Some forms of literature interfere with the workings of the literate brain, posing a challenge to readers of all kinds, including professional literary critics. In Artefacts of Writing, Peter D. McDonald argues they pose as much of a challenge to the way states conceptualise language, culture, and community. Drawing on a wealth of evidence, from Victorian scholarly disputes over the identity of the English language to the constitutional debates about its future in Ireland, India, and South Africa, and from the quarrels over the idea of culture within the League of Nations in the interwar years to UNESCO's ongoing struggle to articulate a viable concept of diversity, McDonald brings together a large ensemble of legacy writers, including T.S. Eliot, James Joyce, and Rabindranath Tagore, putting them in dialogue with each other and with the policy-makers who shaped the formation of modern states and the history of internationalist thought from the 1860s to the 1940s. In the second part of the book, he reflects on the continuing evolution of these dialogues, showing how a varied array of more contemporary writers from Amit Chaudhuri, J. M. Coetzee, and Salman Rushdie to Antjie Krog, Arvind Krishna Mehrotra, and Es'kia Mphahlele cast new light on a range of questions concerning education, literacy, human rights, translation, indigenous knowledge, and cultural diversity that have preoccupied UNESCO since 1945. At once a novel contribution to institutional and intellectual history and an innovative exercise in literary and philosophical analysis, Artefacts of Writing affords a unique perspective on literature's place at the centre of some of the most fraught, often lethal public controversies that defined the long-twentieth century and that continue to haunt us today
T. S. Eliot memorably said that separation of the man who suffers from the mind that creates is the root of good poetry. This book argues that this is wrong. Beginning from Virginia Woolf's 'On Being Ill', it demonstrates that modernism is, on the contrary, invested in physical illness as a subject, method, and stylizing force. Experience of physical ailments, from the fleeting to the fatal, the familiar to the unusual, structures the writing of the modernists, both as sufferers and onlookers. Illness reorients the relation to, and appearance of, the world, making it appear newly strange; it determines the character of human interactions and models of behaviour. As a topic, illness requires new ways of writing and thinking, altered ideas of the subject, and a re-examination of the roles of invalids and carers. This book reads the work five authors, who are also known for their illness, hypochondria, or medical work: D. H. Lawrence, Virginia Woolf, T. S. Eliot, Dorothy Richardson, and Winifred Holtby. It overturns the assumption that illness is a simple obstacle to creativity and instead argues that it is a subject of careful thought and cultural significance.
Our Conrad is about the American reception of Joseph Conrad and its crucial role in the formation of American modernism. Although Conrad did not visit the country until a year before his death, his fiction served as both foil and mirror to America's conception of itself and its place in the world. Peter Mallios reveals the historical and political factors that made Conrad's work valuable to a range of prominent figures—including Fitzgerald, Faulkner, Richard Wright, Woodrow Wilson, and Theodore and Edith Roosevelt—and explores regional differences in Conrad's reception. He proves that foreign-authored writing can be as integral a part of United States culture as that of any native. Arguing that an individual writer's apparent (national, gendered, racial, political) identity is not always a good predictor of the diversity of voices and dialogues to which he gives rise, this exercise in transnational comparativism participates in post-Americanist efforts to render American Studies less insular and parochial.
Do we want to read poetry, or just like having a few poets to talk about? The history of poetry in twentieth-century Britain and Ireland is one which ends with the assimilation of successful poets into a media culture; it is also, however, another history, one of form and authority, in which certain poets found modes and pitches of resistance to the seeming inevitabilities of their times. In this history, it is the authority of poetry (and not the media-processed poet) which is at stake in the integrity of poetic form. Serious Poetry: Form and Authority from Yeats to Hill offers a controversial reading of twentieth-century British and Irish poetry centred on six figures, all of whom are critics as well as poets: W. B. Yeats, T. S. Eliot, W. H. Auden, Louis MacNeice, Seamus Heaney, and Geoffrey Hill. Yeats's centrality to twentieth-century poetry - and the problem many poets and critics had, or still have, with that centrality - is a major focus of the book. Serious Poetry argues that it is in the strengths, possibilities, perplexities, and certainties of the poetic form that poetry's authority in a distrustful cultural climate remains most seriously alive.
Live performance has changed poetry more than anything else in the last hundred years: it has given poets new audiences and a new economy, and it has generated new styles, from Imagism, to confessional, to contemporary Spoken Word. But the creative impact that public reading had right through the twentieth century has not been well understood. Mixing close listening to archive performances with intimate histories of modernist venues and promotors, The Poetry Circuit tells the story of how poets met their audience again, and how the feedback loops between their voices, the venues, and the occasions turned poems into running dramas between poet and listener. A nervous T. S. Eliot reveals himself to be anything but impersonal, while Marianne Moore's accident-prone readings become subtle ways of keeping her poems in constant re-draft. Robert Frost used his poems to spar with his fans and rivals, while Langston Hughes wrote Ask Your Mama to expose the prejudice circulating in the room as he spoke it. The Poetry Circuit also shows how the post-war reading boom made new kinds of poetry involving their audience and setting in the performance, such as John Ashbery's anti-charismatic Poets' Theatre, Amiri Baraka's documentary soundtracks of the streets, or the confessional readings of Allen Ginsberg, which shame the listeners more than the poet. Covering the first seventy years of the poetry reading, The Poetry Circuit demonstrates that there never were 'page' and 'stage' poets: the reading simply changed what every modern poet could do.
The extent of John Ruskin's influence has long been acknowledged, though his impact on the development of Anglo-American modernism has received little systematic attention. In this volume, published to mark the centenary of Ruskin's death, a group of international scholars consider what is often an awkward and conflicted relation. Ruskin's voluminous writings are seen to shelter an incipient modernism whose antipathy to a degraded modernity, powerfully predicts a major current within the work of the new century.
The Ground of Our Beseeching: Metaphor and the Poetics of Meditation describes the signature styles of meditation in three American poets, and shows how each generated language out of spiritual yearning. The author's inquiry in this area grew out of an interest in the interplay of creativity, language, and religion, and a need to know, as both critic and practicing poet, how metaphor arises, particularly in the context of poetry which hearkens after the sacred. How far, in other words, has metaphor taken some of our central poets - T. S. Eliot, Wallace Stevens, and Theodore Roethke - in matters of belief? No other critique of American poetry, prior to this study, has systematically linked the idea of the sacred with the practice of metaphor. Nor has a compelling case been made, until now, for viewing meditation, a style of thinking close to prayer, as the source or "ground" of these poets."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Victorian Fetishism argues that fetishism was central to the development of cultural theory in the nineteenth century. From 1850 to 1900, when theories of social evolution reached their peak, European intellectuals identified all "primitive" cultures with "Primitive Fetishism," a psychological form of self-projection in which people believe everything in the external world—thunderstorms, trees, stones—is alive. Placing themselves at the opposite extreme of cultural evolution, the Victorians defined culture not by describing what culture was but by describing what it was not, and what it was not was fetishism. In analyses of major works by Matthew Arnold, George Eliot, and Edward B. Tylor, Peter Melville Logan demonstrates the paradoxical role of fetishism in Victorian cultural theory, namely, how Victorian writers projected their own assumptions about fetishism onto the realm of historical fact, thereby "fetishizing" fetishism. The book concludes by examining how fetishism became a sexual perversion as well as its place within current cultural theory.
The works of Lord Byron and his friend Sir Walter Scott had an influence on European literature which was immediate and profound. Peter Cochran’s book charts that influence on France, Germany, Italy, Spain, Poland and Russia, with individual chapters on Goethe, Pushkin, and Baudelaire – and one special chapter on Ibsen, who called Peer Gynt his Manfred. Cochran shows that, although Byron’s best work is his satirical writing, which is aimed in part at his earlier “romantic” material and its readership, his self-correction was not taken on board by many European writers (Pushkin being the exception), and it was the gloomy Byronic Heroes who held sway. These were often read as revolutionaries, but were in fact dead-end. It was a mythical, not a literary Byron whom people thought they had read. The book ends with chapters on three British writers who seem at last to have read Byron, in their different ways, accurately – Eliot, Joyce, and Yeats.
The author of the bestseller Freud presents a close examination of the aggression--and debate about aggression--that raged through the Victorian Age. Gay looks at the works of such figures as Theodore Roosevelt and Nietzsche to present penetrating new insights.
With the same sweep, authority, and originality that marked his best-selling Freud: A Life for Our Time, Peter Gay here takes us on a remarkable journey through middle-class Victorian culture. Gay's search through middle-class Victorian culture, illuminated by lively portraits of such daunting figures as Bismarck, Darwin and his acolytes, George Eliot, and the great satirists Daumier and Wilhelm Busch, covers a vast terrain: the relations between men and women, wit, demagoguery, and much more. We discover the multiple ways in which the nineteenth century at once restrained aggressive behavior and licensed it. Aggression split the social universe into insiders and outsiders. "By gathering up communities of insiders," Professor Gay writes, the Victorians "discovered--only too often invented--a world of strangers beyond the pale, of individuals and classes, races and nations it was perfectly proper to debate, patronize, ridicule, bully, exploit, or exterminate." The aggressions so channeled or bottled could not be contained forever. Ultimately, they exploded in the First World War.
Provides an introduction to the life and works of Ezra Pound, a major modernist poet, theorist and literary critic. Throughout his life Pound was regarded by many to be a contentious and controversial figure, and since his death in 1972, theoretical, literary, political and biographical comentators have done much to perpetuate this view. Peter Wilson's survey, however, presents a balanced view of his life and work allowing the reader to judge for themselves. The major sections of the book offer introductions to the complex life and work of Pound, outlining the various cultural, political and literary issues which are important to a full understanding of his place in twentieth century English literature. Critical commentaries are then given on all of Pound's major poetry, adopting some analytical techniques from stylistics. Brief biographies of important figures in Pound's career, and in the development of literary modernism are provided. A gazeteer, glossary, and suggestions for further reading complete the book.
Turning the tables on the misconception that Ezra Pound knew little Greek, this volume looks at his work translating Greek tragedy and considers how influential this was for his later writing. Pound's work as a translator has had an enormous impact on the theory and practice of translation, and continues to be a source of heated debate. While scholars have assessed his translations from Chinese, Latin, and even Provençal, his work on Greek tragedy remains understudied. Pound's versions of Greek tragedy (of Aeschylus' Agamemnon, and of Sophocles' Elektra and Women of Trachis) have received scant attention, as it has been commonly assumed that Pound knew little of the language. Liebregts shows that the poet's knowledge of Greek was much more comprehensive than is generally assumed, and that his renderings were based on a careful reading of the source texts. He identifies the works Pound used as the basis for his translations, and contextualises his versions with regard to his biography and output, particularly The Cantos. A wealth of understudied source material is analysed, such as Pound's personal annotations in his Loeb edition of Sophocles, his unpublished correspondence with classical scholars such as F. R. Earp and Rudd Fleming, as well as manuscript versions and other as-yet-unpublished drafts and texts which illuminate his working methodology.
This introduction to practicing literary theory is a reader consisting of extracts from critical analyses, largely by 20th century Anglo-American literary critics, set around major literary texts that undergraduate students are known to be familiar with. It is specifically targeted to present literary criticism through practical examples of essays by literary theorists themselves, on texts both within and outside the literary canon. Four example essays are included for each author/text presented.
The essays collected here deal with modernist writers who, on the whole, felt 'reluctant' about their modernist status because they believed that it was just as important to look backward as it was to look forward. Indeed, for most of them looking backward was more important because it was only through the past that one could understand one's proper place in the present and in the future. That is why in Huxley's Brave New World it is the rejection of the past in the future - and by implication in the present - that makes its satire so penetrating. Modernism, in other words, means for these writers not a radical break with the past but a continuing search for what still connects them (and us) vitally with it. Peter Firchow, Professor of English at the University of Minnesota, is the author of several books on modern and modernist literary subjects, including books on Huxley, Conrad, and Auden. The publication of some of his hitherto uncollected essays in this volume is intended to honor
Examines both the differences and the continuity between the early and late work of American thriller writer Ambler, and considers the five novels, published under the name Eliot Reed, that he wrote with Australian writer Charles Rodda. Paper edition (unseen), $15.95. Annotation copyright by Book News, Inc., Portland, OR
Acclaimed cultural historian Peter Gay traces and explores the rise of artistic Modernism, the cultural movement that heralded and shaped the modern world, dominating western high culture for over a century.
Stubborn Poetries is a study of poets whose work, because of its difficulty or simple resistance to conventional explication, remains more or less firmly outside the canon. Book jacket.
Building upon his earlier book The Death of the German Cousin (1986), renowned author Peter Edgerly Firchow focuses Strange Meetings on major modern British writers from Eliot to Auden and explores the development of British conceptions and misconceptions of Germany and Germans from 1910 to 1960.
This book offers something new, a full-length study of printing Anglo-Saxon (Old English) from 1566 to 1705, combining analysis of content and form of production. It starts from the end-product and addresses the practical issues of providing for printing Anglo-Saxon authentically, and why this was done. The book tells a story that is largely Cambridge-orientated until Oxford made an impact, largely thanks to Franciscus Junius from Leiden. There is a catalogue of all books containing Anglo-Saxon, with full details of their use of manuscript or printed sources. This information allows us to see how knowledge of Anglo-Saxon grew and developed.
The English in Mind Combos offer flexibility in a contemporary English course for teenagers. Each Combo contains eight Student's Book units with the corresponding Workbook material grouped into two modules, and offers approximately 40 to 45 hours of classwork. Clear learning objectives at the beginning of each module, plus 'Check your Progress' sections at the end, help students and teachers plan learning more effectively. There are free Audio CDs/CD-ROMs combining an interactive CD-ROM and audio material. The English in Mind Combos can be used with mixed-ability classes. Combo Starter A is for complete beginners. Combos 1A and 1B are for elementary students; 1A contains a 16-page starter section to review key language. Combos Levels 2A, 2B, 3A and 3B take students from pre-intermediate to intermediate level.
The architects Cross & Cross shaped the streetscape and skyline of New York City in the 1920s and 1930s with Upper East Side townhouses and apartment buildings, the RCA Victor Building, and Tiffany’s flagship store on 57th Street. Working through a period of American history that saw dramatic change, from luxurious apartment buildings during the economic boom of the 1920s, to federal commissions during the Depression, the brothers John and Eliot Cross were masters of their craft. Well-connected society men who also showed remarkable foresight in business, Cross & Cross supported their practice with a partnered real estate firm and played a vital role in residential developments like Sutton Place along the East River. Cross & Cross oversaw the development of handsome clubs and houses throughout New York City, including the Links Club and the Upper East Side houses of Lewis Spencer Morris and George Whitney. They designed country houses in exclusive residential pockets outside New York—the Southampton estate of Winterthur founder Henry Francis du Pont; houses on the North Shore of Long Island, and in Greenwich, Connecticut; the childhood home of Sister Parish in Far Hills, New Jersey; and the Shelburne, Vermont home of J. Watson and Electra Webb. In this first book to collect the achievements of Cross & Cross, Peter Pennoyer and Anne Walker present a comprehensive monograph of the firm’s work, with more than 300 illustrations both historic and new and a catalogue raisonné of their projects.
This study offers a fresh approach to the theory and practice of poetry criticism from a narratological perspective. Arguing that lyric poems share basic constituents of narration with prose fiction, namely temporal sequentiality of events and verbal mediation, the authors propose the transgeneric application of narratology to the poetic genre with the aim of utilizing the sophisticated framework of narratological categories for a more precise and complex modeling of the poetic text. On this basis, the study provides a new impetus to the neglected field of poetic theory as well as to methodology. The practical value of such an approach is then demonstrated by detailed model analyses of canonical English poems from all major periods between the 16th and the 20th centuries. The comparative discussion of these analyses draws general conclusions about the specifics of narrative structures in lyric poetry in contrast to prose fiction.
This book is not a "survey" or a guide to all or even most of Auden's poetry, though it does follow the general outlines of Auden's development as a poet and thinker."--BOOK JACKET.
The man Time magazine hailed as one of America's finest preachers presents a collection of forty timeless addresses to guide us through the year. With his characteristic eloquence and compassion, quoting from scripture as well as from T.S. Eliot and Woody Allen, Gomes offers us the tools we need to understand the wisdom of the Bible and the joy and inspiration it can bring to everyday life.
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