Native of Earth: the Growth of Wallace Stevens
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Proquest Dissertations
UNIVERSITY OF LONDON THE POETIC OF GAIETY: WALLACE STEVENS’S THEORIES OF THE IMAGINATION A THESIS SUBMITTED IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH BY CHARTUREE TINGSABADH UNIVERSITY COLLEGE LONDON LONDON: SEPTEMBER, 1994 ProQuest Number: 10017166 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 10017166 Published by ProQuest LLC(2016). 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 This thesis examines Stevens’s evolving Modernist poetic: his thinking, both in poems and in explanatory prose, about the nature of poetic creativity, about the uses of language, and about the cultural function and value of poetry (what he called its ‘gaiety’). The method adopted is two-fold: 1) an examination of the ways in which Stevens transformed Romantic and Symbolist poetic tradition, incorporating (often in a significantly modified form) concepts developed by Valéry, Mauron, Focillon, Nietzsche, Whitehead, and Planck; 2) an assessment of the consequences of that incorporation for a critical understanding of poems written during each stage of his career. The thesis will trace the process by which concept becomes figure in the making of the poem, and is then reconceptualized in the act of reading. -
6 X 10.Long New.P65
Cambridge University Press 978-0-521-19086-2 - Wallace Stevens and the Aesthetics of Abstraction Edward Ragg Index More information Index abstraction Stevens’ embracing of 4, 77, 87, 97, 182, autotelic abstraction 213 184–5 and the bourgeois 5, 97, 107, 148, 162, 165, in Stevens’ later career 2–3, 99, 185, 209 167, 203, 231 Stevens’ modifying of 5, 11, 143, 165, 166, ‘cool’ and ‘warm’ abstraction 2, 5, 20, 24, 172, 174, 229 25, 167, 205, 213, 230 and textual speakers 4, 27, 55, 58, 60, 63, and domesticity 5, 25, 146, 210, 216, 218, 66–76, 77, 86, 87, 90, 95, 97, 98, 109, 220, 221, 223, 225, 229 110, 111, 112, 114, 118, 119, 121, 126, 127, expressions of 4, 25, 28, 210 131, 134, 135, 156, 229, See also idealist ‘I’ and gastronomy. See gastronomy and time 91, 102, 189–98 as generalization 18, 19, 23 and the visual 19, 26–7, 60, 76, 86, 94, 95–7 and the habitual 83, 94, 133, 227 Aestheticism 7 as human task 8, 26, 132, 179, 205, 229 Alcestis Press, The 31, 36, 49, 55, 56, 155 and idealism. See philosophy for ‘idealism’ Altieri, Charles 6, 23, 26–7, 28, 80, 134, 142 and inhumanity 8, 138, 203 Arensberg, Walter 218 and mediation 76, 94, 98, 134, 163, 170, 172, Ariadne 126, 127–9 174, 180, 183, 199 Armory Show, The 209, 212 and mental processes 5 Arnold, Matthew 80, 81 and metaphor 103, 176–8, 185–203 Arp, Jean 213–14 misunderstandings concerning 4, 9, 133 art and art-collecting. -
'Bordeaux to Yucatan': Stevens's French Connections Tony Sharpe
‘Bordeaux to Yucatan’: Stevens’s French Connections Tony Sharpe Complacencies of the peignoir, and late Coffee and oranges in a sunny chair, And the green freedom of a cockatoo Upon a rug… (CPP 53)1 I suppose that most Stevens aficionados know these lines by heart; and as the beginning of what is probably his most anthologised poem, they are likely also to be familiar to a broader readership. Familiarity may not breed contempt, in this instance, but it might desensitise us to what remains surprising about the opening of ‘Sunday Morning’. Stevens’s catalogue, starting with a pluralised abstract noun, ‘complacencies’, moving to more particularised items in a scene that still has about it a potential for being generalised (we all know, the inference seems to be, what it is to yield to that leisurely coffee, those oranges, that sun-warmed chair), then unexpectedly culminates in a specific that combines abstract with concrete, ‘the green freedom of a cockatoo/ Upon a rug’. This, as Keats said of his Grecian Urn, teases us into thought: is this exotic bird a released parrot or a figure in the carpet, and if the latter, in what sense is it free, and in what sense can its ‘freedom’ be ‘green’? If we think it is an actual cockatoo, then ‘green’ could be a transferred epithet, albeit one which retains some strangeness, by assigning colour to an abstract noun. All these items listed serve, we learn, to counteract ‘The holy hush of ancient sacrifice’: and so the poem goes on to explore the implications of its title. -
A Survey of Technologies for Building Collaborative Virtual Environments
The International Journal of Virtual Reality, 2009, 8(1):53-66 53 A Survey of Technologies for Building Collaborative Virtual Environments Timothy E. Wright and Greg Madey Department of Computer Science & Engineering, University of Notre Dame, United States Whereas desktop virtual reality (desktop-VR) typically uses Abstract—What viable technologies exist to enable the nothing more than a keyboard, mouse, and monitor, a Cave development of so-called desktop virtual reality (desktop-VR) Automated Virtual Environment (CAVE) might include several applications? Specifically, which of these are active and capable display walls, video projectors, a haptic input device (e.g., a of helping us to engineer a collaborative, virtual environment “wand” to provide touch capabilities), and multidimensional (CVE)? A review of the literature and numerous project websites indicates an array of both overlapping and disparate approaches sound. The computing platforms to drive these systems also to this problem. In this paper, we review and perform a risk differ: desktop-VR requires a workstation-class computer, assessment of 16 prominent desktop-VR technologies (some mainstream OS, and VR libraries, while a CAVE often runs on building-blocks, some entire platforms) in an effort to determine a multi-node cluster of servers with specialized VR libraries the most efficacious tool or tools for constructing a CVE. and drivers. At first, this may seem reasonable: different levels of immersion require different hardware and software. Index Terms—Collaborative Virtual Environment, Desktop However, the same problems are being solved by both the Virtual Reality, VRML, X3D. desktop-VR and CAVE systems, with specific issues including the management and display of a three dimensional I. -
Modernism from Right to Left: Wallace Stevens, the Thirties, and Radicalism
Syracuse University SURFACE The Courier Libraries Spring 1992 Modernism from Right to Left: Wallace Stevens, the Thirties, and Radicalism Alan Filres University of Pennsylvania Follow this and additional works at: https://surface.syr.edu/libassoc Part of the Arts and Humanities Commons Recommended Citation Filres, Alan, "Modernism from Right to Left: Wallace Stevens, the Thirties, and Radicalism" (1992). The Courier. 293. https://surface.syr.edu/libassoc/293 This Article is brought to you for free and open access by the Libraries at SURFACE. It has been accepted for inclusion in The Courier by an authorized administrator of SURFACE. For more information, please contact [email protected]. SYRACUSE UNIVERSITY LIBRARY AS SOC lATE S COURIER VOLUME XXVII, NUMBER 1, SPRING 1992 SYRACUSE UNIVERSITY LIBRARY ASSOCIATES COURIER VOLUME XXVII NUMBER ONE SPRING 1992 Modernism from Right to Left: Wallace Stevens, the Thirties, and Radicalism By Alan Filreis, Associate Professor ofEnglish, 3 University ofPennsylvania Adam Badeau's "The Story ofthe Merrimac and the Monitor" By Robert]. Schneller,Jr., Historian, 25 Naval Historical Center A Marcel Breuer House Project of1938-1939 By Isabelle Hyman, Professor ofFine Arts, 55 New York University Traveler to Arcadia: Margaret Bourke-White in Italy, 1943-1944 By Randall I. Bond, Art Librarian, 85 Syracuse University Library The Punctator's World: A Discursion (Part Seven) By Gwen G. Robinson, Editor, Syracuse University 111 Library Associates Courier News ofthe Syracuse University Library and the Library Associates 159 Modernism from Right to Left: Wallace Stevens, the Thirties, and Radicalism BY ALAN FILREIS Author's note: In writing the bookfrom which thefollowing essay is ab stracted, I need have gone no further than the George Arents Research Li brary. -
The Personal Interaction Panel
Scenegraphs and Engines Scenegraphs Application Scenegraph Windows/Linux OpenGL Hardware Vienna University of Technology 2 Scenegraphs Choosing the right libraries is a difficult process Very different target applications Different capabilities Underlying Graphics APIs Needs to fit the content pipeline Important for application development Not important for research (though convenient) Vienna University of Technology 3 Content Pipeline Choosing the right libraries is a difficult process Very different target applications Different capabilities Underlying Graphics APIs/Operating Systems Needs to fit the content pipeline Important for application development Not important for research (though convenient) Vienna University of Technology 4 Typical Content Pipeline We need: Content creation tools Exporters Scenegraph/ Engine MechAssault 2 content pipeline Vienna University of Technology 5 DCC tools Only “real” open source option: Blender Everything you need for Game/Movie production Modelling/Rigging Animation Rendering/Compositing Contains complete game engine+editor Fully integrated with UI Immense feature list causes steep learning curve! Vienna University of Technology 6 Blender Vienna University of Technology 7 Blender Vienna University of Technology 8 Wings3D Easy to use subdivion surface modeller Vienna University of Technology 9 Textures Gimp: Full featured image editing Vienna University of Technology 10 Scenegraphs/Engines Scenegraphs deal with Rendering Engines deal with Rendering Physics AI Audio Game logic … Vienna University of -
Place in the Poetry of Wallace Stevens and Robert Bringhurst
The “Cure of the Ground”: Place in the Poetry of Wallace Stevens and Robert Bringhurst by Kirsten Hilde Alm B.Sc., University of Saskatchewan, 2001 M.A., Trinity Western University, 2011 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY In the Department of English © Kirsten Hilde Alm, 2016 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photocopying or other means, without the permission of the author. ii The “Cure of the Ground”: Place in the Poetry of Wallace Stevens and Robert Bringhurst by Kirsten Hilde Alm B.Sc., University of Saskatchewan, 2001 M.A., Trinity Western University, 2011 Supervisory Committee Dr. Nicholas Bradley, Supervisor Department of English Dr. Iain Macleod Higgins, Departmental Member Department of English Dr. Margaret Cameron, Outside Member Department of Philosophy iii Abstract This study analyzes the Canadian poet, typographer, and translator Robert Bringhurst’s (b. 1946) extensive engagement with the poetry, poetics and metaphysical concerns of the American modernist poet Wallace Stevens (1879-1955). It asserts that Bringhurst’s poetry responds to Stevens’ poetry and poetics to a degree that has not previously been recognized. Although Bringhurst’s mature poetry—his works from the mid-1970s and after—departs from the obvious imitation of the elder poet’s writing that is present in his early poems, it continues to engage some of Stevens’ central concerns, namely the fertility of the liminal moment and/or space and a meditative contemplation of the physical world that frequently challenges anthropocentric narcissism. -
An Introduction to Computer Games Why Are They Important to Us All?
An Introduction to Computer Games Why Are They Important To Us All? Linux Users of Victoria Melbourne 2013 Andrew Pam Serious Cybernetics sericyb.com.au Introduction ● Computer games are a distinct medium of artistic expression like books, comics and films ● Now financially significant - US$66B global revenue in 2013 (Activision Blizzard US$5B); compare with film industry global theatrical revenue US$35B in 2012 ● Drives development of graphics hardware and software, and in earlier years also audio ● Good for you! (Therapy, mental wellbeing, socialisation, learning) Videogames and Wellbeing: A Comprehensive Review Overview ● Game types (platforms and purposes) ● Game genres ● Emulators and engines ● Game development ● Where to get Linux games ● More information Game types Platforms Purposes ● Desktop ● Advertising ● Mobile (handheld, ● Art phone and tablet) ● Education ● Console ● Entertainment ● Web ● Serious ● Arcade Game genres ● Action ● Puzzle ● Action-adventure ● Role-playing ● Adventure ● Simulation ● Classic (board, card) ● Sports ● Music ● Strategy ● Party ● Tactical ● Programming ● Trivia Action games ● Ball and paddle ● Beat 'em up (hand-to-hand), hack and slash (melee weapons) ● Fighting (one-on-one combat) ● Maze ● Pinball ● Platform ● Shooter: First-person, Massively Multiplayer Online (MMOFPS), Light gun, Arcade, Tactical, Rail, Third-person Adventure games ● Stealth ● Survival horror ● Text ● 2D graphical ● Visual novels ● Interactive movies ● Real-time 3D Role-playing games ● Western: non-linear storyline ● Japanese: typically -
Mapping Game Engines for Visualisation
Mapping Game Engines for Visualisation An initial study by David Birch- [email protected] Contents Motivation & Goals: .......................................................................................................................... 2 Assessment Criteria .......................................................................................................................... 2 Methodology .................................................................................................................................... 3 Mapping Application ......................................................................................................................... 3 Data format ................................................................................................................................... 3 Classes of Game Engines ................................................................................................................... 4 Game Engines ................................................................................................................................... 5 Axes of Evaluation ......................................................................................................................... 5 3d Game Studio ....................................................................................................................................... 6 3DVIA Virtools ........................................................................................................................................ -
Integration of a 3D Rendering Engine with a Physics Simulator
Universitat de Lleida Escola Politècnica Superior Màster en Enginyeria de Programari Lliure Treball de final de Màster Integration of a 3D rendering engine with a physics simulator Author: Alberto Montañola Lacort Directors: Carlos Ansótegui Gil Juan Manuel Gimeno Illa June 2009 Integration of a 3D rendering engine with a physics simulator Index 1.Introduction.........................................................................................9 1.1.Project Description.......................................................................9 1.2.Project Goals..............................................................................10 1.3.Document structure...................................................................10 2.Definitions, concepts and technology...............................................13 2.1.Definitions..................................................................................13 2.1.1.The scene............................................................................13 2.1.2.Scene Objects......................................................................14 2.2.Technologies...............................................................................18 2.2.1.The rendering engine..........................................................18 2.2.1.1.The rendering process..................................................19 2.2.1.2.Low level programing interfaces...................................20 2.2.1.3.High level programing interfaces..................................21 2.2.2.The input system.................................................................21 -
The Sensuous Order, Faith and Love in the Poetry of Wallace Stevens
Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School 8-1-1972 The eS nsuous Order, Faith and Love in the Poetry of Wallace Stevens Sheila Conway Western Kentucky University Follow this and additional works at: http://digitalcommons.wku.edu/theses Part of the English Language and Literature Commons Recommended Citation Conway, Sheila, "The eS nsuous Order, Faith and Love in the Poetry of Wallace Stevens" (1972). Masters Theses & Specialist Projects. Paper 1020. http://digitalcommons.wku.edu/theses/1020 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. THE SENSUOUS ORDER, FAITH, AND LOVE IN THE POETRY OF WALLACE STEVENS A Thesis Presented to the Faculty of the Department of English Western Kentucky University Bowling Green, Kentucky In Partial Fulfillment of the Requirenents for the Degree Master of Arts Sheila M. Conway August, 1972 THE SENSUOUS ORDER, FAITH, AND LOVE IN THE POETRY OF WALLACE STEVENS APPROVED 7 9 (Date) Director of Thesis 77? c T 0e&n of the Gradusrte College ACKNOWLEDGMENTS With gratitude I wish to express my appreciation for the encouragement and help received in the completion of my graduate studies and thesis to Dr. William E. McMahon, my director, to his wife and member of my com- mittee, Dr. Dorothy McMahon, and to Dr. Nancy Davis who very kindly and generously gave of her time in reading this thesis and serving as a member of my committee. -
A Modernist Dialectic: Stevens and Williams in the Poetry of Charles Tomlinson
CORE Metadata, citation and similar papers at core.ac.uk Provided by Durham Research Online A Modernist Dialectic: Stevens and Williams in the Poetry of Charles Tomlinson GARETH REEVES I. INTRODUCTION HARLES TOMLINSON WAS one of the most “Americanized” of the British poets to come to prominence in the twenty or so years Cfollowing the Second World War. As he describes in his book Some Americans: A Period Record (1981), his first full-scale collection (Seeing Is Believing, 1958) was published in New York after English publishers had rejected it (SA 13), and some feel Americans still take him to heart more readily than do the British. His relationship with American poetry is not easy to categorize, however. Most would agree with Alan Young’s assess- ment that Tomlinson’s poetry comes out of a productive tension between English and American, an “assimilation of some characteristics and qual- ities of American literary modernism to help shape a distinctively person- al yet essentially English voice and vision” (67). But if the role of American modernism in Tomlinson’s poetry is generally recognized, less readily acknowledged is the extent to which his poetry is informed, indeed haunt- ed, by the contradictions that are still being played out in the wake of that tradition. For this poet in “a state of mental emigration” (SA 12), America has provided the imaginative space to explore his own aesthetic allegiances. Nowhere is this more evident than in the presence in his poetry of those two opposed representatives of American poetic modernism, Wallace Stevens and William Carlos Williams.