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Introduction
Notes Introduction 1. For more on the Romanticism and Classicism debate in the maga- zines, see David Goldie’s Critical Difference: T. S. Eliot and John Middleton Murry in English Literary Criticism, 1918–1929 (69– 127). Harding’s discussion in his book on Eliot’s Criterion of the same debate is also worth reviewing, especially his chapter on Murry’s The Adelphi; see 25–43. 2. Esty suggests that the “relativization of England as one culture among many in the face of imperial contraction seems to have entailed a relativization of literature as one aspect of culture . [as] the late modernist generation absorbed the potential energy of a contracting British state and converted it into the language not of aesthetic decline but of cultural revival” (8). In a similar fashion, despite Jason Harding’s claim that Eliot’s periodical had a “self-appointed role as a guardian of European civilization,” his extensive study of the magazine, The “Criterion”: Cultural Politics and Periodical Networks in Inter-War Britain, as the title indicates, takes Criterion’s “networks” to exist exclusively within Britain (6). 3. See Suzanne W. Churchill, The Little Magazine Others and the Renovation of Modern American Poetry; Eric White, Transat- lantic Avant-Gardes: Little Magazines and Localist Modernism; Adam McKible, The Space and Place of Modernism: The Russian Revolution, Little Magazines, and New York; Mark Morrisson, The Public Face of Modernism: Little Magazines, Audience, and Reception, 1905–1920; Faith Binckes, Modernism, Magazines, and the Avant-Garde: Reading “Rhythm,” 1910–1914. 4. Thompson writes, “Making, because it is a study in an active process, which owes as much to agency as to conditioning. -
W. H. Auden and His Quest for Love Poems of 1930S a Thesis
W. H. Auden and His Quest for Love Poems of 1930s A Thesis Presented to The Graduate School of Language and Culture Hiroshima Jogakuin Unxversity In Partial Fulfillment of The Requirements for the Degree Master of Artぷ by Hiromi Ito January 1998 CONTENTS Intro du ction "1929" II "The Wanderer" 23 Ill "A Summer Night {To Geoffrey Hoyland)〟 from Look, Stranger! 30 IV "0 what Is That Sound〝 from Look, Stranger! 42 "On This Island〝 from Look, Stranger! SB VI " Lullaby" 55 Conclusion . 61 Notes 63 Biblio grap hy 64 Intro duc tio n First of all, the writer would like to introduce a brief survey of W. H. Auden's biography. WysLern Hugh Auden was born on the t∬enty-first of February, 1907. in the city of York in the northern part of England. He is the third and last child of George Augustus Auden and Constance Rosalie Brickenell. They two are devout Chrxstians of the Church of England. Wystern was the youngest of three boys. In 1915, he entered St. Edmund School, where he first met Chrxstopher Isherwood. a colleague of his in his later years. Isherwood was three years ahead of Auden in school. Then he want on to Gresham′s school in Holt, Norfolk. He majored in biology, aiming to be a technical expert. He started to write poems in 1922 when his friend, Robert Medley asked him "Do you want to write a poem?" In 1925. he graduated from Gresham′s school, and then entered Christ Church College, Oxford University. He was an honor student majoring in natural sciences, and later he switched off Lo English literature. -
Sidney Keyes: the War-Poet Who 'Groped for Death'
PINAKI ROY Sidney Keyes: The War-Poet Who ‘Groped For Death’ f the Second World War (1939-45) was marked by the unforeseen annihilation of human beings—with approximately 60 million military and civilian deaths (Mercatante 3)—the second global belligerence was also marked by an Iunforeseen scarcity in literary commemoration of the all-destructive belligerence. Unlike the First World War (1914-18) memories of which were recorded mellifluously by numerous efficient poets from both the sides of the Triple Entente and Central Powers, the period of the Second World War witnessed so limited a publication of war-writing in its early stages that the Anglo-Irish litterateur Cecil Day-Lewis (1904-72), then working as a publications-editor at the English Ministry of Information, was galvanised into publishing “Where are the War Poets?” in Penguin New Writing of February 1941, exasperatedly writing: ‘They who in folly or mere greed / Enslaved religion, markets, laws, / Borrow our language now and bid / Us to speak up in freedom’s cause. / It is the logic of our times, / No subject for immortal verse—/ That we who lived by honest dreams / Defend the bad against the worse’. Significantly, while millions of Europeans and Americans enthusiastically enlisted themselves to serve in the Great War and its leaders were principally motivated by the ideas of patriotism, courage, and ancient chivalric codes of conduct, the 1939-45 combat occurred amidst the selfishness of politicians, confusing international politics, and, as William Shirer notes, by unsubstantiated feelings of defeatism among world powers like England and France, who could have deterred the offensive Nazis at the very onset of hostilities (795-813). -
John Wain.Pdf
JOHN W AIN: EL REI'ORNO DE LA TRADICION PICARESCA A LA NOVELA INGLESA En la década de los cincuenta un nombre nuevo aparece en el panorama literario inglés: John Wain. Siendo profesor de literatura inglesa en la Universidad de Reading, a la edad de 28 años, publica su primera novela, Hurry On Down, (1953), que inmediatamente atrae la atención de gran parte de la crítica del momento. Por su protagonista rebelde y crítico del sistema, algunos enmarcan esta obra y a su autor entre los denominados "Angry young Men", 1 grupo de jóvenes escritores que protestan airadamente contra los defectos de su sociedad y cuyo principal representante es el dramaturgo John Osborne con su obra Look Rack in Anger (1956). Otros críticos, sin embargo, asocian aJobo Wain con un grupo de novelistas y poetas anterior conocido como "The Movement",2 y que reúne a nombres tan notables como los de Kingsley Amis, Philip Larkin, Donald Davie, Elizabeth Jennings o ThomGunn. Al margen de la conveniencia o no de adscribir la figura de John Wain a un movimiento literario concreto, 10 cierto es que es uno de los pioneros de las nuevas tendencias que surgen en la literatura inglesa de los años cincuenta. Hurry On Down es una de las primeras novelas de la posguerra que vuelve hacia los cánones realistas tradicionales, después de casi medio siglo de experimentación modernista. Y 10 que es más significativo, con su publicación en octubre de 1953 tiene lugar el retorno de la tradición picaresca a la literatura inglesa. Este camino, que en parte había sido ya iniciado por la obra de William Cooper, Scenes From Provincial Life (1950), 1,_ Cf. -
Sharpe, Tony, 1952– Editor of Compilation
more information - www.cambridge.org/9780521196574 W. H. AUDen IN COnteXT W. H. Auden is a giant of twentieth-century English poetry whose writings demonstrate a sustained engagement with the times in which he lived. But how did the century’s shifting cultural terrain affect him and his work? Written by distinguished poets and schol- ars, these brief but authoritative essays offer a varied set of coor- dinates by which to chart Auden’s continuously evolving career, examining key aspects of his environmental, cultural, political, and creative contexts. Reaching beyond mere biography, these essays present Auden as the product of ongoing negotiations between him- self, his time, and posterity, exploring the enduring power of his poetry to unsettle and provoke. The collection will prove valuable for scholars, researchers, and students of English literature, cultural studies, and creative writing. Tony Sharpe is Senior Lecturer in English and Creative Writing at Lancaster University. He is the author of critically acclaimed books on W. H. Auden, T. S. Eliot, Vladimir Nabokov, and Wallace Stevens. His essays on modernist writing and poetry have appeared in journals such as Critical Survey and Literature and Theology, as well as in various edited collections. W. H. AUDen IN COnteXT edited by TONY SharPE Lancaster University cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Mexico City Cambridge University Press 32 Avenue of the Americas, New York, NY 10013-2473, USA www.cambridge.org Information on this title: www.cambridge.org/9780521196574 © Cambridge University Press 2013 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. -
Copyrighted Material
Index Ackroyd, Peter, 350, 360, 364–65, 399 absence of in Poems (1920), 137–43 on TSE’s work, 205, 213, 244 religious, 367, 373 Action française see Maurras, Charles toward popular culture, 67, 68, 69, 75, Adams, Henry, 151–54 162, 186, 317, 320 “The Ad-Dressing of Cats” (poem), toward women, 332 228–29, 237 “American Literature and the American Adelphi, 390, 391–92, 393 Language” (lecture), 24, 284 Adorno, Theodor, 319 “Andrew Marvell” (essay), 306–08, Advocate (Harvard literary magazine), 4, 308–09 108, 311 Andrewes, Lancelot, 148, 152, 192, 201 Aeschylus, 76, 181, 248, 252 in “Journey of the Magi,” 191, 192, Africa, 87, 170, 346 193 African-American culture and black Anglicanism, TSE’s conversion to, 9, 17, ethnicity, 183–84, 186–87, 318, 54, 291, 337, 372, 399 345–48 effect on TSE’s thought, 47, 87, 133, see also jazz; minstrelsy, blackface; ragtime 191–92, 276–77, 298, 301, 331, After Strange Gods (lectures), 23, 88, 289, 357, 379 293, 298, 363, 373–74, 381, 384, negative reaction to, 9, 363, 429 405 see also Christianity and “free-thinking Jews,” 23–24, 150, “Animula” (poem), 194–96, 197, 234–35 335–36, 346, 381 anthropology, 5, 36–37, 55, 79–90, 142, and “Tradition and theCOPYRIGHTED Individual 251, MATERIAL 396 Talent,” 16, 276 and concept of “culture,” 37–38, 88–90, Agrarianism, 418–19 287, 288–89, 292, 295 Aiken, Conrad, 121, 392, 437 see also primitivism and the primitive; letters from TSE, 6, 58–59, 61, 94–95, ritual 348 anti-Semitism, 150, 319, 335, 381, Alain-Fournier, Henri, 5 423–24, 426–27 Aldington, Richard, 80 condemned -
“The Auden Group”
1 Subject: ENGLISH Class: B.A. Part 1 English Hons., Paper-1, Group B Topic: THE AUDEN GROUP Lecture No: 20 By: Prof. Sunita Sinha Head, Department of English Women’s College Samastipur L.N.M.U., Darbhanga Email: [email protected] Website: www.sunitasinha.com Mob No: 9934917117 “THE AUDEN GROUP” INTRODUCTION • The Auden Group or the Auden Generation is a group of British and Irish writers active in the 1930s that included W. H. Auden, Stephen Spender, Cecil Day Lewis, Louis MacNeice and Christopher Isherwood. • The Auden Group is also sometimes referred to as the Nineteen Thirties Poets or The Oxford Poets who represented a new, more experimental literary style. • All the poets knew one another, and most had been educated at either Oxford or Cambridge, all sharing vaguely left-wing viewpoints. The writers associated with the grouping—W. H. Auden, Louis MacNeice, Cecil Day- 2 Lewis, Stephen Spender, Christopher Isherwood never gathered together in the same room, nor shared any coherent poetic or literary values. • Rather, the poets connected individually, particularly through Auden, who collaborated several times with both Isherwood and MacNeice, and wrote with Day-Lewis an introduction to the annual Oxford Poetry. • In the public mind, the individuals continued to be linked, with poet Roy Campbell referring to “MacSpaunday” in his 1946 work, Talking Bronco, a word created from the names of MacNeice (Mac), Spender (sp), Auden (au- n), and Day-Lewis (day). • The English Poetry of 1930s is primarily recognized as the poetry of leftist philosophy. The poets during this period were highly influenced by the philosophy of Karl Marx and his followers. -
'The Immensity of Confrontable Selves': the 'Split Subject'and Multiple Identities in the Experimental Novels of Christine Brooke-Rose Stephanie Jones
‘THE IMMENSITY OF CONFRONTABLE SELVES’: THE ‘SPLIT SUBJECT’ AND MULTIPLE IDENTITIES IN THE EXPERIMENTAL NOVELS OF CHRISTINE BROOKE-ROSE STEPHANIE JONES ABERYSTWYTH UNIVERSITY 01/03/2016 ACKNOWLEDGEMENTS I would like to extend my deepest thanks to my supervisor Professor Tim Woods, who has shown constant, unwavering support for the project, and read it multiple times with uncommon care. I would also like to thank Professor Peter Barry whose comments on my written work and presentations have always inspired much considered thought. I am extremely grateful to Dr. Luke Thurston for his translation of the letters between Hélène Cixous and Christine Brooke-Rose from the French. I am also greatly indebted to Dr. Will Slocombe whose bravery in teaching Brooke-Rose’s fiction should be held directly responsible for the inspiration for this project. I should also like to extend my thanks to my fellow colleagues in the English and Creative Writing department at Aberystwyth University. I am also deeply indebted to the Harry Ransom Centre of Research, the location of the Christine Brooke-Rose archive, and the John Rylands Library that holds the Carcanet archive, and all the staff that work in both institutions. Their guidance in the archives and support for the project has been deeply valued. Special thanks go to Michael Schmidt OBE for allowing me to access the Carcanet archive and Jean Michel Rabaté and Ali Smith for their encouragement throughout my studies of Christine Brooke-Rose, and their contributions to the project. For my family LIST OF ABBREVIATIONS These abbreviations will appear embedded within the text in parentheses, with page numbers. -
Proust's Medusa: Ovid, Evolution, and Modernist Metamorphosis
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2015 Proust's Medusa: Ovid, Evolution, and Modernist Metamorphosis Gregory John Mercurio Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1053 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] PROUST’S MEDUSA: OVID, EVOLUTION, AND MODERNIST METAMORPHOSIS by GREGORY JOHN MERCURIO A dissertation submitted to the Graduate Faculty in English in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2015 ii © 2015 GREGORY JOHN MERCURIO All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in English in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy Joshua Wilner 4/24/2015 Joshua Wilner Date Chair of Examining Committee Mario DiGangi 4/28/2015 Mario DiGangi Date Executive Officer Wayne Koestenbaum Mary Ann Caws Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract PROUST’S MEDUSA: OVID, EVOLUTION AND MODERNIST METAMORPHOSIS by Gregory John Mercurio Advisor: Joshua Wilner Ovid’s Metamorphoses has served as an indispensible text for Modernism, not least for such foundational Modernists as T. S. Eliot, Ezra Pound and Wyndham Lewis. This dissertation examines how these writers characteristically employ Ovidian metamorphoses with a specifically evolutionary inflection, particularly in a post- Darwinian world informed by varying –often authoritarian– notions of biological adaptation, as well as an increasing emphasis on Mendalian genetics as the determining factor in what would become known as the Modern Synthesis in evolutionary theory. -
Columbia Poetry Review Publications
Columbia College Chicago Digital Commons @ Columbia College Chicago Columbia Poetry Review Publications Spring 4-1-2002 Columbia Poetry Review Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cpr Part of the Poetry Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Columbia College Chicago, "Columbia Poetry Review" (2002). Columbia Poetry Review. 15. https://digitalcommons.colum.edu/cpr/15 This Book is brought to you for free and open access by the Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Columbia Poetry Review by an authorized administrator of Digital Commons @ Columbia College Chicago. For more information, please contact [email protected]. COLUMBIA poetry review 1 3 > no. 15 $6.00 USA $9.00 CANADA o 74470 82069 7 COLUMBIA POETRY REVIEW Columbia College Chicago Spring 2002 Columbia Poetry Review is published in the spring of each year by the English Department of Columbia College, 600 South Michigan Avenue, Chicago, Illinois 60605. Submissions are encouraged and should be sent to the above address from August 15 to January 1. Subscriptions and sample copies are available at $6.oo an issue in the U.S.; $9.00 in Canada and elsewhere. The magazine is edited by students in the un dergraduate poetry program and distributed in the United States and Canada by Ingram Periodicals. Copyright (c) 2002 by Columbia College. ISBN: 0-932026-59-1 Grateful acknowledgment is made to Garnett Kilberg-Cohen, Chair of the English Department; Dr. Cheryl Johnson-Odim, Dean of Liberal Arts and Sciences; Steven Kapelke, Provost; and Dr. -
Amour Fou and Crazy in Love?
Amour Fou and Crazy In Love?. Literature‘s Take on Uncontrollable Passion as a Universal Aspect of the Human Condition Markus Schleich Saarland University, Großherzog Friedrich Straße 61, 66111 Saarbrücken, Germany [email protected] Amour Fou is a universal literary topos, which originates in ancient Greece and survived until the beginning of the 20th century. It lost a lot of its attraction within the context of postmodernism, medical findings and popular culture. This paper seeks to explore its re-emergence within a new visual media. Keywords: thematology / love / passion /postmodernism / popular culture / intermediality Breton’s L’ Amour Fou and the History of an Uncontrollable Passion No discussion concerned with Amour Fou can avoid Andre Breton’s seminal essay of the same name (cf. Kern 00:10). His obtuse text, which is an utmost bizarre1 combination of dream, short story, poetry, autobiogra- phy, travel documentary, manifesto2 and photography is often seen as the starting point of Amour Fou3 and is anything but an easy read.4 Kuon and Kern deemed it “an absolute, free, revolutionary, scandalous tale of love against all norms and rationality” (1), which Breton claims es- pecially for the surrealism. Similarly, Oliver Jahraus tried to define Amour Fou in his monograph Amour Fou. Die Erzählung der Amour Fou in Literatur, Oper, Film from 2004 by stating that: What are integral elements of Amour Fou? Is there a set of rules or regularities? There are some models, but in general Amour Fou is free just like love itself. Usually, there are two partners, infected by Amour Fou. -
Two Types of "Heroes" in Post-War British Fiction Author(S): William Van O'connor Source: PMLA, Vol
Two Types of "Heroes" in Post-War British Fiction Author(s): William van O'Connor Source: PMLA, Vol. 77, No. 1 (Mar., 1962), pp. 168-174 Published by: Modern Language Association Stable URL: http://www.jstor.org/stable/460701 Accessed: 09-02-2018 13:04 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Modern Language Association is collaborating with JSTOR to digitize, preserve and extend access to PMLA This content downloaded from 95.183.184.51 on Fri, 09 Feb 2018 13:04:31 UTC All use subject to http://about.jstor.org/terms TWO TYPES OF "HEROES" IN POST-WAR BRITISH FICTION By William Van O'Connor There was Joyce's impersonal mode, Lawrence's INsays, NOVEL in Forces after in novel," Modern William British York Literature, Tindallcharacters attracting or repelling each other as "sensitive lads are apprenticed to life, formed though by in an emotional-electric field, and Mrs. its forces, rebelling against them, sometimes Woolf fail? insisting on discovering the secret life in- ing, sometimes emerging in victory. side. From Mrs. Brown's head. There was the effaced 1903 onwards almost every first novel was anarrator, novel the novel-of-ideas, stream-of-conscious- of adolescence." Samuel Butler, he adds, started ness, and the novel seen as a poem.