Louis Macneice
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Durham E-Theses
Durham E-Theses 'A forest of intertextuality' : the poetry of Derek Mahon Burton, Brian How to cite: Burton, Brian (2004) 'A forest of intertextuality' : the poetry of Derek Mahon, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/1271/ 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 "A Forest of Intertextuality": The Poetry of Derek Mahon Brian Burton A 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. Submitted as a thesis for the Degree of Doctor of Philosophy University of Durham Department of English Studies 2004 1 1 JAN 2u05 I Contents Contents I Declaration 111 Note on the Text IV List of Abbreviations V Introduction 1 1. 'Death and the Sun': Mahon and Camus 1.1 'Death and the Sun' 29 1.2 Silence and Ethics 43 1.3 'Preface to a Love Poem' 51 1.4 The Terminal Democracy 59 1.5 The Mediterranean 67 1.6 'As God is my Judge' 83 2. -
The Forties: a Doctorate in Creative and Critical Writing
The Forties: A Doctorate in Creative and Critical Writing Todd Swift Thesis submitted in fulfilment of the degree of PhD University of East Anglia Faculty of Humanities School of Literature and Creative Writing August, 2011 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived therefrom must be in accordance with current UK copyright law. In addition, any quotation or extract must include full attribution. ABSTRACT Todd Swift, 2011, ‗The Forties: A Doctorate in Creative and Critical Writing‘ This work is in two parts: a portfolio of creative writing (poetry), preceded by a critical thesis. In the critical aspect of my dissertation I contest a dominant account of poetic creation and influence in the period 1938–1954, and consider a third line of influence that arose in post-war British poetry. The methodology follows in the footsteps of Other Traditions by John Ashbery: literary criticism by a practitioner. My critical writing complements my poetry collection, whose various styles and registers relate to the poetic influences discussed. My first three chapters develop the argument as follows: Chapter One considers ideas of ‗style‘ and ‗poetic style‘. Chapter Two narrows in on the idea of ‗period style‘ in poetry and turns more specifically into a discussion of the Forties Style in Poetry. Chapter Three looks directly at the period under question, the Forties, and its key poet, Dylan Thomas, as read by critics. Chapter Four discusses F.T. Prince, a major poet much overlooked. -
Cambridge University Press 978-1-107-18014-7 — Seamus Heaney in Context Edited by Geraldine Higgins Index More Information
Cambridge University Press 978-1-107-18014-7 — Seamus Heaney in Context Edited by Geraldine Higgins Index More Information Index Abbey Theatre, , Balkans, Adams, Gerry, Bantock, G. H., Aeschylus, Barańczak, Stanislaw, , , Agamemnon, Batten, Guinn, – afterlife, , , , , , BBC Northern Ireland, , aisling (dream-vision poem), , , , – Heaney archive, , Allen, Donald, New American Poetry –, BBC Schools Service, Explorations, , , Allen, Michael, Beckett, Samuel, , alliteration, , , , Beecroft, Alexander, Alvarez generation, Belfast, , , , , Alvarez, Al, , –, Belfast Group, , , –, , gentility principle, Bell, Sam Hanna, New Poetry, The, –, Benjamin, Walter, ‘Critique of Violence’, – ‘Beyond the Gentility Principle’, Berkeley, University of California, –, Amis, Kingsley, –, –, Amnesty International, , , Bancroft Library archive, , Republic of Conscience Award, Bishop, Elizabeth, , , , , , Anahorish School, Blake, William, , Anglo-Irish Revival, Blandiana, Ana, Aristotle, Poetics, Bloody Friday, Armitage, Simon, Bloody Sunday, , Sir Gawain and the Green Knight, – Bloom, Harold, , Armstrong, Sean, Modern Critical Views: Seamus Heaney, Arnold, Matthew, , , , , Bly, Robert, –, ‘Dover Beach’, Silence in the Snowy Fields, Attic Press, ‘Teeth-Mother Naked at Last, The’, Auden, W. H., , , , , , , Bockhampton, , ‘In Memory of W. B. Yeats’, , , bog bodies, , , , , , , ‘Shield of Achilles, The’, bog poems, , , , , , , , , ‘Spain ’, –, , – auditory imagination, , –, –, –, bogland, – , Bogside, battle of, -
'More Than Glass': Louis Macneice's Poetics of Expansion
THE CATHOLIC UNIVERSITY OF AMERICA ‘More than glass’: Louis MacNeice’s Poetics of Expansion A DISSERTATION Submitted to the Faculty of the Department of English School of Arts & Sciences Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Philosophy © Copyright All Rights Reserved By Michael A. Moir, Jr. Washington, DC 2012 ‘More than glass’: Louis MacNeice’s Poetics of Expansion Michael A. Moir, Jr., PhD Director: Virgil Nemoianu, PhD The Northern Irish poet and dramatist Louis MacNeice, typically regarded as a minor modernist following in the footsteps of Yeats and Eliot or living in the shadow of Auden, is different from his most important predecessors and contemporaries in the way he attempts to explode conventional ideas of place, presenting human subjects in transit and shifting, melting landscapes, rooms and buildings that tend to blend in with their sur- roundings. While Yeats, Eliot and Auden evince a siege mentality that leads them to build religious or political Utopias easily separable from the chaos of the contemporary world, MacNeice denies the validity of any such imaginary constructs, instead taking apart the boundaries of imaginary private worlds, from rooms to islands to pastoral landscapes. Mac- Neice’s representations of space favor what Fredric Jameson terms ‘postmodern space’: his poems and radio plays operate outside of ideas of ‘home,’ ‘church,’ or ‘nation,’ opposing the rigidity of such places to the fluidity of travel. MacNeice has been much misunderstood and underestimated, and a reappraisal of his career is due, particularly given the amount of material that has been published or reis- sued since his centenary in 2007. -
English Literature - Poetry Anthology
CCEA GCSE English Literature - Poetry Anthology Poetry Anthology GCSE ENGLISH LITERATURE For use with the Specification for first teaching from Autumn 2017 and first examination in Summer 2018 Issued: August 2017 Poetry Anthology For use with the Specification for first teaching from Autumn 2017 and first examination in Summer 2018 Issued: August 2017 English 1 Literature CCEA GCSE English Literature - Poetry Anthology 2 CCEA GCSE English Literature - Poetry Anthology Contents Page Anthology One: IDENTITY 5 Anthology Two: RELATIONSHIPS 23 Anthology Three: CONFLICT 37 3 CCEA GCSE English Literature - Poetry Anthology 4 CCEA GCSE English Literature - Poetry Anthology Anthology One: IDENTITY 5 CCEA GCSE English Literature - Poetry Anthology SONNET 29 When, in disgrace with fortune and men’s eyes, I all alone beweep my outcast state, And trouble deaf heaven with my bootless cries, And look upon myself and curse my fate, Wishing me like to one more rich in hope, Featured like him, like him with friends possessed, Desiring this man’s art and that man’s scope, With what I most enjoy contented least: Yet in these thoughts myself almost despising, Haply I think on thee, and then my state, Like to the lark at break of day arising From sullen earth, sings hymns at heaven’s gate; For thy sweet love remembered such wealth brings That then I scorn to change my state with kings. William Shakespeare 6 CCEA GCSE English Literature - Poetry Anthology DOVER BEACH The sea is calm to-night, The tide is full, the moon lies fair Upon the Straits;―on the French coast, the light Gleams, and is gone; the cliffs of England stand, Glimmering and vast, out in the tranquil bay. -
Exploring the Productive Encounter Between the Poetic and the Political in Northern Ireland During the Troubles
Sarah Bufkin Cultural Studies--Honors Thesis 7 Nov At the Frontiers of Writing: Exploring the Productive Encounter Between the Poetic and the Political in Northern Ireland during the Troubles Sarah Bufkin Cultural Studies Honors Thesis Fall 2013 1 Sarah Bufkin Cultural Studies--Honors Thesis 7 Nov Table of Contents Introduction………………………………………………………………………………………………………………………….…..3 Chapter 1 The Belfast Group as a Collective Assemblage of Enunciation………………………………………………….11 Chapter 2 John Hewitt Stakes Out the Protestant Territorial Claim…………………………………………………………..26 Chapter 3 Louis MacNeice Revels in Contradiction and Displacement………………………………………………………47 Chapter 4 A Quest for Civil Rights Devolves into a Violent Sectarianism……………………………………………………89 Chapter 5 Understanding the Political Possibilities Internal to the Poem’s Act of Enunciation………………..133 Chapter 6 Seamus Heaney Names His (Catholic) Nation…………………………………………………………………………175 Chapter 7 Derek Mahon Attempts to Escape His Unionist Roots…………………………………………………………….218 Conclusion…………………………………………………………………………………………………………………………….246 2 Sarah Bufkin Cultural Studies--Honors Thesis 7 Nov Introduction You were silly like us; your gift survived it all: The parish of rich women, physical decay, Yourself. Mad Ireland hurt you into poetry. Now Ireland has her madness and her weather still, For poetry makes nothing happen: it survives In the valley of its making where executives Would never want to tamper, flows on south From ranches of isolation and the busy griefs, Raw towns that we believe and die in; it survives, A way of happening, a mouth.1 So W.H. Auden wrote in his elegy for W.B. Yeats. His view that poetry does not do political work is one shared by many people, poets included. While some lines of verse may be held aloft as a rallying cry and others might memorialize those who have fallen, few sonnets directly exert a revolutionary fervor. -
Edexcel English Literature Part 1: Exploring Poetry
Edexcel AS English Literature Edexcel Edexcel English Literature Part 1: Exploring Poetry Sue Dymoke Ian McMechan Mike Royston Jennifer Smith Edexcel AS English Literature Consultant: Jen Greatrex STUDENT BOOK STUDENT BOOK STUDENT BOOK CVR_ELIT_SB_AS_2482_CVR.indd 1 8/5/08 15:38:39 Edexcel English Literature Part 1: Exploring Poetry Sue Dymoke Ian McMechan Mike Royston Jennifer Smith STUDENT BOOK Contributors: Barbara Bleiman and Lucy Webster of the English and Media Centre Consultant: Jen Greatrex A01_ELIT_SB_2482_Prelims.indd 1 22/5/08 16:10:03 Part 1 Exploring poetry This part of the book helps you develop your skills in reading and analysing poems Contents 1 What is poetry? 4 . 2 Type 7 3 Form and structure 8 4 Rhyme 20 5 Rhythm 23 6 Language 27 7 Imagery 30 8 Voice 34 9 Tone and mood 38 Contents 3 1 What is poetry? The word poetry originates from the Greek word ‘poiesis’ meaning ‘a making’ or ‘a creating’ and from a time when poetry was predominantly an oral form of carefully crafted, patterned language which was recited to listeners and then passed on to others through the medium of speech. Spoken poetry is with us all from birth, in the rhythms of words we babble when we are babies, and the word-play and rhymes we enjoy as children long before we have learned to read. Poetry of course comes in many written forms too and can serve a variety of functions in people’s lives, such as to help them make sense of their grief or their joy, or to capture a key moment or experience. -
Sergeant of Outposts Sergeant of Outposts: One Editor's Role in Post-War British Poetry 1944 - 1981
SERGEANT OF OUTPOSTS SERGEANT OF OUTPOSTS: ONE EDITOR'S ROLE IN POST-WAR BRITISH POETRY 1944 - 1981 By BROCE MILLER MEYER, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Doctor of Philosophy McMaster University .July 1988 DOCTOR OF PHILOSOPHY {1988) McMASTER UNIVERSITY (English) Hamilton, Ontario TITLE: Sergeant of Outposts: One Editor's Role in Post-War Poetry. AUTHOR: Bruce Miller Meyer, B.A. (University of Toronto) M.A. (University of Toronto) SUPERVISOR: Dr. B. John NUMBER OF PAGES: iv, 312 ii ABSTRACT Poetry magazines are a reflection of the trends and the pressures of their ages: such was the case with Howard Sergeant's Outposts. Howard Sergeant was the longest continuous editor of a single literary magazine in the English language. Founded in 194) under the pressures of the Second World War, Outposts continued under his editorial direction until ill-health forced him to relinquish the reins in 1986. Between 1944 and 1986, Sergeant and Outposts played a key role in many of the major trends, groups and movements that shaped modern British poetry. Begun as a poetry and critical journal with a wartime "Apocalyptic'' slant, Sergeant's Outposts evolved through the changes which encompassed the Nee-Romantics, the Personalists, The Movement, the Mavericks, The Group, the pop poets, and the Martians and Narrative poets of the Eighties. Sergeant was among the first to recognize these changes in British poetry, and his magazine is a cross section of the currents and counter-currents of the period. -
To Work. to My Own Office, My Own Job, Not Matching Pictures, But
13210 L.McN INNER ST22 5/9/07 9:46 am Page 36 To work. To my own office, my own job, MacNeice was awarded the CBE in the 1958 New Year’s Honours Not matching pictures, but inventing sound, list. He recalled his conversation with The Queen: Precalculating microphone and knob “Herself asked me ‘What do you do?’ and I said, ‘Well, I do radio. I also write.’ She said: ‘Have you been doing it long?’” In homage to the human voice. From Autumn Sequel (1954) 43 MacNeice’s response was to direct his energies towards his radio work. His output in the following years varied greatly in range and scale: in 1955 alone he produced programmes on the Nile, Yorkshire and Delhi. In 1957 MacNeice received an Honorary D.Litt from Queen’s University in Belfast, and published a new collection of poems, Visitations. “I like to think that my latest short poems are on the whole more concentrated and better organized than my earlier ones, relying more on syntax and bony feature than on bloom or frill or the floating image. I should also like to think that sometimes they achieve a blend of ‘classical’ and ‘romantic’, marrying the element of wit to the sensuous-mystical element.” Visit of Queen Elizabeth II MacNeice, on Visitations (1957) to the BBC, 1953 42 In 1958 MacNeice was sent on a BBC television training course. He adapted two Strindberg plays for the small screen. But he always preferred radio. The following year he undertook a lecture tour of South African colleges and universities. -
A Little History of Poetry
A LITTLE HISTORY OF POETRY Copyright © 2020 John Carey All rights reserved. This book may not be reproduced in whole or in part, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press) without written permission from the publishers. For information about this and other Yale University Press publications, please contact: U.S. Office: [email protected] yalebooks.com Europe Office: [email protected] yalebooks.co.uk Set in Minion Pro by IDSUK (DataConnection) Ltd Printed in Great Britain by TJ International Ltd, Padstow, Cornwall Library of Congress Control Number: 2019956794 ISBN 978-0-300-23222-6 A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Contents 1 Gods, Heroes and Monsters THE EPIC OF GILGAMESH 2 War, Adventure, Love HOMER, SAPPHO 3 Latin Classics VIRGIL, HORACE, OVID, CATULLUS, JUVENAL 4 Anglo-Saxon Poetry BEOWULF, LAMENTS AND RIDDLES 5 Continental Masters of the Middle Ages DANTE, DANIEL, PETRARCH, VILLON 6 A European Poet CHAUCER 7 Poets of the Seen World and the Unseen THE GAWAIN POET, HAFEZ, LANGLAND 8 Tudor Court Poets SKELTON, WYATT, SURREY, SPENSER 9 Elizabethan Love Poets SHAKESPEARE, MARLOWE, SIDNEY 10 Copernicus in Poetry JOHN DONNE 11 An Age of Individualism JONSON, HERRICK, MARVELL 12 Religious Individualists HERBERT, VAUGHAN, TRAHERNE 13 Poetry from the World Beyond JOHN MILTON 14 The Augustan Age DRYDEN, POPE, SWIFT, JOHNSON, GOLDSMITH 15 The Other Eighteenth Century MONTAGU, EGERTON, FINCH, -
The Poetic Architecture of Belfast
UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE LETRAS MODERNAS PROGRAMA DE PÓS GRADUAÇÃO EM ESTUDOS LINGÜÍSTICOS E LITERÁRIOS EM INGLÊS VIVIANE CARVALHO DA ANNUNCIAÇÃO EXILE, HOME AND CITY: THE POETIC ARCHITECTURE OF BELFAST (VERSÃO CORRIGIDA) SÃO PAULO 2012 1 UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE LETRAS MODERNAS PROGRAMA DE PÓS GRADUAÇÃO EM ESTUDOS LINGÜÍSTICOS E LITERÁRIOS EM INGLÊS EXILE, HOME AND CITY: THE POETIC ARCHITECTURE OF BELFAST VIVIANE CARVALHO DA ANNUNCIAÇÃO (VERSÃO CORRIGIDA) TESE DE DOUTORADO APRESENTADA À FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DA UNIVERSIDADE DE SÃO PAULO COMO PARTE DOS REQUISITOS PARA OBTENÇÃO DO TÍTULO DE DOUTOR EM LETRAS. ORIENTADOR: PROFESSOR DR. LAURA PATRÍCIA ZUNTINI DE IZARRA SÃO PAULO 2012 2 ACKNOWLEDGEMENTS “Think where man's glory most begins and ends, And say my glory was I had such friends.” (W. Butler Yeats) This thesis would not have been completed without the endless support of my parents and family. Thank you for helping me to make my dreams come true. I would like to express my gratitude to my advisor, Professor Laura Patrícia Zuntini de Izarra, for her kindness and patience. I thank all professors and friends from the Departamento de Letras Modernas at Faculdade de Filosofia, Letras e Ciências Humanas in USP, specially Edite Menezes Pi for her advice and Beatriz Kopschitz Bastos, for her friendship. I also thank all the members of the Brazilian Association of Irish Studies, for their professionalism and companionship, particularly Professor Munira Hamud Mutran for initiating the study of Irish literature in Brazil. -
Radiophonic Writing at the BBC, 1945-1963
Radiophonic Writing at the BBC, 1945-1963 by Ross Hawkins A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of English University of Toronto © Copyright by Ross Hawkins (2016) Radiophonic Writing at the BBC, 1945-1963 Ross Hawkins Doctor of Philosophy Department of English University of Toronto 2016 Abstract Creative radio is written and produced from an unavoidable set of material conditions, but received by its listeners as ephemeral and supposedly immaterial sound. Focusing on the writing, production and reception of literary radio broadcast by the BBC in the postwar era, this dissertation establishes a connection between the cultural significance of radio and the aesthetic significance of sound. The postwar BBC was a major participant in the era of British cultural welfare statism, but the corporation also flourished as a distributor of culture, providing challenging and even radical aesthetic experience. The reputedly “highbrow” BBC Third Programme, I argue, was neither elitist nor exclusive, nor was the radio drama it produced culturally or aesthetically “complete”; instead the aurality of radiophonic writing invited pluralistic and active listenership. In the postwar era radio was no longer new; however, Louis MacNeice, Giles Cooper and Samuel Beckett found new ways of exploiting radio’s maturity to develop a progressive radio aesthetics. MacNeice, a full-time BBC staff member, was a radio professional whose writings dramatize a conflict between his poetic instinct for sound and his impatience with the institutional pressures of planning in the increasingly bureaucratic postwar BBC. Conversely, Cooper had no fixed institutional position, and his sonically experimental ii works, reflecting this precariousness, oscillate between innovation and obsolescence.