DOCSLIB.ORG

SIBL. . V^'- ' / Proquest Number: 10096794

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SIBL. . V^'- ' / Proquest Number: 10096794 -TÂ/igSEOBSIAW p o e t s : A. CBIIXCÆJEaaMIBA!ElûIif--CÆJ^ POETRY '' ARD POETIC THEORY. “ KATHARIKE COOKE. M. P h i l . , SIBL. v^'- ' / ProQuest Number: 10096794 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10096794 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 SYNOPSIS. As the Introduction explains this thesis sets out to look at the Georgians* achievement in poetry in the light of their intentions as avowed in prose and their methods as exemplified hy their poems. This is chiefly a critical exercise hut history has heen used to clear away the inevitable distortion which results from looking at Georgian poetry after fifty years of Eliot- influenced hostility. The history of the movement is dealt with in Chapter 2. The next three chapters examine aspects of poetry which the Georgians themselves con­ sidered most interesting. Chapter 3 deals with form, Chapter 4 with diction and Chapter 5 with inspiration or attitude to subject matter. Chapter 6 looks at the aspect of Georgianism most commonly thought by later readers to define the movement, th a t is i t s subjects. Chapter 7 considers the Georgians* outward looking attitude and their concern to popularise poetry as well as looking at the effects on their poetry of their considerable success. In Chapter 8 I examine the Georgian attitude to tradition and the way in which individual poets were influenced by their predecessors. Finally Chapter 9 attempts to make some tentative critical judgments not entirely in line with the Georgians own view of themselves. Two appendices lis t the poems which are central to this study, those pub­ lished in the five volumes of Georgian Poetry and the poetry books from which Marsh drew for his anthology and on which I have relied for a more general field of study. CONTENTS. Synopsis 1. Contents 2. Chapter 1:Introduction 3. Chapter 2: Georgian Poetry: Historical Background 30. Chapter 3: Gravy versus Tapioca: The Georgian Form 68. Chapter 4: "Common Words": The Georgian language 107. Chapter 5; The Greatest Mystery comes hy the greatest definiteness. 149. Chapter 6: Georgian Subjects 194. Chapter 7s The Georgians and th e ir Audience 232. Chapter 8: The Georgians and T radition 272. Chapter 9s Conclusion 317. Appendix A 3 5^ Appendix B 37/)- Bibliography. 37S 3 CHAPTER 1. INTRODUCTION. Who were the Georgians, and what did they stand for in poetry? These questions must he answered, as far as this is possible, before any criticism of their work is embarked on. Immediately, th is ra ise s fundamental problems, which even the briefest look at the small amount of c ritic ism about the Georgians confirms. Very often who the Georgians were is in itself a critical statement producing results as varied as the multitude of candidates for the title permits. What the poets stood for, seems, even more, to invite prejudging the poets; it is difficult, without criticism to arrive at any idea of a poet's aim, or a group of poets' aims. It is, however, necessary to have at least a well-formed idea that the Georgians did stand for something in particular where poetry was concerned. Too often readers of twentieth- century poetry have received the impression that the Georgians were merely second-rate, washed-up remnants of Romanticism, the producers of unconsidered rural idylls. Closer inspection soon shows that this is in no way tru e. Georgian writings, prose as well as verse, will be examined in this thesis in an attempt to discover the essential qualities of the poetry. At the same time the prose especially will be used to demonstrate that, for the original Georgians, at least, Georgian poetry was new and revolutionary. For this reason, it is, I think worthwhile to look first, however briefly, at the two questions set out above. In this way the movement and the poetry can be put in a true historical perspective. The history of the movement is of paramount import- 4 ance especially when, a s.in the case of the Georgians, a short period of time has eclipsed any sense that the poets were writing for today, much less for all time. At various points in the thesis the history will be used to illuminate the development of the poetic phenomenon, and fo r the fa c ts of the case I am much in the debt of Robert Ross whose The Georgian Revolt I have used extensively and of the late Christopher Hassall whose two biographies of Edward Marsh and Rupert Brooke, have filled out the details of the very personal nature of the founding of the volumes. However, th is is not primarily a historical work. In the end, the hope is that the description "Georgian poetry" will emerge as a useful critical term having a precise meaning, refer- ' ring to the work of specific poets, work, which, more­ over, has enough in common despite wide variety, to warrant its being described by a collective adjective. Who were these Georgians? The answer to this is frequently tied to prejudiced views of their poetry. As John Press remarked: "Some writers who dislike all the connotations of the word Georgian are at pains to deny this title to any poet of merit who flourished between 1912 and 1922, the years spanned by Edward Marsh's anthologies. Robert Graves, we are assured was not a Georgian, nor were D.H.Lawrence, Edward Thomas, Siegfried Sassoon, Wilfred Owen, Isaac Rosenberg, and Edmund Blunden. Whether or not they appeared in Georgian Poetry is, according to such "suohc critics, totally irrelevant. -What matters is the quality of their work: if it is good it cannot be Georgian; if it is Georgian, it must, ipso facto, be feeble." (l) Conversely if the writer is working for the Georgian cause the popular names are emphasised and the rest forgotten, usually without any attempt to give reasons for the selection. James Reeves' intro­ duction to the Penguin anthology is a case in point. He writes throughout of "Georgianism" and “Georgian Poets'* as though he were quite clear in his mind what the description entailed but nowhere is there any more critical definition of the criteria adopted than th is : "My determining object has been to make a selection of Georgian poetry which will appeal to the unprejudiced modern reader a fte r a generation of neglect." (2) Accordingly he chooses poems by Housman, Davies, Brooke, Flecker, Thomas, Owen, M asefield and other equally well known names. The hundreds of minor obscure poets who flourished in the period are represented by one poem each of J.C.Squire and Victoria Sackville-West, two of Ivor Gurney and three of Charles Sorley. If the critical attitude is abandoned,the I, w answer to Who were the Georgians? must be a historical one. Frank Swinnerton in The Georgian Literary Scene considers all writers in whatever genre, who flourished in the reign of George V (1911-1935), though within this period some writers are seen to be more typically Georgian than others. For the average reader - if he considers the Georgians at all - the answer to who they were is found in a combination of this wide h is to r ic a l perspective and a vague and not very favourable definition of Georgian as rural in inspiration and conventional in form at a time when the fashionable poets were exclusively urban and almost outrageously original. Clearly for practical purposes a more precise definition has to be adopted. InthiSLthesis the Georgians will be defined as those poets who contributed to any of the five anthologies of Georgian Poetry edited by Edward Marsh and published between 1912 and 1922. A list of these poets is found in Appendix A together with details of their contributions to each volume. This answer to the question "Who were the Georgians?" has certain drawbacks. Firstly, several of the poets who did contribute to the anthologies have little bearing on the second question "What did the Georgians stand for?" One poem contributors like Edmund Beale Sargant, Robert Calverley Trevelyan, Maurice Baring and Herbert Asquith cannot be considered as playing as important a role in the defining of Georgianism as other fig u res. Another fac to r makes some poets unsuitable material for research into peculiarly Georgian poetics. As the editor admitted in the Prefatory. Note to the second anthology some poets were included in the first volume who were now seen to belong to: "an earlier poetic generation, and their inclusion must now be allowed to have been an anachronism." (3) Primarily Marsh is here referring to T. Sturge Moore and G.E.Chesterton whom he had included in^shrewd endeavour to help sales for the sake of lesser-known more genuinely Georgian poets. A.E. Housman, who was approached for a contribution, presumably with the same end in view, declined. These writers and some ~1 of the contributors to the fifth volume, Richard Hughes, William Kerr and J.D.C.Pellow, who seem to epitomise the development of what Graves called "Georgianismatism" receive scant attention in the following pages.
Load more

Recommended publications
  • Eliot on the Poetry of His Contemporaries
    Time Present The Newsletter of the T. S. Eliot Society Number 85 Spring 2015 CONTENTS Eliot on the Poetry of His Contemporaries Essays: Eliot on the Poetry of His By Marjorie Perloff Contemporaries by Marjorie Perloff 1 Today, when the reviewing of new books of poetry is often little more than expanded blurb writing, singling out this or that volume from the Annie Dunn: An Eliot Society hundreds of slim collections that pour out from the small presses, it is the Pilgrimage greatest pleasure to read the hitherto uncollected book reviews by the young by Ronald Schuchard 2 T. S. Eliot, now available in Volume 1 of The Complete Prose of T. S. Eliot: The Critical Edition, ed. Jewel Spears Brooker and Ronald Schuchard. Written Eliot Society Call for Papers 3 primarily for The Egoist, but also for such other journals as The New Statesman, Reviews these reviews and reflections on contemporary poetry present Eliot at his brilliant, learned, funny, and iconoclastic best. Poetry and Its Others: News, Consider Eliot’s reaction, in a 1918 omnibus review for , to a Prayer, Song, and the Dialogue of The Egoist Genres, by Jahan Ramazani lavishly produced poetry book by E. F. A. Geach and D. E. A. Wallace coyly Reviewed by T. Austin Graham 7 titled –Esques: The authors of –Esques trickle down a fine broad page in a pantoum, a Bequest from Eliot’s Library to roundel, a villanelle, occasionally pagan, mode of thirty years ago: Magdalene College, Cambridge Why then, O foolish Christ, Reviewed by M. E. J. Hughes 8 Didst thou keep tryst Out of Character: Modernism, With maudlin harlots wan Vitalism, Psychic Life, by Omri With glad things gone? Moses To which the obvious answer is, Why did you? Young poets ought to Reviewed by Corey Latta 12 be cheaply printed; such sumptuous pages deceive many innocent critics.
    [Show full text]
  • XMAS DOUBLE NUMBER Nos. 6 & 7
    XMAS DOUBLE NUMBER COTERIE NINA HAMNETT Nos. 6 & 7 Winter, 1920-21 COTERIE A Quarterly ART, PROSE, AND POETRY General Editor: Russell Green. American Editors: Conrad Aiken, South Yarmouth, Mass., U.S.A. Stanley I. Rypins, University of Minnesota, Minneapolis, Minn., U.S.A. Editorial Committee: T. W. Earp. Aldous Huxley. Nina Hamnett. Literary and Art Contributions for publication in COTERIE should be addressed to the Editor, 66 Charing Cross Road, London, W.C.2; or in U.S.A. to the American Editors. All other communications should be addressed to Hendersons, 66 Charing Cross Road, London, W.C.2. Contributors who desire the return of rejected MSS. are requested to enclose a stamped addressed envelope. COTERIE is published Quarterly, price 2s. 8d., post free. Yearly subscription, 10s. 8d., post free. New York, U.S.A.: Copies may be purchased at Brentano's, price 75 cents; or yearly, $3. Paris: Copies may be had from W. H. Smith & Son, Rue de Rivoli. COTERIE NINA HAMNETT LONDON : HENDERSONS SIXTY-SIX CHARING CROSS ROAD COTERIE, Winter, 1920-21, Nos. 6 and 7 Xmas Double Number - COVER DESIGN by NINA HAMNETT I. John Burley: " Chop and Change " 6 II. Roy Campbell: Canal 23 The Head 23 The Sleepers 24 III. Wilfrid Rowland Childe: Hymn to the Earth 26 IF. Thomas Earp: Grand Passion 28 Post-mortem 28 Cowboy Bacchanale 29 V. Godfrey Elton: Farcical Rhyme 31 VI. John Gould Fletcher: The Star 32 Who will Mark 33- VII. Frank Harris: Akbar: The " Mightiest" 34 VIII. Russell Green : Gulliver 52 IX. G. H. Johnstone : Naive 58 X.
    [Show full text]
  • The Poetry of Siegfried Sassoon
    Durham E-Theses The poetry of siegfried sassoon Cumming, Deryck How to cite: Cumming, Deryck (1969) The poetry of siegfried sassoon, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/10240/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk THE POEPRY OF SIEGPEIIED SASSOON Deryck Gtumning M.A. thesis University of Durham 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. page Early Poems 1 II War Poems, 1915-1917 20 III Counter-Attack 64 IV Picture Show 102 V Poems of the Twenties 115 VI Poems of the Thirties 135 VII Poems of the Fifties I53 VIII Conclusion 167 Bibliography _Ch_cvpt_Gr_ On^ EAHLY POEflS Siegfried. S-J5soon "born in I8865 the cccond of thrrr sons of Alfred Ezrr, Sr.ssoon r,nd Thcrcsr.
    [Show full text]
  • A MEDIUM for MODERNISM: BRITISH POETRY and AMERICAN AUDIENCES April 1997-August 1997
    A MEDIUM FOR MODERNISM: BRITISH POETRY AND AMERICAN AUDIENCES April 1997-August 1997 CASE 1 1. Photograph of Harriet Monroe. 1914. Archival Photographic Files Harriet Monroe (1860-1936) was born in Chicago and pursued a career as a journalist, art critic, and poet. In 1889 she wrote the verse for the opening of the Auditorium Theater, and in 1893 she was commissioned to compose the dedicatory ode for the World’s Columbian Exposition. Monroe’s difficulties finding publishers and readers for her work led her to establish Poetry: A Magazine of Verse to publish and encourage appreciation for the best new writing. 2. Joan Fitzgerald (b. 1930). Bronze head of Ezra Pound. Venice, 1963. On Loan from Richard G. Stern This portrait head was made from life by the American artist Joan Fitzgerald in the winter and spring of 1963. Pound was then living in Venice, where Fitzgerald had moved to take advantage of a foundry which cast her work. Fitzgerald made another, somewhat more abstract, head of Pound, which is in the National Portrait Gallery in Washington, D.C. Pound preferred this version, now in the collection of Richard G. Stern. Pound’s last years were lived in the political shadows cast by his indictment for treason because of the broadcasts he made from Italy during the war years. Pound was returned to the United States in 1945; he was declared unfit to stand trial on grounds of insanity and confined to St. Elizabeth’s Hospital for thirteen years. Stern’s novel Stitch (1965) contains a fictional account of some of these events.
    [Show full text]
  • (London, 1988), P. 125. PROLOGUE
    NOTES PREFACE 1. William Empson, Arguejying (London, 1988), p. 125. PROLOGUE: FAMILY TIES 1. Dame Felicitas Corrigan, Siegfried Sassoon: Poet's Pilgrimage (London, 1973), p. 17. 2. See Keith Middlemass, Edward VII (London, 1975), p. 44. 3. See Stanley Jackson, The Sassoons: Portrait of a Dynasty (London, 1968), pp. 84-88. 4. Jackson (1968), p. 75. 5. In 1871 her sister Laura became the second wife of Lawrence Alma- Tadema (1836-1912), the Dutch-born painter who in the 1880s and 90s achieved popular successes with his imaginary scenes from classical Greece, Rome and ancient Egypt. 6. Jackson (1968), p. 76. 7. In The Old Century there is mention of a cook and two maids, with a nurse - later replaced by a German governess - to look after the boys. The male element consisted of the head-gardener, two under-gardeners and Richardson the groom. 8. Philip Hoare, Serious Pleasures: the Life of Stephen Tennant (London, 1990), p. 88. 9. His book collecting may have reminded him of his grandfather Sassoon David Sassoon, who had spent his leisure hours building up a library of rare Hebrew manuscripts. Cf. Jackson (1968), p. 38. 10. Cf. Sassoon's own account of this venture in The Old Century, pp. 279-82. 11. Corrigan (1973), pp. 55-6. 12. Rupert Brooke's last girlfriend, the actress Cathleen Nesbitt (1888-1982) records in her memoirs, A Little Love (London, 1977), that she met Brooke later that same day and that he was full of indignation about Sassoon's remark. That she should recall such a trivial incident over sixty years later (and at the time Sassoon was still a complete unknown) is hard to believe, especially since, according to Sassoon's version, Brooke did not really make an issue out of it.
    [Show full text]
  • Modem Women's Poetry 1910—1929
    Modem Women’s Poetry 1910—1929 Jane Dowson Submitted for the degree of Doctor of Philosophy at the University of Leicester. 1998 UMI Number: U117004 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U117004 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Modern Women9s Poetry 1910-1929 Jane Dowson Abstract In tracing the publications and publishing initiatives of early twentieth-century women poets in Britain, this thesis reviews their work in the context of a male-dominated literary environment and the cultural shifts relating to the First World War, women’s suffrage and the growth of popular culture. The first two chapters outline a climate of new rights and opportunities in which women became public poets for the first time. They ran printing presses and bookshops, edited magazines and wrote criticism. They aimed to align themselves with a male tradition which excluded them and insisted upon their difference. Defining themselves antithetically to the mythologised poetess of the nineteenth century and popular verse, they developed strategies for disguising their gender through indeterminate speakers, fictional dramatisations or anti-realist subversions.
    [Show full text]
  • Georgian Poetry 1918-19
    Georgian Poetry 1918-19 Various The Project Gutenberg EBook of Georgian Poetry 1918-19, by Various Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook. This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission. Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved. **Welcome To The World of Free Plain Vanilla Electronic Texts** **eBooks Readable By Both Humans and By Computers, Since 1971** *****These eBooks Were Prepared By Thousands of Volunteers!***** Title: Georgian Poetry 1918-19 Author: Various Release Date: January, 2006 [EBook #9621] [Yes, we are more than one year ahead of schedule] [This file was first posted on October 10, 2003] Edition: 10 Language: English Character set encoding: ASCII *** START OF THE PROJECT GUTENBERG EBOOK GEORGIAN POETRY 1918-19 *** Produced by Keren Vergon, Clytie Siddall and PG Distributed Proofreaders GEORGIAN POETRY 1918-1919 EDITED BY SIR EDWARD MARSH TO THOMAS HARDY EIGHTH THOUSAND THE POETRY BOOKSHOP 35 Devonshire Street Theobalds Road W.C.1 MCMXX PREFATORY NOTE This is the fourth volume of the present series. I hope it may be thought to show that what for want of a better word is called Peace has not interfered with the writing of good poetry.
    [Show full text]
  • Critical Survey of Poetry: Topical Essays
    More Critical Survey of Poetry: Topical Essays English and American Poetry in the Twentieth Century by Thomas C. Foster Introduction Twentieth century poetry has been variously characterized as romantic, antiromantic, impersonal, highly personal, chaotic, orderly, classical, TABLE OF symbolist, wholly untraditional, reasoned and measured, or incomprehensible CONTENTS Introduction —depending on the critic whom one reads. This radical diversity suggests a The rise of modernism fundamental problem with poetry in the twentieth century: It has no clear path The end of Victorianism to follow. Finding previous poetry inadequate to deal with the situation in which Cultural breakdown they find themselves, modern poets must create anew, must, in Wallace Decadence Stevens’s phrase, “find out what will suffice.” The modern poem is an act of Early modern movements exploration. In the absence of givens, it must carve out its own niche, make its Imagism own raison d’être. Symbolism William Carlos Williams The Metaphysical influence Walt Whitman and Thomas Hardy After World War II Surrealism Renewed Romanticism Eastern, mythic, and archetypal influences Moral ambivalence New Criticism Disjuncture and discontinuity The poem sequence The Bridge Paterson The Maximus Poems Personal sequences English and Irish poem sequences Crow Mercian Hymns The Triumph of Love North Renga Confessional poetry Beat and Movement poetry Whither? Language poets Martian poets Wit and humor Voices of diversity Irish poetry Women’s poetry Postcolonial poets Bibliography Not surprisingly, then, twentieth century poetry is marked by astonishing variety. What logic could successfully yoke together Robert Frost and Allen Ginsberg, Philip Larkin and William Carlos Williams, Sylvia Plath and Ezra Pound? None, so long as the category of modern poetry is understood to be a fixed entity; such definitions always aim at closure and exclusion.
    [Show full text]
  • Imagism and Te Hulme
    I BETWEEN POSITIVISM AND Several critics have been intrigued by the gap between late AND MAGISM Victorian poetry and the more »modern« poetry of the 1920s. This book attempts to get to grips with the watershed by BETWEEN analysing one school of poetry and criticism written in the first decade of the 20th century until the end of the First World War. T To many readers and critics, T.E. Hulme and the Imagists . E POSITIVISM represent little more than a footnote. But they are more HULME . than mere stepping-stones in the transition. Besides being experimenting poets, most of them are acute critics of art and literature, and they made the poetic picture the focus of their attention. They are opposed not only to the monopoly FLEMMING OLSEN T AND T.S. ELIOT: of science, which claimed to be able to decide what truth and . S reality »really« are, but also to the predictability and insipidity of . E much of the poetry of the late Tennyson and his successors. LIOT: Behind the discussions and experiments lay the great question IMAGISM AND What Is Reality? What are its characteristics? How can we describe it? Can we ever get to an understanding of it? Hulme and the Imagists deserve to be taken seriously because T.E. HULME of their untiring efforts, and because they contributed to bringing about the reorientation that took place within the poetical and critical traditions. FLEMMING OLSEN UNIVERSITY PRESS OF ISBN 978-87-7674-283-6 SOUTHERN DENMARK Between Positivism and T.S. Eliot: Imagism and T.E.
    [Show full text]
  • EPHEMERAL ARRANGEMENTS: MATERIALITY, QUEERNESS, and COALITION in U. S. MODERNIST POETRY by PAUL BRADLEY BELLEW a DISSERTATION Pr
    EPHEMERAL ARRANGEMENTS: MATERIALITY, QUEERNESS, AND COALITION IN U. S. MODERNIST POETRY by PAUL BRADLEY BELLEW A DISSERTATION Presented to the Department of English and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy September 2014 DISSERTATION APPROVAL PAGE Student: Paul Bradley Bellew Title: Ephemeral Arrangements: Materiality, Queerness, and Coalition in U. S. Modernist Poetry This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of English by: Mark Whalan Chairperson Karen Ford Core Member Paul Peppis Core Member John Schmor Institutional Representative and J. Andrew Berglund Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded September 2014 ii © 2014 Paul Bradley Bellew iii DISSERTATION ABSTRACT Paul Bradley Bellew Doctor of Philosophy Department of English September 2014 Title: Ephemeral Arrangements: Materiality, Queerness, and Coalition in U. S. Modernist Poetry This dissertation searches for a body of queer modernist poetry while at the same time attempting to rework the definition of “queer.” In chapter I, I use a reconceptualization of queerness not as an abstract, theoretical rendering of the breakdown of identity categories but in its fundamental, historical sense: a political coalition made up of individuals with different subjective sexual identities who are similarly marginalized in decidedly sexual terms. Thus, this project seeks to locate texts that demonstrate moments of empathy, intersection, and cooperation between LGBT speakers, characters, or editors and people with different sexualities, races, or abilities.
    [Show full text]
  • Copyright 2014 Renée Chérie Clark
    Copyright 2014 Renée Chérie Clark ASPECTS OF NATIONAL IDENTITY IN THE ART SONGS OF RALPH VAUGHAN WILLIAMS BEFORE THE GREAT WAR BY RENÉE CHÉRIE CLARK DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Musicology in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Associate Professor Christina Bashford, Chair Associate Professor Gayle Sherwood Magee Professor Emeritus Herbert Kellman Professor Emeritus Chester L. Alwes ABSTRACT This dissertation explores how the art songs of English composer Ralph Vaughan Williams (1872-1958) composed before the Great War expressed the composer’s vision of “Englishness” or “English national identity”. These terms can be defined as the popular national consciousness of the English people. It is something that demands continual reassessment because it is constantly changing. Thus, this study takes into account two key areas of investigation. The first comprises the poets and texts set by the composer during the time in question. The second consists of an exploration of the cultural history of British and specifically English ideas surrounding pastoralism, ruralism, the trope of wandering in the countryside, and the rural landscape as an escape from the city. This dissertation unfolds as follows. The Introduction surveys the literature on Vaughan Williams and his songs in particular on the one hand, and on the other it surveys a necessarily selective portion of the vast literature of English national identity. The introduction also explains the methodology applied in the following chapters in analyzing the music as readings of texts. The remaining chapters progress in the chronological order of Vaughan Williams’s career as a composer.
    [Show full text]
  • Little Magazines and Canadian War Poetry 1939-1945 with Some Reference to Poetry of the First World War
    LITTLE MAGAZINES AND CANADIAN WAR POETRY 1939-1945 WITH SOME REFERENCE TO POETRY OF THE FIRST WORLD WAR by JOANNE MEIS B.A., University of Calgary, 1966 A Thesis Submitted in Partial Fulfilment of the Requirements for the Degree of Master of Arts in the Department of English We accept this thesis as conforming to the required standard. THE UNIVERSITY OF BRITISH COLUMBIA September, 1971 o In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for .reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada Date > '77/ While English First World War poetry moved from extolling the Vic• torian versions of chivalric values to the "debunking" realism of some of the soldier poets, Canadian First World War poetry failed to exhibit any such development. Canadian First World War poets write a colonial inter• pretation of what the English inspirational war poets produced, and they did not express any disillusionment with the military-religious dogma of the war. During the Second World War, some Canadian poets produced poetry of a similar type to that which they wrote celebrating the first. But the war years saw the development of a group of young "modernist" poets who followed up the first modernist movement of the Montreal group and New Provinces, and when these poets wrote about war, the idealization of the conflict was not among their aims.
    [Show full text]