Leaving Cert English Notes
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Affirming Childhood Spirituality of Hospitalized Immigrant Children
Affirming Childhood Spirituality of Hospitalized Immigrant Children Peter Kantembe [email protected] On several occasions my fellow European hospital chaplains have invited me to visit African patients, more especially hospitalized children. The purpose of such invitations is to facilitate the patient’s openness and comfortability since I am an African just as the patient is. While there maybe advantages in such practices, the African patient is robbed of a new European spiritual relational experience. Children are open to new experiences and new relationships even in a hospital care environment. Therefore denying them new cultural and relational experiences may inhibit both spiritual development and cultural skill building opportunities . Journal of Childhood and Religion Volume 5, Issue 4 (October 2014) ©Sopher Press (contact [email protected]) Page 1 of 28 Pastoral care to children in hospitals may take two approaches. Spiritual care providers may employ predefined methods based on what they deem to be spiritually viable and appropriate for the hospitalized children or the other approach in which children are taken seriously as spiritual persons with valid problems and spiritual potentials. This first approach may find its basis in taking children as immature people who have to be grafted into adulthood by experienced people or as little innocents who have to be protected from the leaven of this sinful world. The pastoral care provider is concerned with protecting the vulnerability of the child in the whole process of care. In light of that goal, the pastoral care provider joins forces with loving parents and other care providers in shielding the child from experiencing the reality of suffering, illness and the isolation of hospitalization. -
COVER Web.Indd
Poetic Patriarch The singular Richard Wilbur displays a “Mozartean felicity” with verse. During the extended World War II battle of Monte Cassino, Richard Wilbur spent a lot of time in a foxhole. The Germans had pinned down his army division in a valley, firing their 88s from the hills above. “As Waugh said, a lot of war is just waiting around,” says Wilbur, who used that waiting time to read Edgar Allan Poe, among others, and to write poems. Years later, he observed that if there were no atheists in foxholes, there were plenty of poets. “Poems were a way of putting your world in order, a bit,” he explains. Wilbur, A.M. ’47, JF ’50, sent one of those battlefield poems to Wilbur’s Collected Poems 1943-2004, critic Adam Kirsch ’97 wrote, his wife, Charlee, who showed it to a friend who was an editor at “No other twentieth-century American poet, with the possible the Saturday Evening Post. The magazine immediately published it. exception of James Merrill, demonstrates such a Mozartean fe- Wilbur mailed many more poems home; when he left the army, licity in the writing of verse. This is partly a matter of formal he had $400, a wife and daughter to support, and a stack of mastery: Wilbur has written the best blank verse of any Ameri- wartime poetry. On the GI Bill, he enrolled in a Harvard doctoral can poet since Frost.” program in English literature. “I figured I’d become a great scholar of Europe in the seventeenth century,” he recalls. The Near the fairgrounds in the western Massachusetts town stack of poems, joined by others that he continued to write, grew of Cummington, a gently winding country road leads to the in a desk drawer. -
Review of the Spoken Word: Sylvia Plath (British Library 2010), ISBN
Plath Profiles 361 Review of The Spoken Word: Sylvia Plath (British Library 2010), ISBN: 978-0-712351-02-7 and The Spoken Word: Ted Hughes: Poems and Short Stories (British Library and BBC 2008), ISBN: 978-0-712305-49-5 Carol Bere Dramatic, visceral, occasionally mesmerizing, memorable—there is little question that these separate recordings from the archives of the BBC and the British Library of live and studio broadcasts of Sylvia Plath and Ted Hughes reading their poetry offer sheer pleasure in themselves. Yet let me offer a brief caveat at the outset: this review is in no way meant to be a comparison of the poetry of Plath and Hughes, or a critical analysis of the ways in which they influenced each other's work—although I do assume mutual influence at various stages in their writing (and lives)—but rather a commentary on the separate BBC recordings, and perhaps a recognition of areas or periods of intersection in their careers. Hughes obviously had a much longer career, and these BBC recordings (two discs) reflect a span of over 30 years of writing, while the Plath recording (one disc) includes poems and interviews beginning in late l960 through January 1963. Along with knowledgeable introductions to the recordings by Peter K. Steinberg (Plath) and Alice Oswald (Hughes), respectively, these recordings are also invaluable guides to the early work (particularly in Plath's case), "hearing" both poets in the process of becoming, and, perhaps, gaining additional perspective on the poetry of both poets. What is also apparent in these recordings of Plath and Hughes is the necessity, or more realistically, the benefits of hearing poetry read aloud to fully understand the range of a poet's enterprise and achievement. -
Reflections on Poetry & Social Class
The Stamp of Class: Reflections on Poetry and Social Class Gary Lenhart http://www.press.umich.edu/titleDetailLookInside.do?id=104886 The University of Michigan Press, 2005. Opening the Field The New American Poetry By the time that Melvin B. Tolson was composing Libretto for the Republic of Liberia, a group of younger poets had already dis- missed the formalism of Eliot and his New Critic followers as old hat. Their “new” position was much closer to that of Langston Hughes and others whom Tolson perceived as out- moded, that is, having yet to learn—or advance—the lessons of Eliotic modernism. Inspired by action painting and bebop, these younger poets valued spontaneity, movement, and authentic expression. Though New Critics ruled the established maga- zines and publishing houses, this new audience was looking for something different, something having as much to do with free- dom as form, and ‹nding it in obscure magazines and readings in bars and coffeehouses. In 1960, many of these poets were pub- lished by a commercial press for the ‹rst time when their poems were gathered in The New American Poetry, 1946–1960. Editor Donald Allen claimed for its contributors “one common charac- teristic: total rejection of all those qualities typical of academic verse.” The extravagance of that “total” characterizes the hyperbolic gestures of that dawn of the atomic age. But what precisely were these poets rejecting? Referring to Elgar’s “Enigma” Variations, 85 The Stamp of Class: Reflections on Poetry and Social Class Gary Lenhart http://www.press.umich.edu/titleDetailLookInside.do?id=104886 The University of Michigan Press, 2005. -
Sylvia Plath and Ted Hughes: Layers of Literary Collaboration and The
Plath Profiles 275 Sylvia Plath and Ted Hughes: Layers of Literary Collaboration and the Perpetuation of the Poetic Voice Natalie Chambers The partnership of Ted Hughes and Sylvia Plath was arguably one of the most mutually productive literary pairings of the twentieth century, and while the work produced during their six-and-a-half year marriage was substantial in its sheer volume and artistic merit, the bulk of the critical discussion regarding their partnership focuses not on their prolific literary production but on the marriage itself and the events that led up to Plath's suicide in February of 1963. While countless books and critical essays have been written, at a distance, about this relationship—their partnership and the tumultuous passion that fueled their creative fires—these texts are inextricably rooted in speculation, cultivated by critical hypotheses and, ultimately, dependent upon the interpretations of outsiders. Even the most in-depth investigations of their marriage and respective works—like the many biographies and essays written by major Plath scholars Susan Van Dyne, Jacqueline Rose, Lynda Bundtzen, and Anne Stevenson, as well as the biography of their marriage written by Diane Middlebrook—still remain mere versions of the truth, individual interpretations of the details that constituted a collaborative life, the work it created, and the eventual culmination in Plath's death. It is not uncommon for artists to gain posthumous notoriety and critical attention, and thus sell more of their work, as was the case with Sylvia Plath. Though her death was undoubtedly a tragic loss of talent and silencing of a powerful poetic voice, it also evoked a conflagration of public and critical interest in her work and created a flurry of activity among the literary community to publish it. -
Boston, Massachusetts Date: 25 August 1953 Pages: 1, 26
Title: Boston Traveler City, State: Boston, Massachusetts Date: 25 August 1953 Pages: 1, 26 Posse Hunts Smith Girl Woods and ponds in Wellesley were searched today for a bril- liant [brilliant] Smith College student who disappeared from home yester- day afternoon. POLICE SAID Boy Scouts were being called out to search the area around Lake Waban and Morse's pond for a trace of Miss Sylvia Plath, 20, of Elmwood St. A state police bloodhound from the Andover barracks failed to pick up the girl's scent because of last night's rain. MISSING (Continued on Page Twenty-six) [Photograph, reversed, of SP wearing white collar shirt and sweater] SYLVIA PLATH Missing student MISSING Continued from First Page SYLVIA, a PRETTY girl with considerable literary talent, was to have returned to Smith as a senior next month. Yesterday she left home at 2 p.m. leaving a note saying that she was taking a hike and would be back the same day. HER MOTHER, Mrs. Aurelia S. Plath a Boston University pro- fessor [professor], instituted a search when Sylvia failed to return. The girl had been under a doc- tor's [doctor's] care for several months be- cause [because] of a nervous condition in- duced [induced ]by her intense application to literary work. She has been writing poetry for national maga- zines [magazines]. SYLVIA IS a scholarship stu- dent and topped her class scho- lastically last year. She was editor of the college literary magazine, a member of the college's press board and correspondent for a newspaper. She won two college poetry awards and had three poems ac- cepted [accepted] by Harper's Magazine. -
Perception Is
Unit 1 Perception Is Everything Essential Questions Unit Overview Unit 1 serves as an introduction to the idea that ? How do writers and artists our perception of reality is often filtered through organize or construct text various perspectives, values, prejudices, and to convey meaning? attitudes. In this level you will be introduced to multiple literary theories as filters through which to interpret literature. Literary theories ? What does it mean to be a are presented to examine the idea that the stranger in the village? world is full of ideologies, theories, and biases through which we construct our understanding of our own and others’ experiences. Studying theory is a way to make us aware of competing visions of truth. Unit 1 begins by showing how point of view presents the reader with a filter or perspective from which to view incidents. This study of point of view anticipates the idea that perspective is reality. This unit introduces the literary theories of Reader Response Criticism and Cultural Criticism as the first two lenses through which we interpret literature and the world. You will have the opportunity to apply these literary theories to your own and others’ writing. 1 Unit Perception Is Everything 1 Contents Learning Focus: Perspective and the Individual . 4 Goals Activities: C To understand the 1.1 Previewing the Unit . 5 relationship between 1.2 Perception Is Everything. 6 perspective and critical 1.3 Importance of Perspective . 7 theory 1.4 Different Ways of Seeing the World . 9 C To apply critical theories to various texts studied 1.5 Different Ways of Reading the Text. -
Bodies and Self-Disclosure in American Female Confessional Poetry
THE EUROPEAN JOURNAL OF LIFE WRITING VOLUME X (2021) SV33–SV56 Bodies and self-disclosure in American female confessional poetry Carmen Bonasera University of Pisa Abstract Far from being a mere thematic device, the body plays a crucial role in poetry, especially for modern women poets. The inward turn to an intimate autobiographical dimension, which is commonly seen as characteristic of female writing, usually complies with the requests of feminist theorists, urging writers to reconquer their identity through the assertion of their bodies. However, inscribing the body in verse is often problematic, since it frequently emerges from a complicated interaction between positive self-redefinition, life writing, and the confession of trauma. This is especially true for authors writing under the influence of the American confessional trend, whose biographies were often scarred by mental illness and self-destructive inclinations. This paper assesses the role of the body in the representation of the self in a selection of texts by American women poets—namely Sylvia Plath, Anne Sexton, Elizabeth Bishop, Adrienne Rich, and Louise Glück—where the body and its disclosure act as vehicles for a heterogeneous redefinition of the female identity. Keywords: Body, Confessional poetry, Self-disclosure, Life writing, Women poets Copyright © 2021 Carmen Bonasera https://doi.org/10.21827/ejlw.10.37638 This article is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (CC BY-NC-ND 4.0) Carmen Bonasera – Bodies and self-disclosure in American female confessional poetry 34 Abstract Lungi dal configurarsi come mero nodo tematico, la corporeità esercita un ruolo fondamentale nella lirica, in special modo per le poetesse del Novecento. -
School of Unlikeness: the Creative Writing Workshop and American Poetry
School of Unlikeness: The Creative Writing Workshop and American Poetry Sarah Cohen A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2012 Reading Committee: Brian Reed, Chair Jeanne Heuving Jessica Burstein Program Authorized to Offer Degree: English University of Washington Abstract School of Unlikeness: American Poetry and the Creative Writing Workshop Sarah Cohen Chair of the Supervisory Committee: Associate Professor Brian Reed English This dissertation is a study of the creative writing workshop as a shaping institution of American poetry in the twentieth century. It takes as its starting point the observation that in the postwar period the rise of academic creative writing programs introduced profound material changes into the lives of American poets, as poetry became professionalized within the larger institution of the university. It goes on to argue that poets responded to these changes in ways that are directly legible in their work, producing a variety of poetic interrogations of the cultural and psychological effects of the reflexive professional self-fashioning that became, partially through the workshop, the condition of modern literary life. In other words, as poets became students and teachers, their classroom and career experiences occasioned new kinds of explorations of identity, performance, vocation, authority, and the cultural status of poets and poetry. The cluster of concerns linked to the evolving institution of "creative writing" shows stylistically diverse works to be united, and also resonates with and helps to clarify the major debates within the poetry world over the past decades between the camps of the "mainstream" and the "avant- garde" or, as Robert Lowell put it in 1959, "the cooked and the raw." My dissertation examines a variety of iterations of the relationship between workshop culture and poetic production through case studies of the poets Robert Lowell, Sylvia Plath, Anne Sexton, Theodore Roethke, Richard Hugo, and Jorie Graham. -
D.H. Lawrence's Influence on the Marriage of Sylvia Plath and Ted Hughes
MARGE MOUNT D.H. Lawrence’s Influence on the Marriage of Sylvia Plath and Ted Hughes “How frail the human heart must be – a mirrored pool of thought.” – SYLVIA PLATH Plath was enraptured with Lawrence’s way of thinking. It was as if he was her moral conscience. Why else should she claim: “...and D. H. Lawrence did have something after all...”(Unabridged Journals 105). More to the point, what were Lawrence’s ways of thinking? Let’s start with a discussion of the original dream he had to found a communal utopian community before delving into the reality of his and Frieda’s personal life together. His dream community placed three or four couples, hand picked by him, to form a colony of like-minded souls withdrawing from the materialistic society that he saw destroying itself. This ideal included a new social order based on enlightened egalitarian principles. His name for it was Ramanim, after the song. “Lawrence half- remembered a word from this song which he heard on a walk with his friend Koteliansky, a Russian Jew who had sung in Hebrew the 23rd Psalm – the word was ‘Ramanim’” (Footless Crow, 1). Lawrence actually did make overtures in this direction when he settled in the cottages at High Tregwerthen, midway between Gunar’s Head and St. Ives. (The Lawrences were expelled from Cornwall when bad timing made them suspect of being spies for the Germans during the First World War.) He fell out of favor with his potential colonists at this point. He would later express the same desire of a shared community while encamped in New Mexico, high in the mountainous area of Taos. -
Criimes in the Library
- - Weather : -1 CAMPUS NEWS ." brrrrr! a_--- - _-- I Please recycle this newspaper. Tuesday, December 1, 1981 Volume IV, Number 54 !RussianI Department Receives 1 I I I In-House Grant I I by Alan Federman I The Russian Department jective in the "re-develop- i lhas received a-$1,000 grant merit" program is to qlus~I I !from the Innovative Educa- the new language lab more I ltion Fund at Tufts this sem- efficiently and improve oral I lester in order to purchase skills." The n6w tapes will I I ;instructional videotapes be helpful bec;iusc student.s I las part of the "re-develop- will be able !IC actually I ling of the Russian program," "see and hear t.rle Russians I I laccording to Professors speak, an6 hear srords in I IS loan, Forman and Johnson. cont.ext." This will make I I Tufts purchased 10 video- it easier to pick up the I I Itapes from the Pushkin In- language, rather than merely I lstitute in Moscow, the first reading out of a book. This I Ischool in the Boston area new program could not be I A I I !to incorporate these video- possible without the new I ltapes into its curriculum language lab at the Cabot I hhe tapes, all filmed on Center. I I .;location in Russia and de- The Russian Department I Reading selections from Barn Fever, Peter Davison lpicting Soviet citizens in has also added some inter-.! leveryday life, will be used esting "culture-related" I will be at Tufts on Thursday. -
These Ghostly Archives 5: Reanimating the Past
Plath Profiles 27 These Ghostly Archives 5: Reanimating the Past Gail Crowther & Peter K. Steinberg "Archival histories consist of tales we tell about the archive, and of tales the archive tells." (Helle 5) The universe of the Sylvia Plath archive is expanding. In addition to discussing long-established and worked-through archives such as the Plath papers held by Smith College and Indiana University, this series of papers has explored lesser known collections of materials such as the BBC Written Archives Centre, the Heinemann archives, and The New Yorker records. We ended our previous paper stating that "Since Plath's documents and possessions are scattered disparately in archives across the world, there are always new treasures to find" and with a quote from rare book dealer Rick Gekoski stating that "the treasure hunt must go on" (49). This is a challenge as much as it is a credo, and in this paper we continue our conversation about newly uncovered Sylvia Plath photographs, letters, and collections of archival materials. Our tales of the archive, and in particular the Plath archives, are as Anita Helle states above, a simultaneous telling. There are our experiences as researchers, and the stories we tell about our searches and finds, working alongside the stories the archives tell to us. This multi- dimensional story weaves a tale that not only informs us about Plath, but also includes history, culture, memory and time-hopping across years. As in "These Ghostly Archives 4,"1 our research for this paper took place both within the walls of traditional archives – in libraries and special collections– as well as remotely through Google queries and out of doors: both in nature and in houses where Plath resided.