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John Donne 1 John Donne
John Donne 1 John Donne John Donne John Donne Born between 24 January and 19 June [1] 1572 London, England Died 31 March 1631 (aged 59) London, England Occupation Poet, priest, lawyer Nationality English Alma mater Oxford University Genres Satire, Love poetry, elegy, sermons Subjects Love, sexuality, religion, death Literary movement Metaphysical Poetry John Donne (/ˈdʌn/ DUN) (between 24 January and 19 June 1572[1] – 31 March 1631) was an English poet, satirist, lawyer and a cleric in the Church of England. He is considered the pre-eminent representative of the metaphysical poets. His works are noted for their strong, sensual style and include sonnets, love poetry, religious poems, Latin translations, epigrams, elegies, songs, satires and sermons. His poetry is noted for its vibrancy of language and inventiveness of metaphor, especially compared to that of his contemporaries. Donne's style is characterised by abrupt openings and various paradoxes, ironies and dislocations. These features, along with his frequent dramatic or everyday speech rhythms, his tense syntax and his tough eloquence, were both a reaction against the smoothness of conventional Elizabethan poetry and an adaptation into English of European baroque and mannerist techniques. His early career was marked by poetry that bore immense knowledge of British society and he met that knowledge with sharp criticism. Another important theme in Donne’s poetry is the idea of true religion, something that he spent much time considering and theorising about. He wrote secular poems as well as erotic and love poems. He is particularly famous for his mastery of metaphysical conceits.[2] Despite his great education and poetic talents, Donne lived in poverty for several years, relying heavily on wealthy friends. -
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Canadian Literature / Littérature canadienne A Quarterly of Criticism and Review Number 214, Autumn 212 Published by The University of British Columbia, Vancouver Editor: Margery Fee Associate Editors: Judy Brown (Reviews), Joël Castonguay-Bélanger (Francophone Writing), Glenn Deer (Poetry), Laura Moss (Reviews), Deena Rymhs (Reviews) Past Editors: George Woodcock (1959–1977), W. H. New (1977–1995), Eva-Marie Kröller (1995–23), Laurie Ricou (23–27) Editorial Board Heinz Antor University of Cologne Alison Calder University of Manitoba Carrie Dawson Dalhousie University Cecily Devereux University of Alberta Kristina Fagan Bidwell University of Saskatchewan Janice Fiamengo University of Ottawa Carole Gerson Simon Fraser University Helen Gilbert University of London Susan Gingell University of Saskatchewan Faye Hammill University of Strathclyde Paul Hjartarson University of Alberta Coral Ann Howells University of Reading Smaro Kamboureli University of Guelph Jon Kertzer University of Calgary Ric Knowles University of Guelph Louise Ladouceur University of Alberta Patricia Merivale University of British Columbia Judit Molnár University of Debrecen Linda Morra Bishop’s University Lianne Moyes Université de Montréal Maureen Moynagh St. Francis Xavier University Reingard Nischik University of Constance Ian Rae King’s University College Julie Rak University of Alberta Roxanne Rimstead Université de Sherbrooke Sherry Simon Concordia University Patricia Smart Carleton University David Staines University of Ottawa Cynthia Sugars University of Ottawa -
Haunting Love in Anne Hébert's Les Fous De Bassan and Mary Novik's
Andrea King Haunting Love in Anne Hébert’s Les fous de Bassan and Mary Novik’s Conceit Though the two novels hail from different socio- historical and linguistic traditions, Québec author Anne Hébert’s Les fous de Bassan (1982) and Canadian author Mary Novik’s Conceit (27) demonstrate striking similarities when it comes to their staging of haunting.1 Hébert’s novel—a keystone of the Québec literary canon—is of course the better known of the two works. Divided into six sections narrated by five different characters,2 Les fous de Bassan recounts the events leading up to the murder of two adolescent cousins, Olivia and Nora Atkins, in the Protestant village of Griffin Creek in the summer of 1936. One of the sections is narrated by Olivia’s ghost, whose “text” is signed “Olivia de la Haute Mer.” This spectral Olivia inhabits an all-female oceanic realm, where the voices of her female ancestors caution her against voyaging back to Griffin Creek. The ghosts have good cause to warn her, for Griffin Creek is rife with violence towards women, of which the most obvious example is the 1936 murder. However, because Olivia is drawn to her cousin Stevens, the murderer who threw her body into the ocean, she returns repeatedly to that traumatic telluric space in search of him. While she claims not to find him (“the one I am seeking is no longer here” [149]),3 Stevens himself indicates in his last letter to his friend Old Mic that he is indeed haunted by both Olivia and Nora.4 Mary Novik’s novel—published in 27 to warm critical reception5— focuses primarily on the character of Pegge Donne, daughter of the Jacobean poet and Protestant clergyman John Donne. -
Proquest Dissertations
UNIVERSITY OF CALGARY Renaissance Parables of Duplicity in Vanora Bennett's Portrait of an Unknown Woman and Mary Novik's Conceit by Theresa Rae Baker A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF ENGLISH, FACULTY OF HUMANTIES, GRADUATE PROGRAM IN ENGLISH CALGARY, ALBERTA JULY, 2009 © Theresa Rae Baker 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-54393-1 Our file Notre reference ISBN: 978-0-494-54393-1 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduce, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.