The Marianne Moore Collection
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The Bookman Anthology of Verse
The Bookman Anthology Of Verse Edited by John Farrar The Bookman Anthology Of Verse Table of Contents The Bookman Anthology Of Verse..........................................................................................................................1 Edited by John Farrar.....................................................................................................................................1 Hilda Conkling...............................................................................................................................................2 Edwin Markham.............................................................................................................................................3 Milton Raison.................................................................................................................................................4 Sara Teasdale.................................................................................................................................................5 Amy Lowell...................................................................................................................................................7 George O'Neil..............................................................................................................................................10 Jeanette Marks..............................................................................................................................................11 John Dos Passos...........................................................................................................................................12 -
The Marianne Moore Collection
THE MARIANNE MOORE COLLECTION The Marianne Moore Papers The Marianne Moore Library The Marianne Moore Periodicals Collection The Marianne Moore Room ******** The Rosenbach Museum & Library 2010 DeLancey Place Philadelphia PA 19103 (215) 732-1600 www.rosenbach.org THE MARIANNE MOORE COLLECTION General Introduction In 1968, Marianne Craig Moore sold her literary and personal papers to the Rosenbach Museum & Library. In a 1969 codicil to her Will, she added a bequest to the Rosenbach of her apartment furnishings. Upon her death in February 1972, this unusually complete and diverse collection found its permanent home. The collection is remarkable for its inclusiveness. Most visually arresting, her living room (installed on the third floor of the Rosenbach) looks almost exactly as it did in Greenwich Village (at 35 West Ninth Street), her residence from 1965. Books are everywhere. The poet’s personal library, much of it on display in the Moore Room, contains more than 2,000 monographs, plus hundreds of periodicals. Moore retained copies of most of her own books in all their printings. In addition, first appearances of both poems and prose in magazines are present (in the Moore Periodicals Collection), as well as an extensive group of reviews of her work, beginning in 1916. Most of this work is supported by manuscripts in the Moore Papers, from drafts to setting copies of many of her 192 published poems and 72 unpublished poems (whose use is restricted), as well as versions of much of the prose. These in turn, are complemented by extensive working materials. Most informative is a series of commonplace books begun in 1907. -
20Thcent.Pdf (1.887Mb)
~... TWENTIETH -I. CENTURY THE ODYSSEY SUHVEYS OF AMERICAN WRITING General Editor: C. Hugh lIolman, University of North Carolina AMERICAN COLONIAL AND FEDEHALIST AMERICAN WHrnNG (1607-183°) Edited by George F. Horner and Robert A. Bain University of No'rth Carolina WRITING THE ROMANTIC MOVEME:NT IN AMEl\ICAN WmUNG (l830 186S) Edited by Richard Harter Fogle Tul.ane University ~ 00 THE REALfSTIC MOVI~MENT IN AMEHlCAN WRITING (l865- 19 ) (' Edited by Bruce H. McElderry, Jr. University of S(Httlwrn Califo11lia TWENTIKrIl CI.;NTUl\Y AM~:RICAN WnrnNG (lg00-lg6o's) By WILLIAM T. STAFFORD Edited by William T. Stalford PURDUE UNIVERSITY Purdue University THE ODYSSEY PRESS . INC NEW YORK --l~ CONTENTS Introduction New Directions Chapter One. The New Poetry 9 Edwin Arli/lgtor~ Robinson 14 From Letter to Harry de Forest Smith 15 From Letter to L. N. Chase 17 Credo 18 Luke Havergal 19 Zola 20 Boston 20 Aaron St,uk 20 Richard Cory 21 Miniver Cheevy 21 Cassandra 22 Eros Turannos 24 Flmnmonde 25 The Man Against the Sky 28 Bewick Finzer 35 The Rat 36 New England 36 From Tristram. 37 Robert Frost 42 An Introduction to [Edwin Arlington Robinson's] King Jasper 43 Mowing 49 The Tuft uf Flowers 49 x;ii xiv / Contents Contents / xv Mending Wall 5U Edgar Lee Masters 143 The Mountain 52 From Spoon River Allthology Home Burial 55 The Hill 144 After Apple.Picking 58 Cassitls Hueffer 145 The Wood-Pile 59 Knowlt Hoheimer 145 Birches (jo Lydia Puckett 145 "Out,Out-" 62 Margaret Fuller Sh1Ck 146 Fire and Ice 62 Editor Whedon 146 Stopping by Woods 011 a Snowy Evening 63 Daisy Fraser 147 West-Running Brook 6.'3 Mrs. -
A Bibliography of Edwin Arlington Robinson, 1941-1963
Colby Quarterly Volume 7 Issue 1 March Article 3 March 1965 A Bibliography of Edwin Arlington Robinson, 1941-1963 William White Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, series 7, no.1, March 1965, p.1-26 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. White: A Bibliography of Edwin Arlington Robinson, 1941-1963 Colby Library Quarterly Series VII March 1965 No.1 A BIBLIOGRAPHY OF EDWIN ARLINGTON ROBINSON, 1941-1963 By WILLIAM WHITE HIS bibliography of Edwin Arlington Robinson is a supple T ment to Charles Beecher Hogan's "Edwin Arlington Robin son: New Bibliographical Notes," The Papers of the Biblio graphical Society of America (New York), Vol. XXXV, pp. 115-144, Second Quarter 1941, which itself supplements Mr. Hogan's admirable A Bibliography of Edwin Arlington Robin son (New Haven: Yale University Press, 1936). I have fol lowed Mr. Hogan's organization and style, with some slight modifications, particularly in the descriptions of books by Robinson. Although an attempt has been made to be as com plete as possible, I certainly do not approach Mr. Hogan's work in this respect. While he says (on p. iii of his Bibliography) that his book is "intended primarily for collectors," the present supplement is meant for scholars and critics who would like to know what has been written on the creator of "Luke Havergal" and "Miniver Cheevy" in the past t\venty-two years. -
William Carlos Williams' Indian Son(G)
The News from That Strange, Far Away Land: William Carlos Williams’ Indian Son(g) Graziano Krätli YALE UNIVERSITY 1. In his later years, William Carlos Williams entertained a long epistolary relationship with the Indian poet Srinivas Rayaprol (1925-98), one of a handful who contributed to the modernization of Indian poetry in English in the first few decades after the independence from British rule. The two met only once or twice, but their correspondence, started in the fall of 1949, when Rayaprol was a graduate student at Stanford University, continued long after his return to India, ending only a few years before Williams’ passing. Although Williams had many correspondents in his life, most of them more important and better known literary figures than Rayaprol, the young Indian from the southeastern state of Andhra Pradesh was one of the very few non-Americans and the only one from a postcolonial country with a long and glorious literary tradition of its own. More important, perhaps, their correspondence occurred in a decade – the 1950s – in which a younger generation of Indian poets writing in English was assimilating the lessons of Anglo-American Modernism while increasingly turning their attention away from Britain to America. Rayaprol, doubly advantaged by virtue of “being there” (i.e., in the Bay Area at the beginning of the San Francisco Renaissance) and by his mentoring relationship with Williams, was one of the very first to imbibe the new poetic idiom from its sources, and also one of the most persistent in trying to keep those sources alive and meaningful, to him if not to his fellow poets in India. -
Modern Poetry Seminar “Shifting Poetics: from High Modernism to Eco-Poetics to Black Lives Matter”
San José State University Department of English and Comparative Literature ENGLISH 211: Modern Poetry Seminar “Shifting Poetics: From High Modernism to Eco-Poetics to Black Lives Matter” Spring 2021 Instructor: Prof. Alan Soldofsky Office Location: FO 106 Telephone: 408-924-4432 Email: [email protected] Virtual Office Hours: M, W 3:00 – 4:30 PM, and Th p.m. by appointment Class Days/Time: Synchronous Zoom Meetings M 7:00 – 8:30 PM; Asynchronous on Canvas (24/7) Classroom: Zoom Credit Units: 4 Credits Course Description This seminar is designed to engage students in an immersive study of salient themes and innovations in selected poets from the 20th and 21st centuries. The curriculum will include practice in close reading/explication of selected poems. The course will be taught in a partially synchronous distance learning mode, using SJSU’s Canvas and Zoom platforms, with weekly Monday Zoom class meetings, 7:00 – 8:15 p.m. The course may be taken two times for credit (toward an MA or MFA degree). Thematic Focus Shifting Cultural Politics and Poetics from High Modernism to Eco-Poetics to Black Lives Matter (1909 – 2021) The emphasis during the semester will be on the evolving poetics and associated cultural politics as viewed through various aesthetic movements in poetry from the high modernist period to the present. During the semester the curriculum will include reading one or more poems (online) by the following poets: W.B. Yeats, Ezra Pound, T.S. Eliot, William Carlos Williams, Wallace Stevens, Hart Crane, Marianne Moore, Robinson Jeffers, Langston Hughes, Claude McKay, H. -
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. -
In 193X, Constance Rourke's Book American Humor Was Reviewed In
OUR LIVELY ARTS: AMERICAN CULTURE AS THEATRICAL CULTURE, 1922-1931 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jennifer Schlueter, M.A. ***** The Ohio State University 2007 Dissertation Committee: Approved by Professor Thomas Postlewait, Adviser Professor Lesley Ferris Adviser Associate Professor Alan Woods Graduate Program in Theatre Copyright by Jennifer Schlueter c. 2007 ABSTRACT In the first decades of the twentieth century, critics like H.L. Mencken and Van Wyck Brooks vociferously expounded a deep and profound disenchantment with American art and culture. At a time when American popular entertainments were expanding exponentially, and at a time when European high modernism was in full flower, American culture appeared to these critics to be at best a quagmire of philistinism and at worst an oxymoron. Today there is still general agreement that American arts “came of age” or “arrived” in the 1920s, thanks in part to this flogging criticism, but also because of the powerful influence of European modernism. Yet, this assessment was not, at the time, unanimous, and its conclusions should not, I argue, be taken as foregone. In this dissertation, I present crucial case studies of Constance Rourke (1885-1941) and Gilbert Seldes (1893-1970), two astute but understudied cultural critics who saw the same popular culture denigrated by Brooks or Mencken as vibrant evidence of exactly the modern American culture they were seeking. In their writings of the 1920s and 1930s, Rourke and Seldes argued that our “lively arts” (Seldes’ formulation) of performance—vaudeville, minstrelsy, burlesque, jazz, radio, and film—contained both the roots of our own unique culture as well as the seeds of a burgeoning modernism. -
Modern Group Portraits in New York Exile Community and Belonging in the Work of Arthur Kaufmann and Hermann Landshoff
Modern Group Portraits in New York Exile Community and Belonging in the Work of Arthur Kaufmann and Hermann Landshoff Burcu Dogramaci In the period 1933–1945 the group portrait was an important genre of art in exile, which has so far received little attention in research.1 Individual works, such as Max Beckmann’s group portrait Les Artistes mit Gemüse, painted in 1943 in exile in Amsterdam,2 were indeed in the focus. Until now, however, there has been no systematic investigation of group portraits in artistic exile during the Nazi era. The following observations are intended as a starting point for further investigations, and concentrate on the exile in New York and the work of the emigrated painter Arthur Kaufmann and photographer Hermann Landshoff in the late 1930s and 1940s, who devoted themselves to the genre of group portraits. 3 New York was a destination that attracted a much larger number of emigrant artists, writers, and intellectuals than other places of exile, such as Istanbul or Shanghai. A total of 70,000 German-speaking emigrants who fled from National Socialism found (temporary) refuge in New York City, including—among many others—the painters Arthur Kaufmann and Lyonel Feininger, and the photographers Hermann Landshoff, Lotte Jacobi, Ellen Auerbach, and Lisette Model.4 Such an accumulation of emigrated artists and photographers in one place may explain the increasing desire to visualize group formats and communal compositions. In the genre of the group picture there are attempts to compensate for the displacement from the place of origin.5 This mode of self-portrayal as a group can be 1/15 found in the photographic New York group portraits where the exiled surrealists had their pictures taken together or with their American colleagues. -
ASSOCIATION for JEWISH STUDIES 38TH ANNUAL CONFERENCE Manchester Grand Hyatt, San Diego, California December 17–19, 2006
ASSOCIATION FOR JEWISH STUDIES 38TH ANNUAL CONFERENCE Manchester Grand Hyatt, San Diego, California December 17–19, 2006 Saturday, December 16, 2006, 8:00 PM Annie A WORKS IN PROGRESS GROUP IN MODERN JEWISH STUDIES Co-chairs: Todd S. Hasak-Lowy (University of Florida) Adam B. Shear (University of Pittsburgh) Sunday, December 17, 2006 GENERAL BREAKFAST 8:30 AM – 9:30 AM Manchester C (Note: By pre-paid reservation only.) REGISTRATION 8:30 AM – 6:00 PM Manchester Foyer AJS ANNUAL BUSINESS MEETING 8:30 AM – 9:00 AM Manchester A AJS BOARD OF 10:30 AM Maggie DIRECTORS MEETING BOOK EXHIBIT (List of Exhibitors p. 65) 1:00 PM – 6:30 PM Exhibit Hall Session 1, Sunday, December 17, 2006 9:30 AM – 11:00 AM 1.1 Manchester A PEDAGOGY AND POLITICS: TEACHING ISRAEL AT NORTH AMERICAN UNIVERSITIES TODAY Chair: Rivka B. Kern-Ulmer (Bucknell University) Discussants: Donna R. Divine (Smith College) Jonathan Goldstein (University of West Georgia) Shirah Hecht (JESNA) Th eodore Sasson (Brandeis University/Middlebury College) David B. Starr (Hebrew College) 1.2 Betsy A/B SOCIAL SCIENCE AND TEACHING ABOUT AMERICAN JEWRY Chair: Paul Burstein (University of Washington) Discussants: Claude Fischer (University of California, Berkeley) Shaul Kelner (Vanderbilt University) Shelly Tenenbaum (Clark University) 1.3 Edward A/B WHAT DOES JEWISH PHILOSOPHY CONTRIBUTE? THE CASES OF LEVINAS AND STRAUSS Chair: Sarah Hammerschlag (Williams College) Discussants: Martin Kavka (Florida State University) Kenneth R. Seeskin (Northwestern University) Eugene Sheppard (Brandeis University) Respondent: Leora F. Batnitzky (Princeton University) 21 SUNDAY, DECEMBER 17, 2006 9:30 AM – 11:00 AM 1.4 Ford A/B ASSESSING THE CHARACTERISTICS OF SYNAGOGUE TRANSFORMATION Chair: Jack Wertheimer (Jewish Th eological Seminary) Stories from Shul Ari Y. -
The Emergence of Abstract Film in America Was Organized by Synchronization with a Musical Accompaniment
EmergenceFilmFilmFilmArchiveinArchivesAmerica, The Abstract Harvard Anthology Table of Contents "Legacy Alive: An Introduction" by Bruce Posner . ... ... ... ... ..... ... ... ... ... ............ ....... ... ... ... ... .... .2 "Articulated Light: An Appendix" by Gerald O'Grady .. ... ... ...... ... ... ... ... ... ... ... ...... ... ... ... ... ... .... .3 "Cinema as a An Form: Avant-Garde " Experimentation " Abstraction" by Vlada Petric .. ... 3 "A New RealismThe Object" by Fernand Leger ... ........ ... ... ... ...... ........ ... ... ... ... .... ... .......... .4 "True Creation" by Oskar Fischinger .. ..... ... ... ... ... .. ...... ... ....... ... ........... ... ... ... ... ... ....... ... ........4 "Observable Forces" by Harry Smith . ... ... ... ... ... ... ...... ... ... ... ... ......... ... ... ... .......... ...... ... ... ... ......5 "Images of Nowhere" by Raul Ruiz ......... ... ... ........ ... ... ... ... ... ...... ... ... ... ... ... ...... ... ... .... ... ... ... 5 `TIME. .. on dit: Having Declared a Belief in God" by Stan Brakhage ..... ...... ............. ... ... ... .. 6 "Hilla Rebay and the Guggenheim Nexus" by Cecile Starr ..... ... ...... ............ ... ... ... ... ... ... ... ...7 Mary Ellen Bute by Cecile Starr .. ... ... ... ... ...... ... ... ... ... ... ............ ... ...... ... ... ... ... ... ...... ... .............8 James Whitney studying water currents for Wu Ming (1973) Statement I by Mary Ellen Bute ... ... ... ... ... ... ... ... ... ... ... ...... ...... ... ... ...... ... ... ... ... .. -
Writing Communities: Aesthetics, Politics, and Late Modernist Literary Consolidation
WRITING COMMUNITIES: AESTHETICS, POLITICS, AND LATE MODERNIST LITERARY CONSOLIDATION by Elspeth Egerton Healey A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2008 Doctoral Committee: Associate Professor John A. Whittier-Ferguson, Chair Associate Professor Kali A. K. Israel Associate Professor Joshua L. Miller Assistant Professor Andrea Patricia Zemgulys © Elspeth Egerton Healey _____________________________________________________________________________ 2008 Acknowledgements I have been incredibly fortunate throughout my graduate career to work closely with the amazing faculty of the University of Michigan Department of English. I am grateful to Marjorie Levinson, Martha Vicinus, and George Bornstein for their inspiring courses and probing questions, all of which were integral in setting this project in motion. The members of my dissertation committee have been phenomenal in their willingness to give of their time and advice. Kali Israel’s expertise in the constructed representations of (auto)biographical genres has proven an invaluable asset, as has her enthusiasm and her historian’s eye for detail. Beginning with her early mentorship in the Modernisms Reading Group, Andrea Zemgulys has offered a compelling model of both nuanced scholarship and intellectual generosity. Joshua Miller’s amazing ability to extract the radiant gist from still inchoate thought has meant that I always left our meetings with a renewed sense of purpose. I owe the greatest debt of gratitude to my dissertation chair, John Whittier-Ferguson. His incisive readings, astute guidance, and ready laugh have helped to sustain this project from beginning to end. The life of a graduate student can sometimes be measured by bowls of ramen noodles and hours of grading.