing a cross-roads of history and culture. I have avoided, as much as is practicable, considering The Dream Songs in terms of Berryman as an "author." In the present study, Berryman is viewed as making conscientious choices: words, metrics, allusions, attempted structures. But to see Henry or the "Songs" as autobiographical recordings 3 or reflexes of the poet's psychology greatly narrows the richness of the sequence and limits the repercussions of the multiplicity of the text's language. On the local level of the text of The Dream Songs as well as the many intra-poetic relationships serving to blur the boundaries of that text, the fourth characteristic of the "author function" as defined by Foucault best serves to illuminate Berryman's role in the context of his sequence: [The author function] does not refer purely and simply to a real individual, since it can give rise simultaneously to several selves, to several subjects-positions that can be occupied by different classes of individuals. (113) The Berryman who makes extra-textual statements in public in the form of letters, interviews, etc. is differentiated from the figure who composes the "Note" preceding The Dream Songs that states "[the] poem then, whatever its wide cast of characters, is essentially about an imaginary character (not the poet, not me) named Henry [...]" (vi). This "author" of the "Note" is differentiated further from the speaking "I" of the "Songs," a figure who remains highly complex, ambiguous, and unstable. The location of Berryman-as-"author" is never betrayed in the (at least) three "I"s associated with the text of the "Songs"; Berryman-as-"function," however, informs and colors all aspects of the text. The "function" of Berryman informing the various aspects of the text ofthe "Songs" through the exercise of aesthetic choice does not, as Eliot identifies in "Tradition and the Individual Talent," operate in a vacuum; Berryman, in part, gains his "significance, his appreciation [in] his relation to the dead poets and artists.,,6 Following Foucault's analysis of the "author function," he identifies what he terms "founders of discursivity," those "author"-as­ "functions" that are "unique": 4 [Founders of discursivity] are unique in that they are not just the authors of their own works.
Recommended publications
  • April 2005 Updrafts

    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.
  • T Cristalcdbooklet 00602537612

    T Cristalcdbooklet 00602537612

    CONCEPTIONCONCEPTION ETET DIRECTIONDIRECTION ARTISTIQUEARTISTIQUE DUDU SPECTACLESPECTACLE :: MYLÈNEMYLÈNE FARMERFARMER ETET LAURENTLAURENT BOUTONNATBOUTONNAT PRODUCTIONPRODUCTION DUDU SPECTACLESPECTACLE :: THIERRYTHIERRY SUCSUC CONCEPTIONCONCEPTION DUDU DÉCORDÉCOR :: MARKMARK FISHERFISHER ETET RICRIC LIPSONLIPSON DIRECTIONDIRECTION MUSICALEMUSICALE DUDU SPECTACLESPECTACLE :: YVANYVAN CASSARCASSAR ARRANGEMENTSARRANGEMENTS POURPOUR LALA SCÈNESCÈNE :: YVANYVAN CASSARCASSAR POURPOUR :: “COMME“COMME J’AIJ’AI MAL”,MAL”, “SLIPPING“SLIPPING AWAY”,AWAY”, “OUI“OUI MAIS…MAIS… NON”,NON”, “MAD“MAD WORLD”,WORLD”, “LES“LES MOTS”,MOTS”, “BLEU“BLEU NOIR”,NOIR”, “DIABOLIQUE“DIABOLIQUE MONMON ANGE”,ANGE”, “SANS“SANS CONTREFAÇON”,CONTREFAÇON”, “JE“JE T’AIMET’AIME MÉLANCOLIE”,MÉLANCOLIE”, “INSÉPARABLES”“INSÉPARABLES” ETET “RÊVER”“RÊVER” CRÉATIONCRÉATION DESDES COSTUMESCOSTUMES :: JEAN-PAULJEAN-PAUL GAULTIER GAULTIER CONCEPTIONCONCEPTION DESDES IMAGESIMAGES :: EVEEVE RAMBOZRAMBOZ,, LUCLUC FROEHLICHERFROEHLICHER,, LASZLOLASZLO BORDOSBORDOS CONCEPTIONCONCEPTION DESDES LUMIÈRESLUMIÈRES :: DIMITRIDIMITRI VASSILIUVASSILIU SONSON SALLESALLE :: STÉPHANESTÉPHANE PLISSONPLISSON POURPOUR LALA SOCIÉTÉSOCIÉTÉ MAWMAW CHORÉGRAPHIESCHORÉGRAPHIES :: MYLÈNEMYLÈNE FARMERFARMER ETET CHRISTOPHECHRISTOPHE DANCHAUDDANCHAUD POURPOUR :: “DÉSENCHANTÉE”,“DÉSENCHANTÉE”, “JE“JE T’AIMET’AIME MÉLANCOLIE”,MÉLANCOLIE”, “SANS“SANS CONTREFAÇON”,CONTREFAÇON”, “C’EST“C’EST UNEUNE BELLEBELLE JOURNÉE”JOURNÉE” FRANCKFRANCK DESPLANCHESDESPLANCHES POURPOUR :: “À“À L’OMBRE”L’OMBRE” DAVIDDAVID LEIGHTONLEIGHTON
  • Optimistique-Moi 1

    Optimistique-Moi 1

    Optimistique-moi 1 „Je me fous de tes détresses Comme de tout et du reste...“ C'est ça le temps qui passe „Je me fous de tes angoisses elles m'ont nourrie mais me lassent...“ C'est ça, c'est le temps qui passe „Je fais fi de tes ‚je t'aime‘, Ils sont des cris qui m'enchaînent...“ C'est ça l'amour C'est quoi l'amour ? „Tu ne vis pas c'est morbide“ En somme, je suis pathétique, c'est ça l'amour Papa n'était pas comme ça, quand... Il disait tout bas : „Petit bouton de rose, Au pétales humide, Un baiser je dépose“ Optimistique-moi, Papa Optimistique-moi, quand j'ai froid Je me dis, tout bat Quand rien ne s'interpose, Qu'aussitôt, tes câlins Cessent toute ecchymose Optimistique-moi, Papa Optimistique-moi, reviens-moi... „Tu te fous de mes ténèbres Comme de tout, et comme du reste...“ C'est ça, le temps qui passe „Fais fi des signes du ciel Seuls les faits, sont ton bréviaire...“ C'est ça le temps qui passe Tu dis : „assez des histoires Ton passé est préhistoire...“ C'est ça l'amour C'est quoi l'amour ? Crucifie-moi Ponce Pilate Noie-toi dans l'eau écarlate L'amour est loin Papa était plus malin quand ... Mylène Farmer, vom Album «Innamoramento» 1999 Mach mich optimystisch / Optimistifizier mich 2 „Ich schere mich einen Dreck um deine Herzensangst/Hilflosigkeit Ebenso wie um alles und um den Rest...“ So ist's, die Zeit die vergeht „Ich schere mich einen Dreck um deine Ängste Sie haben mich genährt aber ermüden/langweilen mich...“ So ist's, das ist die Zeit die vergeht „Ich verabscheue deine »Ich liebe dich«s Es sind Schreie, die mich an die Kette legen...“ So ist sie, die Liebe Was ist das, die Liebe? „Du lebst nicht, das ist morbide/krankhaft“ Insgesamt bin ich rührselig/pathetisch (klingt auch wie: breiig), So ist sie, die Liebe Papa ist nicht so gewesen, als..
  • Blues Tribute Poems in Twentieth- and Twenty-First Century American Poetry Emily Rutter

    Blues Tribute Poems in Twentieth- and Twenty-First Century American Poetry Emily Rutter

    Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations 2014 Constructions of the Muse: Blues Tribute Poems in Twentieth- and Twenty-First Century American Poetry Emily Rutter Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Rutter, E. (2014). Constructions of the Muse: Blues Tribute Poems in Twentieth- and Twenty-First Century American Poetry (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/1136 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. CONSTRUCTIONS OF THE MUSE: BLUES TRIBUTE POEMS IN TWENTIETH- AND TWENTY-FIRST-CENTURY AMERICAN POETRY A Dissertation Submitted to the McAnulty College of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Emily Ruth Rutter March 2014 Copyright by Emily Ruth Rutter 2014 ii CONSTRUCTIONS OF THE MUSE: BLUES TRIBUTE POEMS IN TWENTIETH- AND TWENTY-FIRST-CENTURY AMERICAN POETRY By Emily Ruth Rutter Approved March 12, 2014 ________________________________ ________________________________ Linda A. Kinnahan Kathy L. Glass Professor of English Associate Professor of English (Committee Chair) (Committee Member) ________________________________ ________________________________ Laura Engel Thomas P. Kinnahan Associate Professor of English Assistant Professor of English (Committee Member) (Committee Member) ________________________________ ________________________________ James Swindal Greg Barnhisel Dean, McAnulty College of Liberal Arts Chair, English Department Professor of Philosophy Associate Professor of English iii ABSTRACT CONSTRUCTIONS OF THE MUSE: BLUES TRIBUTE POEMS IN TWENTIETH- AND TWENTY-FIRST-CENTURY AMERICAN POETRY By Emily Ruth Rutter March 2014 Dissertation supervised by Professor Linda A.
  • Netflix and the Development of the Internet Television Network

    Netflix and the Development of the Internet Television Network

    Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation.
  • (Self-) Portraits in the Work of John Berryman, John Ashbery, Anne Carson, and Nan Goldin

    (Self-) Portraits in the Work of John Berryman, John Ashbery, Anne Carson, and Nan Goldin

    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2019 “Whispers Out of Time”: Memorializing (Self-) Portraits in the Work of John Berryman, John Ashbery, Anne Carson, and Nan Goldin Andrew D. King The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3185 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] “WHISPERS OUT OF TIME”: MEMORIALIZING (SELF-) PORTRAITS IN THE WORK OF JOHN BERRYMAN, JOHN ASHBERY, ANNE CARSON, AND NAN GOLDIN By ANDREW D. KING A thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2019 © 2019 ANDREW D. KING All rights reserved ii “WHISPERS OUT OF TIME”: MEMORIALIZING (SELF-) PORTRAITS IN THE WORK OF JOHN BERRYMAN, JOHN ASHBERY, ANNE CARSON, AND NAN GOLDIN By Andrew D. King This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date George Fragopoulos Thesis Advisor Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT “Whispers Out of Time”: Memorializing (Self-)Portraits in the work of John Berryman, John Ashbery, Anne Carson, and Nan Goldin by Andrew D. King Advisor: George Fragopoulos This thesis documents four distinct post-WWII North American writers and artists—the poet John Berryman, the poet John Ashbery, the classicist and writer Anne Carson, and the photographer Nan Goldin—who expanded traditional definitions and practices of portraiture.
  • Petrarch and Boccaccio Mimesis

    Petrarch and Boccaccio Mimesis

    Petrarch and Boccaccio Mimesis Romanische Literaturen der Welt Herausgegeben von Ottmar Ette Band 61 Petrarch and Boccaccio The Unity of Knowledge in the Pre-modern World Edited by Igor Candido An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. The Open Access book is available at www.degruyter.com. ISBN 978-3-11-042514-7 e-ISBN (PDF) 978-3-11-041930-6 e-ISBN (EPUB) 978-3-11-041958-0 ISSN 0178-7489 This work is licensed under the Creative Commons Attribution NonCommercial-NoDerivatives 4.0 license. For more information, see http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2018 Igor Candido, published by Walter de Gruyter GmbH, Berlin/Boston Typesetting: Konvertus, Haarlem Printing and binding: CPI books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Dedicated to Ronald Witt (1932–2017) Contents Acknowledgments IX Igor Candido Introduction 1 H. Wayne Storey The
  • Tangled Generation: Dylan, Kerouac, Petrarch, and the Poetics of Escape Author(S): Timothy Hampton Source: Critical Inquiry, Vol

    Tangled Generation: Dylan, Kerouac, Petrarch, and the Poetics of Escape Author(S): Timothy Hampton Source: Critical Inquiry, Vol

    Tangled Generation: Dylan, Kerouac, Petrarch, and the Poetics of Escape Author(s): Timothy Hampton Source: Critical Inquiry, Vol. 39, No. 4 (Summer 2013), pp. 703-731 Published by: The University of Chicago Press Stable URL: http://www.jstor.org/stable/10.1086/671353 . Accessed: 20/09/2015 11:46 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to Critical Inquiry. http://www.jstor.org This content downloaded from 136.152.209.203 on Sun, 20 Sep 2015 11:46:44 AM All use subject to JSTOR Terms and Conditions Tangled Generation: Dylan, Kerouac, Petrarch, and the Poetics of Escape Timothy Hampton And I alone escaped to tell you. —Job (1:15) 1. Tracks “Demonstrators found our house and paraded up and down in front of it chanting and shouting, demanding for me to come out and lead them somewhere—stop shirking my duties as the conscience of a generation. The neighbors hated us. To them it must have seemed like I was something out of a carnival show.”1 So writes Bob Dylan in his memoirs about his life in the late 1960s.
  • Clara Wieck Schumann

    Clara Wieck Schumann

    Volume 7, Issue 2 The Kapralova Society Journal Fall 2009 A Journal of Women in Music Clara Schumann: A Composer’s Wife as Composer Eugene Gates In an age when musical talent in a as little as I spoke. But I had female was seldom developed beyond the always been accustomed to level of an accomplishment--a means of en- hear a great deal of piano hancing her matrimonial prospects--Clara playing and my ear became Schumann, née Wieck, received an envi- more sensitive to musical able musical education, and enjoyed a bril- sounds than to those of liant performing career that kept her before speech.2 the public for more than half a century. Best remembered today as one of the foremost Clara inherited her prodigious musical pianists of the nineteenth century, and as the gifts from both parents. Friedrich Wieck devoted wife and musical helpmate of Rob- (1785-1873), though largely self-educated in ert Schumann, Clara Schumann was also music (he held a degree in theology), was a highly respected during her lifetime as a shrewd businessman and a remarkable composer1--a fact rarely mentioned in music teacher of piano and singing. Obsessed with history textbooks. This article examines her a burning ambition to acquire musical distinc- Special points of interest: life and works, and the forces that impeded tion, he was also an opportunist who ex- her progress as a musical creator. ploited the talents of his immediate family to The details of Clara Wieck's early enhance his reputation as a teacher.3 years are preserved in a diary which Clara's mother, Marianne Tromlitz Clara Schumann Friedrich Wieck, her father-teacher- Wieck (1797-1872), was an uncommonly tal- Jennifer Higdon manager, began for her when she was ented singer and pianist.
  • Music in Poetry and Poetry in Music: Tumanian's Anush

    Music in Poetry and Poetry in Music: Tumanian's Anush

    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2015 Music In Poetry And Poetry In Music: Tumanian's Anush Beata Asmik Navratil Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1068 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MUSIC IN POETRY AND POETRY IN MUSIC: TUMANIAN’S ANUSH By BEATA NAVRATIL A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2015 ©2015 BEATA NAVRATIL All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts James R. Cowdery Date Chair of Examining Committee Norman Carey Date Executive Officer Stephen Blum Zdravko Blažeković Tatjana Markovic Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract MUSIC IN POETRY AND POETRY IN MUSIC: TUMANIAN’S ANUSH by Beata Navratil Advisor: Professor Stephen Blum The poem Anush by the Armenian poet Hovhannes Tumanian (1869–1923) is rooted in traditional Armenian music. Tumanian’s poem reflects a number of manifestations thereof: (1) It borrows in its style from Armenian lyrical songs (such as lalik and khagh), from the parerg style (the traditional dance-song), and from the voghb style (laments such as funeral laments, bayati, and tragic odes).
  • Mcclatchy, J.D. (B

    Mcclatchy, J.D. (B

    McClatchy, J.D. (b. 1945 ) by Christopher Matthew Hennessy Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2004, glbtq, inc. Reprinted from http://www.glbtq.com J. D. McClatchy. Poet J. D. McClatchy, Jr., a master of traditional poetic forms, most notably the Video still, http://www. sonnet and sonnet sequence, ranks as a significant voice in contemporary American youtube.com/watch? letters. He is also a prolific anthologist, the editor of the prestigious Yale Review, and v=9TUSsSMnBC4/ a noted librettist. McClatchy has written openly about gay desire and love, among other topics, combining the intelligence of W.H. Auden and the linguistic virtuosity of James Merrill with a unique ability to mine his memories and experiences to create emotional honesty. McClatchy has also made some cogent remarks on gay poetry and the slippery notion of a "gay sensibility" in literature. As editor of the anthology Love Speaks Its Name: Gay and Lesbian Love Poems (2001), he states: "Over the centuries, the homosexual temperament has seemed especially suited to engaging the themes of bafflement, secret joys, private perspectives, forbidden paradises, hypocritical conventions, and ecstatic occasions. In fact, it would be fair to claim that our gay and lesbian poets are the wisest inquirers after love." McClatchy is the author of five original volumes of poetry. The most recent, Hazmat (2002) was a finalist for the Pulitzer Prize and won the Lambda Literary Award for poetry. The volume investigates the hazardous materials of life, self, and world. In addition, his selected poems, Division of Spoils, appeared in England in 2003. He is also author of two prose collections, Twenty Questions (Posed by Poems) (1998), a book of memoirs and critical essays, and White Paper: On Contemporary American Poetry (1989), another collection of essays that offers close readings of poets such as Elizabeth Bishop, Robert Lowell, Anthony Hecht, and Sylvia Plath.
  • This Electronic Thesis Or Dissertation Has Been Downloaded from the King’S Research Portal At

    This Electronic Thesis Or Dissertation Has Been Downloaded from the King’S Research Portal At

    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ 'An image of the dead' : the modern role of elegy with special reference to John Berryman's Dream Songs. Jepson, Jeffrey The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 10. Oct. 2021 `An Image of the Dead': the Modern Role of Elegy with Special Reference to John Berryman's Dream Songs. by Jeffrey Jepson submitted for the degree of PhD University of London 1998 King's College London ß156 LONßMN Ut; IV.