POEMS for the MILLENNIUM
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The Surreal Voice in Milan's Itinerant Poetics: Delio Tessa to Franco Loi
City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 2-2021 The Surreal Voice in Milan's Itinerant Poetics: Delio Tessa to Franco Loi Jason Collins The 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/4143 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] THE SURREALIST VOICE IN MILAN’S ITINERANT POETICS: DELIO TESSA TO FRANCO LOI by JASON M. COLLINS A dissertation submitted to the Graduate Faculty in Comparative Literature in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2021 i © 2021 JASON M. COLLINS All Rights Reserved ii The Surreal Voice in Milan’s Itinerant Poetics: Delio Tessa to Franco Loi by Jason M. Collins This manuscript has been read and accepted for the Graduate Faculty in Comparative Literature in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy _________________ ____________Paolo Fasoli___________ Date Chair of Examining Committee _________________ ____________Giancarlo Lombardi_____ Date Executive Officer Supervisory Committee Paolo Fasoli André Aciman Hermann Haller THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT The Surreal Voice in Milan’s Itinerant Poetics: Delio Tessa to Franco Loi by Jason M. Collins Advisor: Paolo Fasoli Over the course of Italy’s linguistic history, dialect literature has evolved a s a genre unto itself. -
By Way of Old Petersburg: Desmond O'grady and Russian Poetry
VTU Review: Studies in the Humanities and Social Sciences Volume 5 Issue 1 2021 “St. Cyril and St. Methodius” University of Veliko Tarnovo By Way of Old Petersburg: Desmond O’Grady and Russian Poetry Alla Kononova University of Tyumen The article takes on a direction which has great potential for further studies of contemporary Irish poetry: studying the work of Irish poets through their relation to Russian literature. It focuses on the reception and reimagining of Russian poetry in the work of Desmond O’Grady, one of the leading figures in Irish poetry, who started writing in the mid-1950s. The article studies three poems by O’Grady which are ad- dressed to his Russian counterparts: “Missing Andrei Voznesensky,” “Joseph Brodsky Visits Kinsale,” and “My City,” a translation from Anna Akhmatova’s “Poem without a Hero.” None of these poems has yet been subject of thorough critical analysis. Each of the poems has become a signpost on O’Grady’s poetic map and an important element of his own “private mythology.” When analysed in the wider context of Irish poetry, they help form a clearer picture of the influence Russian literature has had on contemporary Irish poets. Keywords: comparative literature, Irish literature, contemporary Irish poetry, Desmond O’Grady, Irish-Russian literary connections, Andrei Voznesensky, Joseph Brodsky, Anna Akhmatova. Desmond O’Grady (1935–2014) is one of the most remarkable figures in Irish poetry of the twentieth and twenty-first centuries. He is sometimes described as a phenomenon “unusual among Irish poets of his generation for both his interest in modernist experimentation and his immersion in the poetry of other cultures” (Mills). -
Introduction the Surreal Without Surrealism
INTRODUCTION The Surreal without Surrealism The time will come, if it is not already come, when the surrealist enterprise:': will be studied and evaluated, in the history of literature, as an adventure of hope. —Wallace Fowlie, Age of Surrealism Indubitably, Surrealism and the GDR are closely connected, and are more closely related to each other than one might think. When, for example, one listens to the recollections and reads the memoirs of those who lived in this country, apparently no other conclusion can be drawn. Life in the East German Communist state had a surrealistic disposition, was associated with the grotesque, absurd and irrational. Admittedly, Surrealism did not exist in the GDR. Not only are the insights of Hans Magnus Enzensberger and Peter Bürger on the death of the historical avant-garde convincing and applicable to the GDR;1 it is also significant that no German artist or writer who considered him- or herself a Surrealist prior to 1945 returned from exile to settle in the SBZ or the GDR. Most of the celebrities of German Surrealism during the Weimar Republic were forced to go into exile or did not return to Germany at all. Max Ernst, for example, remained living in the USA, and then in 1953 moved to his wife’s old quarters in Paris; Hans Arp decided to live in Switzerland, and in 1949 chose the USA as his home country. Others who had lived through and survived Hitler’s Germany had to face the harsh demands of National Socialist cultural politics that downgraded the avant-garde to the status of Entartete Kunst, or degenerate art, and sidelined and even terrorized its representatives. -
Dionne Brand's Global Intimacies: Practising Affective Citizenship
Dionne Brand’s Global Intimacies: Practising Affective Citizenship Diana Brydon “I say this big world is the story, I don’t have any other” (Inventory 84) Rosi Braidotti suggests that “The human has been subsumed in global relations of intimacy, complicity and proximity with forces of the inhuman and post-human kind: scientific, industrial and military complexes, global communication networks, processes of commodification and exchange on a global scale” (264). She argues further that it is the task of critical theory to track the “fluctuations“ of this new disorder (264). In this paper I ask what tracking these fluctuations involves, for the poet Dionne Brand who sets herself this task in her long poem, Inventory, and for the critic who reads her work fully attentive to the historical legacies of humanism and their entanglements with the humanities and the humanitarian.1 The CFP for this special issue asks two related questions that I pursue here: “what good is the study of literature?” and “how does the turn to ethics position literary criticism in relation to politics?” It is not possible to answer these questions definitively. In this paper, I follow Brand’s lead into registering the visceral force of the kinds of global intimacies enumerated by Braidotti in order to ask what these practices imply for the political projects of citizenship and community in contemporary times. I argue that to fully grasp the implications of how Brand’s poetry engages and is engaged in these emerging global complicities, critics need to attend to the dynamics of the experiential dimensions of its affect as well as its explicit meaning.2 “On Poetry,” the last essay in Dionne Brand’s Bread Out of Stone, concludes: “Poetry is here, just here. -
Und Umtriebe Des Übersetzers Richard Pietraß Der Schriftsteller Un
1 Andreas F. Kelletat Pilgerfahrt ins Land der Poesie Die An- und Umtriebe des Übersetzers Richard Pietraß (Laudatio auf Richard Pietraß aus Anlass der Verleihung des Übersetzerpreises Ginkgo-Biloba für Lyrik im Hilde- Domin-Saal der Stadtbücherei Heidelberg, 30. September 2020) Der Schriftsteller und der Übersetzer, der Dichter und der Nachdichter Richard Pietraß hatte seine ersten weiterhin sichtbaren Veröffentlichungen in drei einander folgenden Ausgaben einer von Bernd Jentzsch herausgegebenen Lyrikreihe namens Poesiealbum. 90 Pfennige kosteten die Hefte und sie wurden in einer Auflage von 10.000 Exemplaren nicht nur in Buchhandlungen, sondern sogar an Zeitungskiosken verkauft. Jeden Monat gab es ein neues, eine neue Stimme im Chor der Lyrik. Im Heft Nr. 81 mit Gedichten Marina Zwetajewas erschien im Juni 1974 Pietraß‘ erste Übersetzung aus dem Russischen, im August 1974 in Heft 83 seine Nachdichtung eines Lappland-Poems des norwegischen Dichters Nordahl Grieg und in Heft 82 wurde Richard Pietraß im Juli 1974 mit eigenen Gedichten vorgestellt. Worum es ihm in seiner Poesie geht, steht auf der Innenklappe des Heftes vom Juli 1974: „Das Leben trifft uns, wie uns wahre Kunst betroffen macht. Daraus entstehen Gedichte. Immer gilt es, den Raum des Sagbaren, letztlich Lebbaren, zu erweitern.“ Ein Mittel, den „Raum des Sagbaren […] zu erweitern“, wurde für ihn neben dem eigenen Schreiben von Gedichten auch das Übersetzen und das Nachdichten. Dabei schärfte er mitunter die Aussage der Originale und ließ so die Aktualität eines Gedichts etwa von Boris Sluzki oder Nikolai Sabolozki aufblitzen. In den Poesiealben vom Juni und August 1974, die von Fritz Mierau (Zwetajewa) und Sieglinde Mierau (Grieg) zusammengestellt wurden, ist Pietraß mit jeweils nur einem Gedicht vertreten; die anderen wurden von anderen Dichtern ins Deutsche gebracht, von Heinz Czechowski, Adolf Endler, Elke Erb, Bernd Jentzsch, Rainer Kirsch, Sarah Kirsch und Reiner Kunze. -
Elio Gioanola Carlo Bo Charles Singleton Gianfranco Contini
Elio Gioanola Introduzione Carlo Bo Ricordo di Eugenio Montale Charles Singleton Quelli che restano Gianfranco Contini Lettere di Eugenio Montale Vittorio Sereni Il nostro debito verso Montale Vittore Branca Montale crìtico di teatro Andrea Zanzotto La freccia dei diari Luciano Erba Una forma di felicità, non un oggetto di giudizio Piero Bigongiari Montale tra il continuo e il discontinuo Giovanni Macchia La stanza dell'Amiata Ettore Bonora Un grande trìttico al centro della « Bufera » (La primavera hitleriana, Iride, L'orto) Silvio Guarnieri Con Montale a Firenze http://d-nb.info/945512643 Pier Vincenzo Mengaldo La panchina e i morti (su una versione di Montale) Angelo Jacomuzzi Incontro - Per una costante della poesia montaliana Marco Forti Per « Diario del '71 » Giorgio Bàrberi Squarotti Montale o il superamento del soggetto Silvio Ramat Da Arsenio a Gerti Mario Martelli L'autocitazione nel secondo Montale Rosanna Bettarini Un altro lapillo Glauco Cambon Ancora su « Iride », frammento di Apocalisse Mladen Machiedo Una lettera dì Eugenio Montale (e documenti circostanti) Claudio Scarpati Sullo stilnovismo di Montale Gilberto Lonardi L'altra Madre Luciano Rebay Montale, Clizia e l'America Stefano Agosti Tom beau Maria Antonietta Grignani Occasioni diacroniche nella poesia di Montale Claudio Marabini Montale giornalista Gilberto Finzi Un'intervista del 1964 Franco Croce Satura Edoardo Sanguineti Tombeau di Eusebio Giuseppe Savoca L'ombra viva della bufera Oreste Macrì Sulla poetica di Eugenio Montale attraverso gli scritti critici Laura Barile Primi versi di Eugenio Montale Emerico Giachery La poesia di Montale e il senso dell'Europa Giovanni Bonalumi In margine al « Povero Nestoriano smarrito » Lorenzo Greco Tempo e «fuor del tempo» nell'ultimo Montale . -
LOCATING the IDEAL HOMELAND TN the LITERATURE of EDWIDGE DANTICAT by JULIANE OKOT BITEK B.F.A., the University of British Columb
LOCATING THE IDEAL HOMELAND TN THE LITERATURE OF EDWIDGE DANTICAT by JULIANE OKOT BITEK B.F.A., The University of British Columbia, 1995 A THESIS SUBMITTED IN PARTIAL FULIFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (English) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) May2009 © Juliane Okot Bitek, 2009 ABSTRACT Edwidge Danticat, who has lived most of her life in the United States, retains a strong link with Haiti and primarily writes about the Haitian experience inside and outside the country. For Danticat, the ‘ideal homeland’ is a psychic space where she can be Haitian, American, and belong to both countries. Danticat’s aspiration and position as one who can make claim to both Haiti and the United States somewhat supports Stuart Hall’s notion of cultural identity as a fluid entity and an identity that is becoming and is, not one that is static and was. However, Danticat locates her ‘ideal homeland’ within the Haitian Dyaspora, as a social construct that includes all the people of the Haitian descent in the diaspora, whatever their countries of citizenship. This ideal homeland is an emotional and literary space for continued expression and creation of Haitian identity, history and culture. It is not a geographical space and as such, requires that membership in it engage through text. This paper investigates ways in which Danticat expresses the ideal homeland in her fiction and nonfiction works. I use Dionne Brand, Kamau Brathwaite, Edward Soja and Judith Lewis Herman among others, as theorists to discover this ideal homeland in order to show that Danticat, like many diasporic writers, is actively engaged in locating for themselves where they can engage in their work as they create new communities and take charge of how they tell their stories and how they identify themselves. -
My Children, Teaching, and Nimrod the Word
XIV Passions: My Children, Teaching, and Nimrod The word passion has most often been associated with strong sexual desire or lust. I have felt a good deal of that kind of passion in my life but I prefer not to speak of it at this moment. Instead, it is the appetite for life in a broader sense that seems to have driven most of my actions. Moreover, the former craving is focused on an individual (unless the sexual drive is indiscriminant) and depends upon that individual for a response in order to intensify or even maintain. Fixating on my first husband—sticking to him no matter what his response, not being able to say goodbye to him —almost killed me. I had to shift the focus of my sexual passion to another and another and another in order to receive the spark that would rekindle and sustain me. That could have been dangerous; I was lucky. But with the urge to create, the intense passion to “make something,” there was always another outlet, another fulfillment just within reach. My children, teaching, and Nimrod, the journal I edited for so many years, eased my hunger, provided a way to participate and delight in something always changing and growing. from The passion to give birth to and grow with my children has, I believe, been expressed in previous chapters. I loved every aspect of having children conception, to the four births, three of which I watched in a carefully placed mirror at the foot of the hospital delivery room bed: May 6, 1957, birth of Leslie Ringold; November 8, 1959, birth of John Ringold; August 2, 1961: birth of Jim Ringold; July 27, 1964: birth of Suzanne Ringold (Harman). -
Creole Modernism
ANKHI MUKHERJEE Creole Modernism As affirmations of the modern go, few can match the high spirits of Susan Stanford Friedman’s invitation to formulate a “planetary epistemology” of modernist studies. As she explains in a footnote, Friedman uses the term “planetarity” in a different sense than Gayatri Chakravorty Spivak in Death of a Discipline, where the latter proposes that “if we imagine ourselves as planetary subjects rather than global agents, planetary creatures rather than global entities, alterity remains underived from us.”1 If Spivak’s planet-thought is a “utopian gesture of resistance against globalization as the geohistorical and economic domination of the Global South,” Friedman’s own use of the term ‘planetarity’ is epistemological, implying “a consciousness of the earth as planet, not restricted to geopolitical formations and potentially encompassing the non-human as well as the human.”2 Friedman’s planetary epistemology needs the playground of “modernism/modernity,” the slash denoting a simultaneous separation and connection, “the paradox of all borders,” which she considers to be richly generative (475). For modernism is not simply outside or after modernity, a belated reaction to the shock of it. It is contained within modernity (or particular modernities) as its aesthetic domain, and interacts with other domains, commercial, technological, societal, and governmental. It follows that “Every modernity has its distinctive modernism” (475). Pluralizing the key terms to engage with the polylogue of languages and cultures issuing from forms of modernism/modernity everywhere, Friedman’s invocation of this transformational (planetary) model of cultural circulation opens up possibilities for modernist studies to venture fearlessly outside the Anglo-American field and into “elsewhere” places that constitute modernism’s Other: the colonies and ex- colonies of South Asia and the Caribbean, the American South, and the Diaspora. -
Table of Contents
Table of Contents Where in the World? Introduction to Selections and Research Focus .................. 1 The Art of Translation by Khaled Mattawa ................................ 2 UNIT ONE The Americas The Literature of the Americas by Kimberly Koza Harris ..................... 4 Literary Map of the Americas ...................................... 6 An American Classic: Aztec Creation Story ..................... 8 Oral Traditions Aztec Creation Story traditional story ................... 9 Literary Lens: Juxtaposition Focus on Research: Summarize Findings ................... 14 The Literature of Canada ...................................... 15 N Saul Bellow Herzog novel .................................... 16 Literary Lens: Interior Monologue Focus on Research: Quote Sources ...................... 19 Margaret Atwood At the Tourist Centre in Boston short story ............. 20 Literary Lens: Tone Focus on Research: Conduct a Survey .................... 23 N Alice Munro Day of the Butterfly short story ....................... 24 Literary Lens: Theme Focus on Research: Use a Variety of Sources ................ 35 The Literature of Mexico ...................................... 36 Juan Rulfo You Don't Hear Dogs Barking short story ............... 37 Literary Lens: Imagery Focus on Research: Generate Questions ................... 41 N Octavio Paz Two Bodies poem ................................ 42 Literary Lens: Metaphor Focus on Research: Develop a Thesis Statement.............. 44 Carlos Solórzano Crossroads: A Sad Vaudeville drama ................. -
The East German Writers Union and the Role of Literary Intellectuals In
Writing in Red: The East German Writers Union and the Role of Literary Intellectuals in the German Democratic Republic, 1971-90 Thomas William Goldstein A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History. Chapel Hill 2010 Approved by: Konrad H. Jarausch Christopher Browning Chad Bryant Karen Hagemann Lloyd Kramer ©2010 Thomas William Goldstein ALL RIGHTS RESERVED ii Abstract Thomas William Goldstein Writing in Red The East German Writers Union and the Role of Literary Intellectuals in the German Democratic Republic, 1971-90 (Under the direction of Konrad H. Jarausch) Since its creation in 1950 as a subsidiary of the Cultural League, the East German Writers Union embodied a fundamental tension, one that was never resolved during the course of its forty-year existence. The union served two masters – the state and its members – and as such, often found it difficult fulfilling the expectations of both. In this way, the union was an expression of a basic contradiction in the relationship between writers and the state: the ruling Socialist Unity Party (SED) demanded ideological compliance, yet these writers also claimed to be critical, engaged intellectuals. This dissertation examines how literary intellectuals and SED cultural officials contested and debated the differing and sometimes contradictory functions of the Writers Union and how each utilized it to shape relationships and identities within the literary community and beyond it. The union was a crucial site for constructing a group image for writers, both in terms of external characteristics (values and goals for participation in wider society) and internal characteristics (norms and acceptable behavioral patterns guiding interactions with other union members). -
11 Lanfranco Binni, La Protesta Di Walter Binni. Una Biografia 13 Premessa 15 1 • Un Inizio Autobiografico
INDICE 11 Lanfranco Binni, La protesta di Walter Binni. Una biografia 13 Premessa 15 1 • Un inizio autobiografico. Schegge di ricordi 37 2. «Ilporto è la furia del mare». L'incontro con Aldo Capitini 39 3. Binni normalista: ritratto del critico da giovane 45 4. La cospirazione antifascista e il liberalsocialismo 50 5- La Resistenza 53 6. Liberalsocialisti e liberalproprietari. Binni socialista 61 7. All'Assemblea costituente 67 8. A Genova 71 9. Binni all'Università di Firenze, «socialista senza tessera» 74 10. L'adesione al Psi e Li battaglia per la democratizzazione dell'università 80 11. Costume e cultura: una polemica 84 12. A Roma 87 13. L'assassinio di Paolo Rossi 95 14. // Sessantotto a Roma 100 15. La nuova sinistra e gli anni settanta 110 16.// riflusso degli anni ottanta 116 17'. //pensiero dominante \TJ 18. Millenovecentonovantasette 135 19. Quasi un racconto 143 Tracce per una biografia. Lettere a Walter Binni (1931-1997) 145 Premessa 147 1. Aldo Capitini, 12 agosto 1931 149 2. Gaetano Chiavacci, 18 settembre 1931 150 3. Aldo Capitini, 6 novembre 1931 151 4. Attilio Momigliano, 17 novembre 1934 151 5. Giorgio Pasquali, 10 agosto 1935 154 6. Luigi Russo, 4 ottobre 1935 156 7. Luigi Russo, 29 febbraio 1936 156 8. Eugenio Montale, 6 novembre 1936 157 9. Luigi Russo, 9 novembre 1939 158 10. Carlo Ludovico Ragghianti, 3 dicembre 1939 159 11. Giuseppe Dessi, 26 marzo 1940 160 12. Arrigo Benedetti, 3 aprile 1940 161 13. Pietro Pancrazi, 3 luglio 1940 162 14. Luigi Russo, 10 luglio 1940 163 15. Luigi Russo, 24 agosto 1940 163 16.