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Poetry, Place, and Spiritual Practices by Katharine Bubel BA, Trinity
Edge Effects: Poetry, Place, and Spiritual Practices by Katharine Bubel B.A., Trinity Western University, 2004 M.A., Trinity Western University, 2009 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of English Katharine Bubel, 2018 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Edge Effects: Poetry, Place, and Spiritual Practices by Katharine Bubel B.A., Trinity Western University, 2004 M.A., Trinity Western University, 2009 Supervisory Committee Dr. Nicholas Bradley, Department of English Supervisor Dr. Magdalena Kay, Department of English Departmental Member Dr. Iain Higgins, Department of English Departmental Member Dr. Tim Lilburn, Department of Writing Outside Member iii Abstract "Edge Effects: Poetry, Place, and Spiritual Practices” focusses on the intersection of the environmental and religious imaginations in the work of five West Coast poets: Robinson Jeffers, Theodore Roethke, Robert Hass, Denise Levertov, and Jan Zwicky. My research examines the selected poems for their reimagination of the sacred perceived through attachments to particular places. For these writers, poetry is a constitutive practice, part of a way of life that includes desire for wise participation in the more-than-human community. Taking into account the poets’ critical reflections and historical-cultural contexts, along with a range of critical and philosophical sources, the poetry is examined as a discursive spiritual exercise. It is seen as conjoined with other focal practices of place, notably meditative walking and attentive looking and listening under the influence of ecospiritual eros. -
Sam Milne Agenda Talk
1 W S MILNE ‘Agenda Magazine, a Short History’ A talk given on 5 October 2019 at the Art Workers Guild, Queen Square, London to celebrate Agenda’s 60 th birthday “Cookson, OK. Stop Agenda with no.4 or 5!” This telegraphic instruction of Pound’s, thankfully, of course, William Cookson never heeded. We’re now on issue No.220 or thereabouts, I think – a Special Issue on Anglo- French Poetry in the pipeline, a reminder perhaps that Agenda has always had a global orientation, not merely a national one. Pound underestimated William’s obstinacy. Lord Gowrie (a long-time supporter of Agenda , and present here to speak after me) thought Mrs Thatcher the most stubborn individual he had ever met (whilst acting as Arts Minister in her Administration) that is, he confessed, until he met William Cookson. Ezra Pound’s role in founding Agenda has been well documented by William himself. In his introduction to Agenda’ s 21 st Anniversary Ezra Pound Special Issue he says: ‘Without the encouragement and generosity of Ezra Pound, Agenda would not have existed.’ He provides more details in his editorial introduction to Agenda: An Anthology: The First Four Decades 1959-1993 , where he states quite categorically: ‘The founder of Agenda was Ezra Pound,’ and proceeds to give us a potted history of the magazine’s genesis. Having started to read Pound at the age of fifteen, William reviewed Rock-Drill enthusiastically in the Westminster School magazine, The Trifler (of which he was a co- editor – running a magazine was in the family tradition, William’s father having founded English , the magazine of the English Association, in 1936). -
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. -
7. Roland Barthes, a Lover's Discourse, Fragments (I 977; Harmondsworth: Pen• Guin, 1990}
Notes Introduction Notes 1. Ron Silliman, "Language, Poetry, Realism," In the American Tree (Orono, ME: National Poetry Foundation, 1984), xix. 2. Silliman, "Language, Poetry, Realism," xvii. 3. Silliman, "Language, Poetry, Realism," xvi. 4. David Antin, "Modernism and Postmodernism: Approaching the Present in American Poetry," Boundary 2 1 (Fall1972}: 98-133. 5. See Plato, Symposium 184e-206a, trans. Benjamin Jowett, The Dialogues of Plato, 2nd ed., vol. 2 (Oxford: Clarendon, 1875), from which Zukofsky has lifted phrases and quotations to compose the bulk of the poem. For notes 5 and 6, I am grateful to Ian Tompkins of the University of Wales, Aberyst wyth, for his aid with finding these sources and his translation of the Greek. 6. For example, see Plato, Timaeus, trans. and ed. Rev. R G. Bury, Loeb Classical library (1929; London: Heinemann, 1966), 23b, 75e, 89d, or Plato, Laws, trans. and ed. Rev. R G. Bury, Loeb Classical library (London: Heinemann, 1952}, 716d, 870b, where the brightest and the best as a form of good is fre quently a phrase used by Athenians as a way of distinguishing themselves. 7. Roland Barthes, A Lover's Discourse, Fragments (I 977; Harmondsworth: Pen guin, 1990}. 8. Suzanne Clark has explored this sentimental discourse in relation to women's poetic modernism in Sentimental Modernism (Bloomington: University of Indiana Press, 1991}, in which she points out the way in which a "mascu line" modernism sought to repress the sentimental as a feminized discourse. She points to Ann Douglas' book, The Feminization ofAmerican Culture, as one example of the case against the sentimental in favor of a tough, Puritan critical reason. -
The Personal Poetics of Robert Lowell and Allen Ginsberg
MCNEES, MATTHEW J., Ph.D. Suffering and Liberation: The Personal Poetics of Robert Lowell and Allen Ginsberg. (2011) Directed by Drs. Keith Cushman and Anthony Cuda. 174 pp. This dissertation examines Robert Lowell and Allen Ginsberg’s personal poetry. While both poets attend to the random details of daily life, thereby establishing common ground as autobiographical writers, they differ markedly in their perspectives about the value of those details. Lowell possesses a stark, often nihilistic view, attesting to the irredeemable suffering of humanity; Ginsberg ascribes to a self-confident, sometimes larger-than-life persona, believing that complete freedom from fear is possible for everyone. My approach is roughly chronological, beginning when both poets committed themselves to personal, autobiographical poetry during the 1950s. The temporal frame of the study, with a few exceptions, spans from the early 1950s through the l970s. I give due attention to each poet’s “breakthrough” work in the 1950s--like Ginsberg’s Howl and Lowell’s Life Studies--but I also place both poets on a larger continuum that began before they wrote their breakthrough works and lasted beyond their initial success. I explain Lowell and Ginsberg’s place in the broader literary history of the modern poets that immediately preceded them. Each found the tenets of modern poetry limiting to his personal approach and found it necessary to resuscitate the value of individual, personal subjectivity, something that countered the prevailing notions of objective poetry as put forth most notably by T. S. Eliot. Lowell’s commitment to personal poetry came after he had already established his reputation in the 1940s, so his break into personal poetry was highly self-conscious; Ginsberg committed to it early and he never wavered in his approach. -
Women Editing Modernism: "Little" Magazines and Literary History
University of Kentucky UKnowledge Literature in English, North America English Language and Literature 1995 Women Editing Modernism: "Little" Magazines and Literary History Jayne Marek Franklin College Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Marek, Jayne, "Women Editing Modernism: "Little" Magazines and Literary History" (1995). Literature in English, North America. 13. https://uknowledge.uky.edu/upk_english_language_and_literature_north_america/13 \XlOMEN EDITING MODERNISM This page intentionally left blank ~OMEN EDITING MODERNISM "Little" Magazines & Literary History jAYNE E. MAREK THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1995 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine College, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Club, Georgetown College, Kentucky Historical Sociery, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. Editorial and Sales Offices: Lexington, Kentucky 40508-4008 Library of Congress Cataloging-in-Publication Data Marek, Jayne E., 1954- Women Editing Modernism : "little" magazines and literary history I Jayne E. Marek P· em. Includes bibliographical references and index. ISBN 0-8131-1937-5 (alk. paper). - ISBN 0-8131-0854-3 (alk. paper) 1. American literature-20th century-History and criticism. 2. Modernism (Literature)-United States. -
****************************W********************************** * Reproductions Supplied by EDRS Are the Best That Can Be Made * * from the Original Document
DOCUMENT RESUME ED 432 780 CS 216 827 AUTHOR Somers, Albert. B. TITLE Teaching Poetry in High School. INSTITUTION National Council of Teachers of English, Urbana, IL. ISBN ISBN-0-8141-5289-9 PUB DATE 1999-00-00 NOTE 230p. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 52899-0015: $14.95 members, $19.95 nonmembers). PUB TYPE Books (010) Guides - Classroom - Teacher (052) EDRS PRICE MF01/PC10 Plus Postage. DESCRIPTORS Class Activities; *English Instruction; High Schools; Internet; *Poetry; *Poets; Student Evaluation; Teaching Methods IDENTIFIERS Alternative Assessment ABSTRACT Suggesting that the teaching of poetry must be engaging as well as challenging, this book presents practical approaches, guidelines, activities, and scenarios for teaching poetry in high school. It offers 40 complete poems; a discussion of assessment issues (including authentic assessment); poetry across the curriculum; and addresses and annotations for over 30 websites on poetry. Chapters in the book are (1) Poetry in America; (2) Poetry in the Schools;(3) Selecting Poetry to Teach;(4) Contemporary Poets in the Classroom;(5) Approaching Poetry;(6) Responding to Poetry by Talking;(7) Responding to Poetry by Performing;(8) Poetry and Writing; (9) Teaching Form and Technique;(10) Assessing the Teaching and Learning of Poetry;(11) Teaching Poetry across the Curriculum; and (12) Poetry and the Internet. Appendixes contain lists of approximately 100 anthologies of poetry, 12 reference works, approximately 50 selected mediaresources, 4 selected journals, and 6 selected awards honoring American poets. (RS) *********************************************w********************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document. -
City Poems and Urban Crisis, 1945 - Present
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 City Poems And Urban Crisis, 1945 - Present Jeffrey Nathan Mickelson City University of New York, Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1215 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] CITY POEMS AND URBAN CRISIS, 1945 – PRESENT by JEFFREY NATHAN MICKELSON 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 2016 ii © 2016 JEFFREY NATHAN MICKELSON All Rights Reserved iii This manuscript has been read and accepted by the Graduate Faculty in English to satisfy the dissertation requirement for the degree of Doctor of Philosophy. JEFFREY NATHAN MICKELSON November 13, 2015 AMMIEL ALCALAY Chair of Examining Committee November 13, 2015 MARIO DIGANGI Executive Officer AMMIEL ALCALAY, PROFESSOR OF COMPARATIVE LITERATURE THOMAS ANGOTTI, PROFESSOR OF URBAN AFFAIRS AND PLANNING DAVID RICHTER, PROFESSOR OF ENGLISH Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract CITY POEMS AND URBAN CRISIS, 1945 – PRESENT by Jeffrey Nathan Mickelson Adviser: Professor Ammiel Alcalay City Poems proposes that twentieth-century American city poets hold important concerns, commitments, and strategies in common with urban theorists and city planners. The study situates canonical and lesser-read city poetry, including work by William Carlos Williams, Charles Olson, Allen Ginsberg, George Oppen, Gwendolyn Brooks, and Wanda Coleman, among others, in relation to discourses of urban crisis. -
THE MESSIANIC TURN in POSTWAR AMERICAN POETRY by Patrick
WRITING THE DISASTERS: THE MESSIANIC TURN IN POSTWAR AMERICAN POETRY by Patrick John Pritchett B.A., University of Colorado, 2001 M.A., University of Colorado, 2004 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of English 2011 This thesis entitled: Writing the Disasters: The Messianic Turn in Postwar American Poetry written by Patrick John Pritchett has been approved for the Department of English __________________________________ Jeremy Green __________________________________ Karen Jacobs Date _____________ The final copy of this thesis has been examined by the signatories, and we find that both content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. iii Pritchett, Patrick John (Ph.D., English) The Writing of the Disasters: The Messianic Turn in Postwar American Poetry Thesis directed by Associate Professor Jeremy Green Writing the Disasters: The Messianic Turn in Postwar American Poetry looks at how postwar avant-garde poets adopt Jewish textual tropes in their search for forms capable of regenerating the ruins of language after the catastrophe of Auschwitz. This study will show how three major postwar poets, George Oppen, Michael Palmer, and Rachel Blau DuPlessis, employ these tropes to critique the culture of disaster, from the Holocaust to the Cold War‘s perpetual state of emergency. Working within the Objectivist tradition of adherence to things through rigorous perception, each poet stakes his or her claim for radical form‘s ethical engagement with history as outlined by Theodor Adorno‘s call for a new categorical imperative after Auschwitz: nothing less than the interruption of the hypnotic spell wrought by the homogeneity of everyday speech and kept intact by the logic of the disaster. -
A Daoist Perspective on George Oppen's
A DAOIST PERSPECTIVE ON GEORGE OPPEN’S POETRY AND POETICS by XIAOSHENG YANG HANK LAZER, COMMITTEE CHAIR PHILIP BEIDLER HEATHER WHITE EMILY WITTMAN THOMAS FOX A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2016 Copyright Xiaosheng Yang 2016 ALL RIGHTS RESERVED ABSTRACT I use Daoist principles of ontological simplicity and the unmediated relationship between man and the ten thousand things to analyze George Oppen’s poems and poetics. First, I conduct a survey of the current state of American poetry studies and Oppen studies in China. Second, I examine Oppen’s poetics of “a language of silence.” Third, I seek the compatibility between the two Daoist principles and Oppen’s poetic philosophy of silence and clarity. Fourth, I interpret Oppen’s representative poems, particularly his only long poem, “Of Being Numerous” through a Daoist perspective. Finally, I analyze two Chinese scholars’ translations of the first section of “Route,” and I also give an account on how I translate “Of Being Numerous” into Chinese. ii ACKNOWLEDGMENTS I would first like to thank my supervisor, Hank Lazer, who has taken the time and effort to be an instrumental part of this process. Without his extensive support and continuous encouragement, this dissertation would not have been possible. My sincere thanks also go out to Philip Beidler for his unconditional help in my academic progress. I am indebted to Thomas Fox. He allowed me to teach as a graduate teaching assistant at the Department of Modern Languages and Classics so that I could have the funds to carry out this research. -
The Critical Study CHARLES TOMLINSON: POET OF
University of South Wales 2053096 The Critical Study CHARLES TOMLINSON: POET OF ENCOUNTER by Alex Smith Submitted for the degree of M Phil Portfolio in Writing School of Humanities and Social Sciences University of Glamorgan Tutor: Matthew Francis May 2001 (Length: 11,590 words) CHARLES TOMLINSON: POET OF ENCOUNTER 1. Introduction - the discovery of Tomlinson's poetry I first discovered Charles Tomlinson's poetry in 1970 when reading the volumes A Peopled Landscape and The Way of a World. 1 To one whose reading of contemporary poetry had centred on Robert Lowell, Sylvia Plath and Ted Hughes, the poems contained in these books came as something of a surprise. They had a coolness and objectivity about them - the poet was allowing natural phenomena and objects their own ground, their own right of being, as it were. I noticed, too, how the poems frequently concentrated on relationships between phenomena and how those relationships changed with the shifting light, took on a new appearance: 'an undulation of aspens along the slope / Is turning the wind to water and to light'.2 Paradoxically, the shifting, changing world of phenomena that surrounds us is the only constant. In observing the world this way, the poet was free from the impositions of the dominating self. There was no thrusting forward of the poet, no 'see here' or 'this is what I felt'. In these two volumes I had discovered a poet of encounter. Tomlinson's work does not explore his personal life - he does not place himself at the centre of his poetic universe. Preferring to engage the world about him, he explores its multifarious forms and shows us what it is like to encounter the world free of solipsism. -
And Twenty-First-Century Poetry Abstract This Article Begins by Noting T
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by St Andrews Research Repository New Old English: The Place of Old English in Twentieth- and Twenty-first-Century Poetry Abstract This article begins by noting that the narrative coherence of literary history as a genre, and the inclusions and exclusions that it is forced to make, depend on the often unacknowledged metaphors that attend its practice. Literary history which is conceived as an unbroken continuity (‘the living stream of English’) has found the incorporation of Old English (also called Anglo-Saxon) to be problematic and an issue of contention. After surveying the kind of arguments that are made about the place of Old English as being within or without English literary tradition, this article notes that a vast body of twentieth and twenty-first century poetry, oblivious to those turf-wars, has concerned itself with Old English as a compositional resource. It is proposed that this poetry, a disparate and varied body of work, could be recognized as part of a cultural phenomenon: ‘The New Old English’. Academic research in this area is surveyed, from the 1970s to the present, noting that the rate of production and level of interest in New Old English has been rapidly escalating in the last decade. A range of poets and poems that display knowledge and use of Old English largely overlooked by criticism to date is then catalogued, with minimal critical discussion, in order to facilitate further investigation by other scholars. This essay argues that the widespread and large-scale reincorporation of an early phase of English poetic tradition, not in contiguous contact with contemporary writing for so many centuries, is such an unprecedented episode in the history of any vernacular that it challenges many of the metaphors through which we attempt to pattern texts into literary historical narrative.