Julie Ellison University of Michigan
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Elizabeth Bishop and the Endurance of Emerson
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2012 My Higher Self: Elizabeth Bishop and the Endurance of Emerson Joshua Andrew Mayo Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the English Language and Literature Commons Recommended Citation Mayo, Joshua Andrew, "My Higher Self: Elizabeth Bishop and the Endurance of Emerson" (2012). Electronic Theses and Dissertations. 190. https://egrove.olemiss.edu/etd/190 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. “MY HIGHER SELF”: ELIZABETH BISHOP AND THE ENDURANCE OF EMERSON A Thesis presented in partial fulfillment of requirements for the degree of Master of Arts in the Department of English The University of Mississippi by JOSHUA ANDREW MAYO April 2012 Copyright Joshua A. Mayo 2012 ALL RIGHTS RESERVED ABSTRACT While there exists some scholarship affirming the aesthetic and intellectual connections between transcendentalism and the poetry of Elizabeth Bishop, there is to date no substantial study of what role Ralph Waldo Emerson singularly played in the inheritance of that tradition. This essay seeks to validate Emerson as Bishop’s literary parentage, an influence that, though not immediately identifiable, greatly shaped her creative process. In so doing, it addresses the critical mistakes which have prevented a thorough discussion of Emerson’s relevance and, moreover, negatively dominated the imagination of Bishop scholarship. As an exploration of the writers’ shared iconography, their mutual metaphors, the following traces three common subjects: nature, language, and vision. -
Author's Proof. Not for Distribution
[ 4 ] Lyric Citizenship in Post 9/11 Performance Sekou Sundiata’s the 51st (dream) state Author'sJULIE ELLISONProof. NotCivic engagementfor Distribution. is in the air, and it’s probably in the drinking water. —Sekou Sundiata, “Thinking Out Loud: Democracy, Imagination, and Peeps of Color” In June 2004 Sekou Sundiata addressed a national gathering in Pitts- burgh, “Diversity Revisited/A Conversation on Diversity in the Arts.” Sun- diata’s speech, “Thinking Out Loud: Democracy, Imagination, and Peeps of Color,” makes explicit the fact that he shared the meeting’s general impatience with the status quo on multiculturalism and that this impa- tience propelled his turn to the conjoined forces of democracy and imagi- nation. “Democracy,” like “citizenship,” is for him not only a feature of political systems or a matter of state but rather a repositioning of the sub- ject: “a humane social practice that . brings together the inner need for the freedom to be who you are with the outer need for a social and politi- cal and economic ecology . for the whole human being.”1 Sundiata’s “humane social practice” emerged from his weariness with the politics of protest and the politics of administered diversity in favor of citizenship in a changed key, “new ways of imagining and acting in the world.”2 He urged a shift from diversity to democracy and from color to difference: “When I say ‘diversity’ I am not talking about a diversity of colors but a democracy of ideas as expressed through different cultures.” And he estab- lishes “generous imaginings,” differently voiced, as the defining practice 02_wein15617_cl, intro, 1-4.indd 91 12/12/11 7:10 PM 92 aesthetics and the politics of freedom of citizens. -
Emerson's Philosophy
EMERSON’S PHILOSOPHY: A PROCESS OF BECOMING THROUGH PERSONAL AND PUBLIC TRAGEDY Amy L. Simonson Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Department of English, Indiana University August 2019 Accepted by the Graduate Faculty of Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. Master's Thesis Committee ______________________________________ Jane E. Schultz, PhD, Chair ______________________________________ Robert Rebein, MFA, PhD ______________________________________ Samuel Graber, PhD ii © 2019 Amy L. Simonson iii ACKNOWLEDGEMENT Thank you. To Professor Jane E. Schultz, thank you for the innumerable hours of listening, suggestions, and feedback you provided as the chair of my thesis committee. I am grateful for your involvement from the first e-mail when you agreed to discuss my appreciation of Emerson to pots of tea while conferring about the places that gave me trouble to hundreds of edits and suggestions for revision to take my project deeper and make it more readable. To Professors Samuel Graber and Robert Rebein, I am grateful for the thought-provoking feedback that pushed me to create a stronger, communicable argument. Professor Megan Musgrave, thank you for your excitement, support, and engaging courses that kept my brain excited about academics for most of this process. To Debbie Oesch-Minor, thank you for giving me interesting articles to read, talking through ideas, and being a kindred spirit. To the Ians and others in our informal post-class class, thank you for the plethora of ideas and frequent discourse regarding my topic, from its first inception to presentations to completion. -
The Poetry Project Newsletter
THE POETRY PROJECT NEWSLETTER $5.00 #212 OCTOBER/NOVEMBER 2007 How to Be Perfect POEMS BY RON PADGETT ISBN: 978-1-56689-203-2 “Ron Padgett’s How to Be Perfect is. New Perfect.” —lyn hejinian Poetry Ripple Effect: from New and Selected Poems BY ELAINE EQUI ISBN: 978-1-56689-197-4 Coffee “[Equi’s] poems encourage readers House to see anew.” —New York Times The Marvelous Press Bones of Time: Excavations and Explanations POEMS BY BRENDA COULTAS ISBN: 978-1-56689-204-9 “This is a revelatory book.” —edward sanders COMING SOON Vertigo Poetry from POEMS BY MARTHA RONK Anne Boyer, ISBN: 978-1-56689-205-6 Linda Hogan, “Short, stunning lyrics.” —Publishers Weekly Eugen Jebeleanu, (starred review) Raymond McDaniel, A.B. Spellman, and Broken World Marjorie Welish. POEMS BY JOSEPH LEASE ISBN: 978-1-56689-198-1 “An exquisite collection!” —marjorie perloff Skirt Full of Black POEMS BY SUN YUNG SHIN ISBN: 978-1-56689-199-8 “A spirited and restless imagination at work.” Good books are brewing at —marilyn chin www.coffeehousepress.org THE POETRY PROJECT ST. MARK’S CHURCH in-the-BowerY 131 EAST 10TH STREET NEW YORK NY 10003 NEWSLETTER www.poetryproject.com #212 OCTOBER/NOVEMBER 2007 NEWSLETTER EDITOR John Coletti WELCOME BACK... DISTRIBUTION Small Press Distribution, 1341 Seventh St., Berkeley, CA 94710 4 ANNOUNCEMENTS THE POETRY PROJECT LTD. STAFF ARTISTIC DIRECTOR Stacy Szymaszek PROGRAM COORDINATOR Corrine Fitzpatrick PROGRAM ASSISTANT Arlo Quint 6 WRITING WORKSHOPS MONDAY NIGHT COORDINATOR Akilah Oliver WEDNESDAY NIGHT COORDINATOR Stacy Szymaszek FRIDAY NIGHT COORDINATOR Corrine Fitzpatrick 7 REMEMBERING SEKOU SUNDIATA SOUND TECHNICIAN David Vogen BOOKKEEPER Stephen Rosenthal DEVELOpmENT CONSULTANT Stephanie Gray BOX OFFICE Courtney Frederick, Erika Recordon, Nicole Wallace 8 IN CONVERSATION INTERNS Diana Hamilton, Owen Hutchinson, Austin LaGrone, Nicole Wallace A CHAT BETWEEN BRENDA COULTAS AND AKILAH OLIVER VOLUNTEERS Jim Behrle, David Cameron, Christine Gans, HR Hegnauer, Sarah Kolbasowski, Dgls. -
Jorge Sylvester ACE (Afro Caribbean Experimental)
FOR IMMEDIATE RELEASE Contact: Glenn Siegel, 413-320-1089 [email protected] Pioneer Valley Jazz Shares presents: Jorge Sylvester ACE (Afro Caribbean Experimental) Collective Pioneer Valley Jazz Shares continues its 4th season with a performance by Jorge Sylvester ACE (Afro Caribbean Experimental) Collective featuring Sylvester , saxophone ; Nora McCarthy , vocals; Gene Torres , electric bass; Kenny Grohowski , drums, on Friday, December 11, 7:30pm, Parlor Room, 32 Masonic St., Northampton, MA. Single tickets ($15) available at www.jazzshares.org and at the door. Born in Colon, Panama, alto-saxophonist, composer, arranger and teacher Jorge Sylvester began his professional career at age 14, and was soon writing arrangements and compositions for his own Caribbean dance band. He studied privately with renowned Panamanian jazz saxophonist, Euclides Hall, before attending the Panama Conservatory of Music and the University of Panama. Sylvester arrived in New York City in 1980, where his blend of African-Caribbean rhythms with new music gave him a distinguished voice. Sylvester has performed with: Stefon Harris, the David Murray Big Band, poet Sekou Sundiata, the Black Rock Coalition Orchestra, the Oliver Lake Big Band, Kuumba Frank Lacy‘s Vibe Tribe, Joe Bowie‘s Defunkt Big Band and the World Saxophone Quartet. His latest ACE Collective release is Spirit Driven . A poet, songwriter and a highly original singer and improviser, Nora McCarthy has been an important force in the New York jazz vocal scene since 1996 when she recorded her first of eight CD’s, red&blue . She currently leads: The Nora McCarthy Trio, The HeartStrings Project, Nora McCarthy Qu’ART’et and its feminine counterpart, Nora McCarthy ♀u’ART’et, The Modern Voice Ensemble, and Jay Clayton’s cappella group, “Different Voices”. -
BOND BOMBSHELL IRS Would Hike Ratner’S Yards Cost the Program Under Scrutiny Is Called Cable Taxes,” the IRS Said in the Regulation
BROOKLYN’S REAL NEWSPAPERS Including Windsor Terrace, Sunset Park, Midwood, Kensington, Ocean Parkway Papers Published every Saturday — online all the time — by Brooklyn Paper Publications Inc, 55 Washington St, Suite 624, Brooklyn NY 11201. Phone 718-834-9350 • www.BrooklynPapers.com • © 2006 Brooklyn Paper Publications • 20/16 pages •Vol.29, No. 43 AWP • Saturday, November 4, 2006 • FREE BOND BOMBSHELL IRS would hike Ratner’s Yards cost The program under scrutiny is called cable taxes,” the IRS said in the regulation. Secondly, PILOT cash doesn’t flow into Experts: New “payments in lieu of taxes,” or PILOTs. Us- “If the proposal becomes law, it will city coffers, but instead pays for the develop- ing PILOTs, a city can take land off the generally raise financing costs for er’s debt servicing or maintenance of the de- rules could scare tax rolls in exchange for fixed rent-like developers,” said George Sweet- velopment — another cozy arrangement that payments — but the payments are ing, deputy director of the has drawn the attention of the IRS bean- typically less than property taxes city’s Independent Budget counters. off investors and, in Ratner’s case, would not Office. PILOTs are routinely used for public By Ariella Cohen even end up in the city’s coffers. This could hurt Ratner in projects like hospitals. But critics — in- The Brooklyn Papers If the new rule goes into ef- two ways: cluding city Comptroller Bill Thompson, fect as expected next year, de- For one thing, the IRS who called the incentive rife with “costly Bruce Ratner’s sweetheart deal velopers would no longer be al- rule change would force PI- flaws and misuse” — argue that when used may be about to turn sour — thanks to lowed to use federally subsidized, LOTs to be pegged to a piece as a development incentive, the program the IRS. -
Shawn W. Walker
Claire Oliver Gallery Shawn W. Walker Collections: Brooklyn Museum Charles Perry Rand Foundation Harlem Arts Collection James Van Der Zee Institute Museum of Modern Art, NYC National Afro-American Museum, Wilberforce, OH New York Public Library, Main Branch The Schomburg Center for Research in Black Culture The Studio Museum in Harlem Misterioso #1 William Patterson Foundation archival digital pigment print Exhibitions: 16 x 9.3 in | 40.6 x 23.6 cm 2014 “Kamoinge + En Foco: Advancing the Frame” Nathan Cummings Foundation, NYC “Reflections of Monk: Inspired Images of Music and Moods II”, The Dwyer Cultural Center, NY 2013 “Jazz. Covers. Politics”, Nathan Cummings Foundation, NYC “Art and Protest”, The Malcolm X & Dr. Betty Shabazz Memorial and Educational Center, NYC “Salute to Sekou Sundiata”, The Apollo Theater, NYC “Harlem Art Walk” Open Studio, NYC “New York Photo Show” The Lighthouse, NYC 2012 “Heart and Soul: African American by African American Photographers” Keith de Lellis Gallery, NYC ”Kamoinge: Revealing the Face of Katrina”, Group Show, Gordon Parks Gallery, College of New Rochelle, Bronx, NY “Reflections of Monk: Inspired Images of Music and Moods”, Wilmer Jennings Gallery at Kenkeleba, NYC “Harlem & the City” The City College of New York, NYC “Old Harlem New Harlem: Images of Transformation Photographic Exhibition” Rio II Gallery, NYC “Harlem Art Walk” Open Studio, NYC 2011 “Harlem Views/Diaspora Visions: The New Harlem Renaissance Photographers”, Group Show, Schomburg Center, NYC Traveled Rhodes International Sculpture Arts Garden. Brooklyn, NY 2010 “Neo African Identities”, Group Show, Baobab Center, Rochester, NY “Kamoinge: In The Moment”, Group Show, HP Gallery at Calulmet Photo, NYC 2008 Group Show. -
Creating Blues: an Interdisciplinary Study
Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1997 Volume V: The Blues Impulse Creating Blues: An Interdisciplinary Study Curriculum Unit 97.05.05 by Medria Blue SECTION I: BLUES BACKGROUND PART A: WHAT IS THE BLUES ? The blues. I was born with the blues. You were born with the blues. We were wombed with the blues. Traveling the birth canal blues, first boo-boo blues, too much homework blues, macaroni and cheese again blues, pimple blues, racism blues, love blues, money blues—everyone has experience with blues. Micheal S. Harper’s poem, The Blues Don’t Change and Ntozake Shange’s Takin A Solo/A Poetic Possibility/A Poetic Imperative capture the essence of what the Blues is: “The Blues Don’t Change” “Now I’ll tell you about the Blues. All Negroes like Blues. Why? Because they was born with the Blues. And now everybody have the Blues. Sometimes they don’t know what it is.” —Leadbelly Curriculum Unit 97.05.05 1 of 23 And I was born with you, wasn’t I, Blues? Wombed with you, wounded, reared and forwarded from address to address, stamped, stomped and returned to sender by nobody else but you, Blue Rider, writing me off every chance you got, you mean old grudgeful-hearted, table- turning demon, you, you sexy soul-sucking gem. Blue diamond in the rough, you are forever. You can’t be outfoxed don’t care how they cut and smuggle and shine you on, you’re like a shadow, too dumb and stubborn and necessary to let them turn you into what you ain’t with color or theory or powder or paint. -
Fall Newsletter.Indd
Issue 8, Fall 2006 the newsletter of the humanities institute at the university of texas at austin Dr. Pauline Strong Becomes Humanities Institute Associate Director THE HUMANITIES INSTITUTE’S CREATIVE AND ADMINISTRATIVE Diffi cult Dialogues programs, resources have been signifi cantly enhanced this fall by the in the development of a model appointment of Dr. Pauline Turner Strong to the new position for an ambitious new Museum of Institute Associate Director. Studies degree program, and An Associate Professor in the Department of as a member of the Faculty Anthropology and a faculty affi liate in the Center for Council Executive Committee. Women’s and Gender Studies, Dr. Strong completed her In the community, she serves Ph.D. in sociocultural anthropology at the University of as President of the Board of Chicago before joining the University of Texas faculty in Directors of Camp Fire USA 1993. Her research centers on historical and contemporary Balcones Council and is an enthusiastic supporter of Austin representations of Native Americans and American national arts organizations. identity in such contexts as literature, fi lms, museums, Over the Humanities Institute’s fi rst fi ve years, sports arenas, and youth organizations. Professor Strong was a frequent contributor to its initiatives, As a teacher and a citizen of both the University as a member of the faculty seminar, a professor in the and the larger Austin community, Professor Strong has Texas Teachers as Scholars program, a Mayor’s Book Club also made wide-ranging contributions across disciplines discussion leader, and a panelist in one of the HI’s topical and constituencies. -
Agrégation Externe D'anglais 2018
1 Agrégation externe d’anglais 2018 Walt Whitman, Leaves of Grass (Éric Athenot, Université Paris-Est Créteil-Val de Marne) Remarque préliminaire : La présente bibliographie propose, entre autres ressources, une série de publications réparties selon des rubriques générales. Cette division pourra fréquemment sembler artificielle tant les thématiques s’imbriquent intimement. Les préparateurs comme les étudiants sont vivement encouragés à consulter le site Web consacré au poète : http://whitmanarchive.org/. Celui-ci, remarquable et irremplaçable, propose un accès direct à un grand nombre de textes critiques, en plus de réunir l’ensemble des publications et des manuscrits du poète. Il est en outre à noter que l’édition Norton de 1973 (voir infra) comporte un appareil de notes très complet permettant de suivre l’évolution du recueil et des poèmes au fil du long travail de réécriture. 1) TEXTES DE WHITMAN a) Édition au programme WHITMAN, Walt, Leaves of Grass [1891-1892], dans Leaves of Grass, and Other Writings. Second edition, Michael Moon, ed., New York: W. W. Norton Critical Editions, 2001. b) Préfaces et postfaces d’autres éditions ATHENOT, Éric, Postface de Feuilles d’herbe (1855). Paris : Éditions Corti, 2008. BRADLEY, Sculley & Harold W. Blodgett, Introduction to Leaves of Grass. New York: W. W. Norton Critical Editions, 1973. MURPHY, Francis, Introduction to The Complete Poems, London: Penguin Classics, 1986. c) Autres éditions de Leaves of Grass Leaves of Grass [1855] : http://whitmanarchive.org/published/LG/1855/whole.html Leaves -
20890 Hamaca Court • Boca Raton • Florida • 33433 954-304-7027 • [email protected] ______
MARK SCROGGINS Curriculum Vitae 20890 Hamaca Court • Boca Raton • Florida • 33433 954-304-7027 • [email protected] ________________________________________________________________________ Professor and Director of Graduate Studies Department of English Florida Atlantic University 777 Glades Road Boca Raton, Florida 33431 EDUCATION CORNELL UNIVERSITY Ph.D. in English, 1993 Dissertation: “Zukofsky and Stevens: Poetry, Music, and Knowledge” (Joel Porte, director) M.A. in English, 1990 M.F.A. in English (poetry writing), 1990 Thesis: “Broken Book” (A. R. Ammons, director) VIRGINIA POLYTECHNIC INSTITUTE AND STATE UNIVERSITY B.A. in English (in honors) and Philosophy, Magna Cum Laude, 1986 ACADEMIC POSTS Florida Atlantic University, Professor of English, 2009 – present. Florida Atlantic University, Associate Professor of English, 2001 – 2009. Florida Atlantic University, Assistant Professor of English, 1996 – 2001. PUBLICATIONS BOOKS: Red Arcadia (poetry). Bristol, UK: Shearsman Books, 2012. Sean Colletti, Stride Magazine April 2012: http://www.stridemagazine.co.uk/Stride%20mag%202012/April%202012/collettireviews.htm Torture Garden: Naked City Pastorelles (poetry). Brooklyn: The Cultural Society, 2011. The Poem of a Life: A Biography of Louis Zukofsky. Emeryville, CA: Shoemaker & Hoard, 2007. Marjorie Perloff, Times Literary Supplement 7 September 2007 (full-page review). Mike Doyle, Pacific Rim Review of Books 7 (Winter 2007): 4. Dan Chiasson, New York Times Book Review 20 January 2008 (full-page review). “Editor’s Choice,” New York Times Book Review 27 January 2008. Nicholas Manning, Jacket 35 (2008): http://jacketmagazine.com/35/r-scroggins-rb-manning.shtml. Michael Dirda, Washington Post Book World 20 April 2008 (full-page review). August Kleinzahler, London Review of Books 22 May 2008. Rachel Blau DuPlessis, Contemporary Literature 50.1 (2009). -
Public Humanities and Publication: a Working Paper Summary
Public Humanities and Publication: A Working Paper Kath Burton and Daniel Fisher ABSTRACT KEYWORDS This paper explores the challenges associated with the publication Public humanities; Engaged of public and publicly engaged humanities scholarship. It is the research; Messiness; product of a working group convened in February 2020 by Publishing workflow; Routledge, Taylor & Francis and the National Humanities Alliance Scholarship; Community partners; University Presses; to identify and discuss model practices for publishing on public Public programming; and publicly engaged humanities work in higher education. Its Institutional structures; central thesis is this: the spread of publicly engaged work via Multiple audiences academic publication holds the potential to benefit all, across communities and humanities disciplines. Public humanities work encompasses humanities research, teaching, preservation and programming, conducted for diverse individuals and communities. Publicly engaged humanities work, meanwhile, encompasses humanities research, teaching, preservation and programming, conducted with and for diverse individuals and communities. The innovative nature of this work, driven, often, by co-equal partnership with community members and institutions, broadens the horizons and inclusivity of humanities knowledge. It also, however, creates certain challenges that make publication both more complex and more important. ORCID Kath Burton http://orcid.org/0000-0001-7785-9604 Daniel Fisher http://orcid.org/0000-0003-3399-3777 Summary Kath Burton