The Works of Walt Whitman


Author: Walt Whitman
Publisher: Wordsworth Editions
ISBN: 9781853264337
Category: Poetry
Page: 557
View: 2233

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Offers poetry selections from the nineteenth-century American master.

Grashalme

(Auswahl)
Author: Walt Whitman
Publisher: BoD – Books on Demand
ISBN: 3843015430
Category: Poetry
Page: 116
View: 2275

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Walt Whitman: Grashalme. (Auswahl) Erstdruck der ersten Version (anonym im Selbstverlag): Brooklyn, New York 1855. Die Ausgabe wurde in den folgenden 8 Auflagen immer wieder erweitert. Die endgültige Version der Sammlung erschien als Ausgabe letzter Hand: Philadelphia (David McKay) 1891/92. Der Text der hier vorliegenden Auswahl folgt der Übers. v. Wilhelm Schölermann. Vollständige Neuausgabe mit einer Biographie des Autors. Herausgegeben von Karl-Maria Guth. Berlin 2016. Textgrundlage ist die Ausgabe: Whitman, Walt: Grashalme. Übers. v. Wilhelm Schölermann, Leipzig: Eugen Diederichs, 1904 Die Paginierung obiger Ausgabe wird in dieser Neuausgabe als Marginalie zeilengenau mitgeführt. Umschlaggestaltung von Thomas Schultz-Overhage unter Verwendung des Bildes: Thomas Eakins, Porträt von Walt Whitman, 1887-88. Gesetzt aus der Minion Pro, 11 pt.

The Collected Poems of William Wordsworth


Author: William Wordsworth
Publisher: Wordsworth Editions
ISBN: 9781853264016
Category: Poetry
Page: 906
View: 4990

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Poems written in youth - Poems referring to the period of childhood - Poems of the imagination - Sonnets - Memorials of tours - Ecclesiastical sonnets - Epitaphs - Inscriptions.

Revisiting Modernism

Special Issue from the Spring Magazine on English Literature
Author: Maria-Ana Tupan
Publisher: Aesthetics Media Services
ISBN: N.A
Category:
Page: N.A
View: 1532

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By shifting the centre of gravity from author to reader, Roland Barthes had certainly prepared us for a Copernican turn in aesthetics, yet Michael J. Pearce’s Art in the Age of Emergence still sounds unfamiliar two years after its publication. While acknowledging the existence of homologies among the art objects of a cultural phase, the Californian academic also launches an explanatory hypothesis:”I realized that in order to understand art, instead of looking for the similarities between the paintings and the sculptures we have to look at the similarities between the people looking at them. Art is better explained by looking at how the mind works than by looking at the products of mind.”(XV). The substitution of the phenomenology of mind for the phenomenology of the work of art can only have a partial contribution to the understanding of period terms, yet not devoid of relevance. The numerous studies in modernism published of late, for instance, are revisionary, the changing views being motivated by the new historical context rather than by a new assessment of forms. The mind turns out to be working acording to the critical theory it has been exposed to or which it has freely embraced. Relegated to the status of socio-political movement without aesthetic significance since 1939, when Clement Greenberg associated it with kitsch, to Renato Poggioli, Peter Bürger or Christopher Butler (Early Modernism: Literature, Music, and Painting in Europe, 1900-1916, 1994), the avant-garde came to be enshrined as the weightiest artistic phenomenon and “the last post of modernism” by Richard Sheppard in Modernism-Dada-Postmodernism (2000), who joined thus a new party of postmodern critics, among whom, Linda Hutcheon, who see the historical avant-garde as the generative matrix of the post-war literature in the 50s and the 60s, stretching the term to include the French nouveau roman or the Tel Quel. Quoted by Sheppard on Marx’s Communist Manifesto being “the first great modernist work of art”, Marshall Berman (All That Is Solid Melts into Air, 1982) too welcomes modernism into the sixties and seventies. Titles, such as, Avant Garde and After: Rethinking Art Now, by Brandon Taylor, have tilted the scales measuring modernism against the avant-garde into a more balanced position, even if also the leads of the earlier twentieth century have been the object of New-Historicist and culturalist approaches that corrected the Axel Castle icon of egocentric aloofness through readings that evinced the substantial presence of history in the writings of Woolf, Joyce or D. H. Lawrence. With interdisicplinarity the latest buzz word in the academic world, lots of studies have been dedicated to the influence of Non-Euclidian Geometry, relativity and quantum physics on modernist art, for instance, Surrealism, Art and Modern Science. Relativity, Quantum Mechanics,Epistemology by Gavin Parkinson (2008). The most spectacular renovation has probably been undergone by no other than Charles Baudelaire, the founding father, who has been removed from his site with transcendent flavours and symbolic correspondences and inserted into the phantasmagoric pre-cinematic media world : Marit Grotta: Baudelaire's Media Aesthetics (The Gaze of the Flâneur and 19-th Century Media). If we travel back in time to get a feeling of what modernists saw in each other and compare their vision with such contemporary framing, we realize to what extent the history of reception modifies the history of composition. Mina Loy’s ekphrasis of sculptor Brancusi’s Golden Bird, for instance, conveys the modernist artist’s infatuation with archetypes, tropes of immaculate conception, “breast of revelation”or hyperaesthesia – the alchemy whereby the senses projected a secondary reality of mixed perceptions. Is there a possibility to negotiate meanings when talking to the dead, as Stephen Greenblatt has put it in the opening of Shakespearean Negotiations? Used also by Ayendy Bonifacio in his essay on Hart Crane,” interliterariness” is a middle-European term for what Russian semioticians or French and American social critics or American New Historicists had already attempted to achieve: an archeology of meaning, a history and a philosophy of culture that help the visitor of past ages assess meaning and value. The more elements of a culture’s codes are absorbed into an art object, the more representative and valuable is its testimony in the history of the spirit. Understanding such ”serious and heavy” codes, as Pound dubbed them, takes longer, studies of a work’s genealogy bringing it to light in all its complexity. The history of literature is replete with such novas, Irish Flann O’Brien, whose works are an ark of his time’s literary, aesthetic, scientific or political ideas, is the revelation of the last decade, emerging almost out of anonymity thanks to systematic research initiated by a team coordinated by Professor Werner Huber from the University of Vienna. Whether the Virgilian guide be New Historicist Greenblatt, or, as suggested by Professor Sachin C. Ketkar in his essay, Lotman’s semiotics or Dionyz Durisin’s study of the discursive exchanges of semantic energy across national boundaries, it becomes possible, for instance, to read Mardhekar in the context of the international modernist movements and in light of ”interliterary ‘genetic-contactual relations’ instead of the idea of ‘influence’ which invariably brings in normative hierarchy between the influencer and the influenced, placing the latter on a lower or secondary position.” In the beginning, building international communities was indeed a matter of hierarchies of power. Japan or China were forced to open their harbours to international trade, coming out of their ancestral isolation, while the Macaulay law forced Indians into chimeric native bodies and Emglish minds. Merchants or colonizers, however, opened the way to enlightened politicians, scientists or artists. In his History of Romanian Civilization, Eugen Lovinescu, critic and editor of the earlier twentieth century, distinguishes between evolutionary and revolutionary models of culture. The major cultures know a continuous and organic growth, whereas minor ones, lured by centres of influence, break off abrupty from their traditions borrowing foreign models. That is why it is easy to date period terms in the latter, whereas the former have very discreet lines of demarcation. Ezra Pound’s manifesto of imagism, for instance, is heavily indebted to Alfred Binet’s model of reasoning through associations of images instead of syllogisms, but ahead of Binet there was Herbart, and before Herbart, Kant, who had borrowed ideas for his Anthropology from David Hume ... It is again the constitution of homologies across disciplinary spheres and reciprocal loans that allow an observer to identify a territorialization, as Deleuze calls it, that is, a distinct type of culture. Politically speaking, modernism begins with Baudelaire’s declaration of war on the bourgeois: “Vous êtes la majorité, – nombre et intelligence ; – donc vous êtes la force, – qui est la justice.”(You are the majority - in number and intelligence; therefore you are the force – which is justice – Salon de 1846). With its nomination of the working class as being entitled to lead the other social classes – which they did when they had the chance – Marx’s Capital meant even less democracy than the bourgeois republic. The modernist political discourse was one of individualism and human rights, built on Jefferson’s model. It is this fascinating rebel against hypocritical social conventions that still appeals to the nonconformist youth cultures, Shweta Basu undertaking a study in the translation of “Flowers of Evil” across cultures and rmedia in a Japonese manga series. Modernism saw the collapse of dynasties, and the foundation of international leagues of nations enjoying equal rights or of clubs of the intellectual elites of all nations (PEN CLUB). E. M. Forster was writing in 1938: “I believe in aristocracy . . . Not an aristocracy of power, based upon rank and influence, but an aristocracy of the sensitive, the considerate and the plucky.” Under the circumstances of huge differences in point of civilization – Bipin Balachandran mentions the case of Poland and other middle and East-European countries – but capitalizing on the widely circulated narrative of the superiority of culture over civilization, which was considered to be rapidly changing into a soulless machinery, individual contacts of scholars or artists contributed to the emergence of a truly international spirit and a cosmopolitan culture. By contrast, the eighteenth century had thrived on models of justified hierarchies (the best of all possible worlds), colonizing missions, histories of empires to learn from them the rise to international power. The systematic oppositions we can establish between the Enlightenment and modernism prevent us from merging them into ”a singular modernity” (Frederic Jameson). The culture of modernism is a hybrid one, with metropolitan cultures fascinated by the new nations they were put in contact with, open to the foreigners who sought them out to study or pursue a career. Japanese art was studied and imitated, while the interest in India, aroused by the discovery of the common origin of Indo-European languages, by Schopenhauer’s philosophy or by Madame Balavatsky’s esoteric pursuits, emulated by the British and the Americans alike, reached such proportions that references to India almost became a sign of recognition. Even quantum physics pioneers, Heisenber and Schrὅdinger, owned a debt to Hindu mythology and the Indian logic of the included third. Naturally possessed of this mindset, physicist Satyendra Nath Bose initiated calculations of a new state of condensed matter, where atoms lose their identity reaching the peace of a frozen quantum state of superimposed waves. The experiment is known as the Bhose-Einstein condensate. A very fashionable topic of research nowadays, the search for native forms of modernism outside the centrality of Paris, London or New York is usually successful. Paraphrasing, scratch a national culture and you will find traces of modernism. It was not difficult for Rindon Kundu and Saswati Saha to spot out a Wagner in Latin America in the person of Rubén Darío, and even an aesthetic contest between him and Enrique González Martínez, similar to the Wyndham Lewis-Marinetti duel in Europe. For T.S. Eliot, India was a myth of origin from The Love Song of Alfred Prufrock to The Waste Land. As he confessed in a speech in memory of Rudyard Kipling, the former was inspired by The Love Song of Har Dyal. Eliot’s protagonist is spiritualy impoverished, frustrated by lack, not of love affairs but of strong feelings, like those that give lovers the courage to risk their lives in the Indian story. Anindita Mukherjee chooses another contextualization, out of many possible, as is the case with the erudite modernists, and that is Rilke’s thoughts on love disclosed to a young poet who had asked him for advice. In that letter, Rilke says that dragons are but princesses who want to see their lovers courageous. Prufrock is acutely aware of his inferiority in relation to bright, cultivated women, who comment on his weakness, while the imagery surrounding them suggests the strength of warrior-women (And I have known the arms already, known them all— /Arms that are braceleted). The essayist notices though the redemption of the protagonist, his final capacity to dismiss his daily routine as rubbish and reach for transcendence. Sumi Bora looks into textual traces of the relationship between the poet and his rhetorical masks, interrogating the status of the authorial figure and biography in the modernist text. The web of mythic allusions in The Waste Land is a familiar feature of the modernist agenda ”to seek reality and justice in a single vision (Yeats). Nisarga Bhattacharjee and Ananya Chatterjee write on the modernists’ use of myth as part of the mythopoetic tradition, blooming into extended metaphors of life or of the human condition, while Susan Haris is plumbing into the symbolism of unconscious drives and identification with elementary nature in D.H. Lawrence’s personal version of psychoanalysis. The figural psyche of modernist fiction and the gendered landscape of female isolation is Lava Asaad’s focus on the early modernist career of Jean Rhys, better known for her postcolonial rewriting of Jane Eyre. Is there an aesthetic continuity between the historical avant-garde and the Beat Generation or the abstract expressionism in the 50s and 60s? Allen Ginsberg, John Ashbery or Lawrence Ferlinghetti engage often in dialogue with precedent canonical texts, their intertexts sinning on the side of courteous attitudes to tradition, which does not fit into the context of Marinetti’s dismissal of libraries, academies and museums (The Futurist Manifesto). Abstract art is, obviously, something different from found objects, while, in critical theory, the fifties and the sixties saw the rise of semiotics, psychoanalysis, deconstruction, feminism, that is, of the very practice of interdisciplinarity in literary criticism, something at the other pole from New Criticism and other formalisms in which ended up structuralism. Although not irrelevant in point of aesthetic achievement, Ayendy Bonifacio writing persuasively on Hart Crane’s constructivist rhetoric, the avant-garde is still perceived as a self-standing chapter in the cultural history of modernism. The exchange of cultural narratives and traditions, fostered by historical circumstances but also by Worringer’s aesthetics that praised primitive art for its tendencies towards abstraction in flight from a threatening and alien nature, that could provide a spiritual cure to a materialistic civilization, was defining for the poetics of art at the turn of the last century. Modernism was humanity’s first coming together.

Education Systems and Learners

Knowledge and Knowing
Author: David Scott
Publisher: Springer
ISBN: 1137598840
Category: Education
Page: 163
View: 1177

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This book explores curricular, teaching and learning practices in schools in England and in higher education institutions, and considers the damaging effects of the Research Excellence Framework (REF) for UK higher education institutions, international comparative assessment systems such as the Programme for International Student Assessment (PISA), and broadly, how educational judgements are now made about educational matters. David Scott criticizes the implementation of neo-liberal policies and practices in education systems round the world, management and control system approaches, and empiricist/positivist research agendas. The book offers an account of a new education model, which is directly in opposition to agendas currently supported by the right of the political spectrum. It will be of interest to teachers and students of education, the education research community, practising and trainee teachers, and education policy makers.

Promises to keep

Poems. Gedichte
Author: Robert Frost
Publisher: C.H.Beck
ISBN: 3406627781
Category: Fiction
Page: 160
View: 4015

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Die Gedichte Robert Frosts (1874–1963) gehören nicht nur zum festen Bestand amerikanischer Lyrik der Moderne, sie haben ihren Platz in der Weltliteratur gefunden. Der vorliegende Band macht den deutschen Lesern die bekanntesten, die kanonisch gewordenen Gedichte von Robert Frost zugänglich wie "Rast am Wald an einem verschneiten Tag" oder "Der nicht genommene Weg". Frost hat sich um einen natürlichen, organischen Sprachfluss bemüht und sich zugleich stets dem freien Vers widersetzt, die Gedichte suchen die Nähe zur gesprochenen Sprache und halten doch an der Besonderheit dichterischer Sprache fest. Die Natur, die äußere und die innere des Menschen, hat Frost fasziniert, der als Farmer gleichzeitig einen unsentimentalen Blick auf sie hatte. Aber auch die menschliche Natur zeigt sich in allen ihren Feinheiten und Brüchen, so Frost, besonders dem Dichter. So ist seine Lyrik in ihrer klassischen Schönheit auch eine Begegnung mit uns selbst.

The Works of D.H. Lawrence

With an Introduction and Bibliography
Author: David Herbert Lawrence
Publisher: Wordsworth Editions
ISBN: 9781853264177
Category: Fiction
Page: 352
View: 5940

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Lawrence first put together the collection of his poems in 1928. They are arranged chronologically "to make up a biography of an emotional and inner life."

The Portable Poetry Workshop


Author: Nigel McLoughlin
Publisher: Macmillan International Higher Education
ISBN: 1137605960
Category: Poetry
Page: 240
View: 7077

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This book explores the art of writing poetry from a practice-based perspective. Split into three sections, it covers poetic form, tropes, structural devices and approaches poets have developed and used in their work. Each chapter unpacks a particular concept or form, then demonstrates how this works through examples and creative exercises.

Collected Poems of Robert Burns


Author: Robert Burns
Publisher: Wordsworth Editions
ISBN: 9781853264153
Category: Fiction
Page: 635
View: 7860

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With an Introduction by Donald McFarlan. Robert Burns, the most celebrated of all Scottish poets, is remembered with great devotion - his birthday on 25th January provokes fervour and festivity among Scots and many others the world over. Born in 1759 into miserable rustic poverty, by the age of eighteen Burns had acquired a good knowledge of both classical and English literature. In June 1786 his first collection of verse, Poems Chiefly in the Scottish Dialect, which included 'To a Mouse' and 'The Cotter's Saturday Night', was greeted with huge acclaim by all classes of society. His later poems and ballads include 'Auld Lang Syne', the beautiful song 'My Love is like a Red Red Rose', 'Highland Mary', 'Scots Wha Hae' and his masterpiece, 'Tam o'Shanter'.

Helle Tage

Roman
Author: Michael Cunningham
Publisher: btb Verlag
ISBN: 3641146895
Category: Fiction
Page: 400
View: 8102

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Eine furiose Hommage an eine einzigartige Stadt – an New York City. Der preisgekrönte Autor Michael Cunningham erzählt drei Geschichten aus drei Jahrhunderten, die auf raffinierte Weise miteinander verflochten sind, unter anderem durch die Verse Walt Whitmans, des großen romantischen Dichters Amerikas. Ein kunstvoller, immens vergnüglicher, ungewöhnlicher Roman über die verwundete amerikanische Seele und den unverbrüchlichen Lebensmut, der die Menschen dieser Stadt seit jeher prägt.

Favorite Poems


Author: William Wordsworth
Publisher: Courier Corporation
ISBN: 0486270734
Category: Poetry
Page: 68
View: 5451

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Widely considered the greatest and most influential of the English Romantic poets, William Wordsworth (1770-1850) remains today among the most admired and studied of all English writers. He is best remembered for the poems he wrote between 1798 and 1806, the period most fully represented in this selection of 39 of his most highly regarded works. Among them are poems from the revolutionary Lyrical Ballads of 1798, including the well-known "Lines Composed a Few Miles Above Tintern Abby"; the famous "Lucy" series of 1799; the political and social commentaries of 1802; the moving "I Wandered Lonely as a Cloud"; and the great "Ode: Intimations of Immortality from Recollections of Early Childhood"--all reprinted from an authoritative edition. Republication of a selection of 39 poems reprinted from The Complete Poetical Works of William Wordsworth: Student's Cambridge Edition, published by the Houghton Mifflin Company, Boston (The Riverside Press, Cambridge), 1904. Detailed contents. Alphabetical lists of titles and first lines. 80pp. 53/8 x 81/2. Paperbound.

Das Twitter-Buch


Author: Tim O'Reilly,Sarah Milstein,Volker Bombien,Corina Pahrmann,Nathalie Pelz
Publisher: O'Reilly Germany
ISBN: 3868999647
Category: Electronic books
Page: 270
View: 3370

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Twitter ist als Plattform zum Austausch privater Nachrichten gestartet, doch die letzten Jahre haben gezeigt, dass der Microblogging-Dienst noch ganz andere Starken hat: Immer wieder gibt es weltpolitische Ereignisse, die als Erstes auf Twitter vermeldet werden, und auch Trends lassen sich hier gut beobachten. Daruber hinaus kommt Twitter haufig in beruflichen Zusammenhangen zum Einsatz - sei es zum direkten Austausch mit Kunden oder als PR-Instrument in der Unternehmenskommunikation. Dieses Buch begleitet Sie bei den ersten Schritten mit Twitter und macht Sie mit dem typischen Jargon vertraut. Sie erfahren, wie Sie sich mit anderen Twitterern vernetzen, interessante Inhalte wie Links und Fotos teilen und die Plattform fur Recherchezwecke nutzen. Auch der Einsatz von Twitter im Unternehmen und das Zusammenspiel mit Facebook und einem Blog werden behandelt. Die Autoren Tim O'Reilly und Sarah Milstein sind bekennende Twitter-Fans und geben in diesem Buch wertvolle Einblicke in ihre Erfahrungen mit der Plattform. Die dritte, deutsche Auflage wurde von den Twitter-Liebhabern Volker Bombien, Corina Pahrmann und Nathalie Pelz uberarbeitet und um Informationen aus dem deutschsprachigen Twitterversum erganzt.

Whitman the Political Poet


Author: Betsy Erkkila
Publisher: Oxford University Press on Demand
ISBN: 0195113802
Category: Biography & Autobiography
Page: 360
View: 6773

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Recent critical studies have emphasized the formal, mystical, and psychological dimensions of Walt Whitman's art, dwelling mainly upon his Emersonian and Transcendental sources. This study is the first book to undertake a detailed analysis of Whitman's entire work in relation to the political struggles of the 19th century. Erkkila repairs the split between the private and the public, the personal and the political, the poet and history, that has in the past defined the analysis and evaluation of Whitman's work. Her approach combines close reading and historicist analysis, examining his poems as both products and agents of the political culture of his time. Among the topics explored are the ways in which the politics of race, class, gender, capital, technology, western expansion, and war enter into the poetic design of "Leaves of Grass"; the relation between Whitman's (homo)sexual body and the body politic of his poems; and the ways in which the Civil War and its aftermath affected Whitman's artistic ordering and reordering of his work.