Stephen Spender
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Why Memorialize? Stephen Spender's Aesthetics of Remembrance in Vienna
WHY MEMORIALIZE? STEPHEN SPENDER’S AESTHETICS OF REMEMBRANCE IN VIENNA* Esther Sánchez-Pardo González Universidad Complutense de Madrid ASBTRACT Drawing from current theorization on aesthetics and from the heated debates of the repre- sentation of war and violence in arts, humanities and the media, this paper engages with the issue of art (and literature) and its condition in the world today, always at risk of mask- ing the extremity or reality of suffering, either by suffocating it or assimilating it and turn- ing it into an object of pleasure for the reader or spectator. With a reflection on issues on mourning and trauma, and within the domain of cultural memory, we take Stephen Spender’s poetry, and his long poem Vienna (1934), as a prime exponent of cultural production where loss and its aftermath—crucial as well in subject formation—becomes constitutive of the aesthetic, formal, and material properties of a good number of poems. KEY WORDS: War poetry, Stephen Spender, mourning, cultural memory, melancholia, trauma. RESUMEN A partir de la teorización actual sobre estética y de los acalorados debates sobre la represen- tación de la guerra y la violencia en las artes, las humanidades y los medios de difusión, este 39 artículo incide en la problemática de la representación de todas estas cuestiones en el arte y la literatura en la actualidad. Arte y literatura corren el riesgo de enmascarar situaciones extremas de sufrimiento, bien acallándolas, bien asimilándolas y convirtiéndolas en objeto placentero para ser observado y examinado por lectores y espectadores. A través de una reflexión sobre cuestiones de duelo y trauma, y dentro del marco de la memoria cultural, ilustramos estos debates mediante la poesía de Stephen Spender, y en concreto, de su poe- ma largo Vienna (1934) como exponente de primer orden en el que la pérdida y sus secuelas —cruciales también en la formación de la subjetividad—se convierten en constitutivas de la propiedades estéticas, formales y materiales de éste y otros volúmenes del mismo autor. -
John Lehmann's New Writing: the Duty to Be Tormented
John Lehmann’s New Writing: The Duty to Be Tormented Françoise Bort To cite this version: Françoise Bort. John Lehmann’s New Writing: The Duty to Be Tormented. Synergies Royaume Uni et Irlande, Synergies, 2011, The War in the Interwar, edited by Martyn Cornick, pp.63-73. halshs- 01097893 HAL Id: halshs-01097893 https://halshs.archives-ouvertes.fr/halshs-01097893 Submitted on 7 Jun 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License John Lehmann’s New Writing: the Duty to be Tormented Françoise Bort Université de Bourgogne Synergies Royaume-Uni Royaume-Uni Summary: John Lehmann’s magazine New Writing, launched in 1936, may be said to give literary historians a slow-motion image of the evolution of 63-73 pp. artistic consciousness in one of the most turbulent periods of the twentieth et century. Throughout the fourteen years of its existence, encompassing the Irlande Spanish Civil War and the Second World War, the magazine covers a neglected period of transition in the evolution of modernism. Through his editorial n° 4 policy and a susceptible interpretation of the Zeitgeist, Lehmann voices the particular torments of his generation, too young to have participated in - 2011 the First World War, but deeply affected by it. -
BTC Catalog 172.Pdf
Between the Covers Rare Books, Inc. ~ Catalog 172 ~ First Books & Before 112 Nicholson Rd., Gloucester City NJ 08030 ~ (856) 456-8008 ~ [email protected] Terms of Sale: Images are not to scale. All books are returnable within ten days if returned in the same condition as sent. Books may be reserved by telephone, fax, or email. All items subject to prior sale. Payment should accompany order if you are unknown to us. Customers known to us will be invoiced with payment due in 30 days. Payment schedule may be adjusted for larger purchases. Institutions will be billed to meet their requirements. We accept checks, VISA, MASTERCARD, AMERICAN EXPRESS, DISCOVER, and PayPal. Gift certificates available. Domestic orders from this catalog will be shipped gratis via UPS Ground or USPS Priority Mail; expedited and overseas orders will be sent at cost. All items insured. NJ residents please add 7% sales tax. Member ABAA, ILAB. Artwork by Tom Bloom. © 2011 Between the Covers Rare Books, Inc. www.betweenthecovers.com After 171 catalogs, we’ve finally gotten around to a staple of the same). This is not one of them, nor does it pretend to be. bookselling industry, the “First Books” catalog. But we decided to give Rather, it is an assemblage of current inventory with an eye toward it a new twist... examining the question, “Where does an author’s career begin?” In the The collecting sub-genre of authors’ first books, a time-honored following pages we have tried to juxtapose first books with more obscure tradition, is complicated by taxonomic problems – what constitutes an (and usually very inexpensive), pre-first book material. -
Good Phrases Shining, One Wave After Another : a Look at Virginia Woolf's Creative Process and the Waves
Loma Linda University TheScholarsRepository@LLU: Digital Archive of Research, Scholarship & Creative Works Loma Linda University Electronic Theses, Dissertations & Projects 8-1980 Good Phrases Shining, One Wave After Another : A Look at Virginia Woolf's Creative Process and The Waves John Mc Dowell Follow this and additional works at: https://scholarsrepository.llu.edu/etd Part of the Creative Writing Commons, and the Literature in English, British Isles Commons Recommended Citation Mc Dowell, John, "Good Phrases Shining, One Wave After Another : A Look at Virginia Woolf's Creative Process and The Waves" (1980). Loma Linda University Electronic Theses, Dissertations & Projects. 1062. https://scholarsrepository.llu.edu/etd/1062 This Thesis is brought to you for free and open access by TheScholarsRepository@LLU: Digital Archive of Research, Scholarship & Creative Works. It has been accepted for inclusion in Loma Linda University Electronic Theses, Dissertations & Projects by an authorized administrator of TheScholarsRepository@LLU: Digital Archive of Research, Scholarship & Creative Works. For more information, please contact [email protected]. Loma Linda University Graduate School Good Phrases Shining, One Wave After Another: A Look at Virginia Woolf's Creative Process and The Waves by John Mc Dowell A Thesis in Partial F~lfillment Of the Requirements for the Degree Master of Arts in the Field of English August 1980 Each person whose signature appears below certifies that this thesis in his/her opinion is adequate, in scope and quality, as a thesis for the degree Master of Arts. , Chairperson of English '~s~~t~of English · Dorothy M. Co~m, Professor of English ii to Marcelle Birkenstock Acknowledgements In the preparation of this thesis I am grateful for the help of the following people: Dr. -
John Lehmann and the Acclimatisation of Modernism in Britain
JOHN LEHMANN AND THE ACCLIMATISATION OF MODERNISM A.T. Tolley It is easy to see the cultural history of modernism in terms of key volumes, such as Auden’s Poems of 1930, and to see their reception in the light of significant reviews by writers who themselves have come to have a regarded place in the history of twentieth-century literature. Yet this is deceptive and does not give an accurate impression of the reaction of most readers. W.B. Yeats, in a broadcast on “Modern Poetry” in 1936 could say of T.S. Eliot: “Tristam and Iseult were not a more suitable theme than Paddington Railway Station.”1 Yeats was then an old man; but most of Yeats’s listeners would have shared the hostility. Yet, in the coming years, acclimatisation had taken place. Eliot’s Little Gidding, published separately as a pamphlet in December 1942, sold 16,775 copies – a remarkable number for poetry, even in those wartime years when poetry had such impact. John Lehmann had a good deal to do with the acclimatisation of modernist idiom, most notably through his editing of New Writing, New Writing & Daylight and The Penguin New Writing, the last of which had had at its most popular a readership of about 100,000. The cultural impact of modernism came slowly in Britain, most notably through the work of Eliot and Virginia Woolf. The triumph of modernism came with its second generation, through the work of Auden, MacNeice and Dylan Thomas in poetry, and less markedly through the work of Isherwood and Henry Green in prose. -
Virginia Woolf's Publishing Archive
Marshall University Marshall Digital Scholar English Faculty Research English 4-1-2004 Virginia Woolf 's Publishing Archive John K. Young Marshall University, [email protected] Follow this and additional works at: http://mds.marshall.edu/english_faculty Part of the Literature in English, Anglophone outside British Isles and North America Commons, and the Women's Studies Commons Recommended Citation Young, John. “Virginia Woolf’s Publishing Archive.” Virginia Woolf Miscellany 65, Spring, 2004: 20-21. This Article is brought to you for free and open access by the English at Marshall Digital Scholar. It has been accepted for inclusion in English Faculty Research by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. Warner, Eric. Virginia Woolf: The Waves. New York: Cambridge UP, as well as such notable texts as: Katherine Mansfield’s Prelude; I. A. 1987. Bunin’s The Gentleman from San Francisco; F. M. Mayor’s The Woolf, Virginia. The Diary of Virginia Woolf. Ed. Anne Olivier Bell. Rector’s Daughter; William Plomer’s Turbott Wolfe and The Case Is Vol. 3. New York: Harcourt, 1980. 5 vols. 1977-1984. Altered; Italo Svevo’s The Hoax; Vita Sackville-West’s The —. Moments of Being. 2nd ed. Ed. Jeanne Schulkind. New York: Edwardians and All Passion Spent; John Hampson’s Saturday Night Harcourt, 1985. at the Greyhound; Christopher Isherwood’s Memorial and The Berlin —. The Waves. 1931. New York: Harcourt, 1959. Stories; Julia Strachey’s Cheerful Weather for the Wedding; Laurens van der Post’s In a Province; and Yuri Olesha’s Envy. Even more powerfully than T. -
Coversheet for Thesis in Sussex Research Online
A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details Nancy Cunard: Collector, Cosmopolitan by Jenny Greenshields Dissertation submitted for the degree of Doctor of Philosophy in English Literature University of Sussex February 2015 2 I hereby declare that this thesis has not been and will not be submitted in whole or in part to another university for the award of any other degree. Signed ....................................................... 3 Nancy Cunard: Collector, Cosmopolitan Jenny Greenshields Dissertation submitted for the degree of Doctor of Philosophy in English Literature, University of Sussex, February 2015 Summary of Thesis Part One of my thesis reads Nancy Cunard (1896-1965) as a modernist collector, situating her material and literary collections in relation to the vogue nègre of the 1920s and 30s, when European fascination with black expressive culture reached unprecedented heights. It also looks at how Cunard’s collecting practices translate into an ‘aesthetic of assemblage’ in her work as an anthologist, and shows how the African sculpture section of her Negro anthology (1934) reflects the collecting cultures of early twentieth-century Europe. -
THE END of an IMPULSE Henry Reed I I I TWO AMERICAN POEMS May Sarton 123 a MINER's RECORD-Ill B
All communications should be addressed to John Lehmann at The Hogarth Press NEW WRITING * AND DAYLIGHT ~UMMER 1943 .. THE HOGARTH PRESS 37 MECKLENBURGH SQUARE LONDON, W.C.I I - FIRST PUBLISHED JUNE 1943 CONTENTS FOUR POEMS Roy Fuller * page 7 THE LULL Henry Green I I TWO POEMS IN DEFEAT Louis Aragon 22 Translatedfrom the French by Louis MacNeice FRENCH WRITERS AND THE WAR Raymond Mortimer THE LAST MELODY Stanislaw Balinski THE- APPLE TREE Nikolai Tikhonov HISTORICAL PICTURE Vitezslav Nezval 41 Translated from the Czech by Norman Cameron and Jifi Mucha THEA TRE AND BALLET,' DEVELOPMENT OF THE BALLET William Chappell 49 With illustratiolls by the author - PROGRAMME AND PRODUCER IN THE CZECH THEATRE JosefKodicek 62 THEATRE IN P~KING Derek Hill 66 With illustrations by the author SATIRES AND GROTESQUES Robert Graves 74 IN THE MAZE William Sansom 78 THE MOTIONLESS- DANCER Peter Yates 96 NOTES ON SOME CONTEMPORARY WRITERS Demetrios Capetanakis 100 THE END OF AN IMPULSE Henry Reed I I I TWO AMERICAN POEMS May Sarton 123 A MINER'S RECORD-Ill B. L. Coombes 125 SONG FOR CORNWALL Peter Hewett 136 THE TOWER OF SILENCE Manuel da Fonseca Thi, book is produced ill complete cOllformily Translated from the Portuguese by Charles David Ley with the authorised ecollomy stalldards PRAGUE DRESSED IN LIGHT Jaroslav Seifert 146 Translatedfrom the Czech by Stephell Spellder alld Jifi Mucha VOICES FROM ALL THE FRONTS,' DON'T WAKE THE DEAD G. R. Gilbert SIGNALS SECTION Lawrence Little THE WATER BOAT Roger Anscombe ON EMBARKATION Alun Lewis CONVOY ATTACK J. E. Taylor IT HAS HAPPENED SO OFTEN Francis Tolfree NIGHT BEFORE BATTLE Dan Davin THIRTEEN AIMS-WHAT IS YOURS? A. -
Stephen Spender: Aspects of the Quest for Reality
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1970 Stephen Spender: Aspects of the Quest for Reality Marion King Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the English Language and Literature Commons Recommended Citation King, Marion, "Stephen Spender: Aspects of the Quest for Reality" (1970). Dissertations. 1032. https://ecommons.luc.edu/luc_diss/1032 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © Marion. King STEPHEN SP&NDER: ASPECTS OF THE QU&ST FOR REALITY By Marion King A Dissertation Submitted to the Faculty of the Graduate School of Loyol~ University in Partial Fulfillment of the Requirements for the Degree ot Doctor of Philosophy June ,._, ~ : ·" t~.·,-11;.·~,,.,~__. .. ..,.....-··· 1970 ACKNOWLEDGEMENTS Deep gratitude goes to Dr. Joseph J. Wol££ £or his kindness and encouragement in the preparation of this dissertation, and to Miss Rita Clarkson £or making the writing or it possible. iii TABLE OF CONTENTS Chapter Page I. ANTECEDENTS. • • • • • • • • • • • • • • • • • • 1 II. THE EGO. • • • • .. • • • • • • • • • • • • • • • '' III. LOVE .. • • • • • • • • • • • • • • • • • • • • • 116 IV. THE WORLD OUTSIDE. • • • • • • • • • 147 v. CONCLUSION • • • • • • • • • • • • • • • • • • 190 SELECTED BIBLIOGRAPHY. • • • • • • • • • • • • J.96 iv CHAPTER I ANTECEDS£NTS The roots ot w. a. Yeats reach far back into lreland•s legendary past; T. s. Eliot'• mind is drawn to ancient fertility cults, to medieval conflicts between the realms of God and Caesars in the poetry ot w. -
Virginia Woolf Miscellany, Issue 87, Spring/Summer 2015
NUMBER 87 SPRING/SUMMER 2015 To the Readers: This is not to say that particular scholars have not 1930s Woolf – TABLE of CONTENTS – attempted to reorient discussions of the 1930s and Valentine Cunningham, in his iconic British See page 16 its literature. Most notably, Jed Esty, in his 2004 Writers of the Thirties (1988), argues against International Virginia Woolf A Shrinking Island, examines the 1930s literary the traditional characterization of the decade’s Society Column production of modernist writers, specifically T. S. literature as exclusively shaped and reflected by See page 56 Eliot, E. M. Forster, and Virginia Woolf. However, the Auden Generation. This characterization, IVWS Officers and Members-at-Large instead of integrating these canonical modernist deeply engrained in the scholarly discourse See page 55 writers into a broader examination of the 1930s by Cunningham’s 1988 publication date—and –EVENTS, INFO and CFPs– literary scene in order to investigate the reciprocal due in large part to Auden and Company’s self- MLA 2016 in Austin relationships between 1930s literary trends and mythologizing proclivities—places poetry above See page 3 modernism, Esty focuses on the development and prose, realism above modernism, and political 2016 Annual Conference on role of modernism through the 1930s. Esty argues commitment above aesthetic innovation. And, Virginia Woolf: that rather than relinquishing its position as the not surprisingly, men above women. Despite the Virginia Woolf and Heritage dominant cultural force in the decade—as many reality that Cunningham’s comprehensive text Leeds Trinity University, UK See page 4 narratives of 1930s literature seem to imply— inadvertently contributes to this traditional and modernism reorients itself. -
Allegiance in the Poetry of Stephen Spender, 1928-1935
Allegiance in the Poetry of Stephen Spender, 1928-1935 Michael Brett Ph.D. in English Literature University College London 2002 ProQuest Number: U643127 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 U643127 Published by ProQuest LLC(2015). 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 Abstract The study aims to provide a detailed analysis of Stephen Spender’s verse up to 1935, with particular attention to his use of the language of contemporary political discourse. It examines the interrelation of Spender’s poetry with the literary milieu of late modernism within which it first appeared, analysing the reception of his published volumes and the dissemination of early critical ideas about his writing. The texts which provide the basis for the study are Nine Experiments (1928), Twenty Poems (1930), Poems (1933/1934) and Vienna (1934). Also examined is the concurrent development of Spender’s reputation under the editorship of Michael Roberts (the anthologies New Signatures and New Country) and Geoffrey Grigson (the periodical New Verse), whose disparate analyses of Spender’s strengths identify his conflicting allegiances to socialist thought and to literary tradition. -
Lehmann, John (1907-1987) by Craig Kaczorowski
Lehmann, John (1907-1987) by Craig Kaczorowski Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2010 glbtq, Inc. Reprinted from http://www.glbtq.com John Lehmann was one of the most distinguished and discerning British men of letters of the mid-twentieth century. Renowned as a poet, novelist, critic, memoirist, and biographer, he wrote more than twenty-five books. However, it is as an editor and publisher that Lehmann is perhaps most highly esteemed, beginning with New Writing (and its associated titles), a pioneering biannual periodical that he edited from 1936 to 1946, and which featured works from such notable writers as Christopher Isherwood and Stephen Spender, among many others. Lehmann also edited the popular Penguin New Writing series of paperbacks from 1946 to 1950. He was also the managing director of Leonard and Virginia Woolf's legendary Hogarth Press, and founded his own publishing house, John Lehmann, Ltd. He re-launched the venerable publication The London Magazine in 1954, aimed at a "public interested in serious literature," where he remained as editor until 1961. While his three volumes of memoirs, published between 1955 and 1966, are mostly reticent about his sexuality, Lehmann's 1976 book, In the Purely Pagan Sense, provides a revealing and valuable portrait of gay life in England and pre-war Germany, written in the form of a novel. Lehmann also published several volumes of his own poetry, as well as acclaimed biographies of Virginia Woolf, Edward Lear, and Rupert Brooke. As a gay man, Lehmann once observed that he was "always looking for the friend who will give me the direct, warm and natural, entirely loyal relationship that I dream about." He was never entirely successful, however, in finding such a relationship.