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Journal articles on the topic 'Berryman'

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Published: 4 June 2021

Last updated: 25 January 2023

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1

McGowan, Philip. "John Berryman’s Last Prayers." Literature and Theology 34, no. 2 (March 2, 2020): 184–205. http://dx.doi.org/10.1093/litthe/frz031.

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Abstract This article examines John Berryman’s last two poetry collections, Love & Fame (1970) and Delusions, etc. (1972) as the poetic articulations of Berryman’s intense scholarly engagement with philosophical and theological discourse. In eschewing confessional readings of his work, the article rehabilitates the term ‘confession’ as Berryman understood it: not as part of recurrent and reductive analyses of the Middle Generation but, rather, as a doctrinal node within Berryman’s theological conceptions of selfhood in relation to God and the role of prayer. In addition, this article connects Berryman's late work to theological frameworks beyond Christianity, principally to the work of S�ren Kierkegaard as well as to aspects of Jewish faith, both of which were enduring interests for Berryman.

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2

Leinwand, Theodore. "Berryman’s Shakespeare/Shakespeare’s Berryman." Hopkins Review 2, no. 3 (2009): 374–403. http://dx.doi.org/10.1353/thr.0.0107.

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3

Smith, H. "Review: Berryman's Shakespeare * John Berryman: Berryman's Shakespeare." Cambridge Quarterly 32, no. 2 (June 1, 2003): 187–93. http://dx.doi.org/10.1093/camqtly/32.2.187.

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4

REEVES, GARETH. "Songs of the Self: Berryman's Whitman." Romanticism 14, no. 1 (April 2008): 47–56. http://dx.doi.org/10.3366/e1354991x08000093.

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John Berryman's The Dream Songs and Walt Whitman's Song of Myself: the collocation sounds improbable, the former with their formal constrictions and regularities, their ironies and tensions, as well as their angularities, abruptnesses and disruptions, the latter free-form, open-ended, fluid, rhetorically fluent. Furthermore the collocation sounds unlikely in view of the fact that Berryman shared his generation's general, often knee-jerk, suspicion of Romanticism and ‘the romantic’ (the sliding back and forth in his prose between capital and lower-case ‘r’ signifying the kind of assumptions underlying the suspicion). The suspicion went with the territory, which was occupied by the forces of the New Criticism and the critical weaponry of T. S. Eliot, especially in the American academy (Berryman was an academic). (We have since learnt to question the New Criticism's anti-Romantic claims, and, even more, Eliot's championing of what was then called the ‘Classical’ over the ‘Romantic’ – but that is another story.)

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5

Mouw, Alex. "Berryman's Sickness Unto Death." Christianity & Literature 67, no. 2 (February 18, 2018): 361–78. http://dx.doi.org/10.1177/0148333117705668.

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In his copy of Søren Kierkegaard's The Sickness Unto Death, John Berryman inserted a handwritten note entitled “Sense of Guilt,” which ends in an existential prayer: “I tremble — I am afraid — Jesus, Son of God, help me.” Twenty years later, Berryman published one of his most substantial collections of poetry: 77 Dream Songs. And though the Dream Songs were published long after Berryman left his anxious comments in The Sickness Unto Death, I argue that they enact a struggle with the Christian concepts of despair and the self as Berryman learned them from Kierkegaard.

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6

Stephenson, Jon. "OBITUARY: A hard-nosed, hard-case ‘scoop king’." Pacific Journalism Review : Te Koakoa 10, no. 1 (April 1, 2004): 207–13. http://dx.doi.org/10.24135/pjr.v10i1.787.

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The death of Warren Berryman, founder and managing editor of The Independent Business Weekly, marks the end of an era in New Zealand journalism. Renowned as a gutsy, no-nonsense journo and ‘the consummate nosy bastard’, he pioneered investigative reporting in this country and earned respect from friend and foe alike. Pictured: Jenni McManus and Warren Berryman/John McDermott/Metro

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7

Meyers. "Bruegel and John Berryman." Style 49, no. 4 (2015): 470. http://dx.doi.org/10.5325/style.49.4.0470.

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8

Mezey, R. "A Sonnet for Berryman." Literary Imagination 3, no. 3 (January 1, 2001): 427. http://dx.doi.org/10.1093/litimag/3.3.427.

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9

Berryman, Alan A. "Reply from A.A. Berryman." Trends in Ecology & Evolution 11, no. 8 (August 1996): 336. http://dx.doi.org/10.1016/s0169-5347(96)91644-4.

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10

Monteiro, George. "Lines for John Berryman." Sewanee Review 123, no. 1 (2015): 37–45. http://dx.doi.org/10.1353/sew.2015.0004.

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11

Berryman, Alan A. "Reply from Alan Berryman." Trends in Ecology & Evolution 6, no. 8 (August 1991): 264–65. http://dx.doi.org/10.1016/0169-5347(91)90077-b.

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12

Davis, Kathe. "The Freedom of John Berryman." Modern Language Studies 18, no. 4 (1988): 33. http://dx.doi.org/10.2307/3194722.

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13

Brown, John J., Garrell E. Long, Ross Miller, and Ken Raffa. "Alan A. Berryman (1937–2018)." American Entomologist 65, no. 2 (2019): 140. http://dx.doi.org/10.1093/ae/tmz030.

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14

COOPER, BRENDAN. "“We Want Anti-models”: John Berryman's Eliotic Inheritance." Journal of American Studies 42, no. 1 (March 20, 2008): 1–18. http://dx.doi.org/10.1017/s0021875807004343.

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In his study Modern Poetry after Modernism, James Longenbach criticizes the lingering critical perception of the postmodernist development in poetry as a “breakthrough” narrative that rebelled against the traditionalism and impersonality of Eliotic modernism. As he points out, postmodern poets in fact confronted Eliot via a series of intricate and ambivalent interactive processes that are not confinable within this “breakthrough” narrative. In this paper, I use Longenbach's argument as a starting point for a re-examination of Eliot's influence on the major poetry of one of his more apparently vocal opponents: John Berryman. Berryman's attitude towards Eliot was radically ambivalent, based on an idea that poetic predecessors must become “anti-models,” figures whom the contemporary poet can only incorporate through productive gestures of reaction against them. In the light of this idea, I show that in Berryman's major works, Homage to Mistress Bradstreet and The Dream Songs, Eliot exerts a far stronger and more significant influence than has hitherto been recognized. My discussion of Berryman's participation in a postwar “Eliotic inheritance” allows for readings of these two poets that are not dependent upon crude oppositions between the “impersonal” and the “personal”. And as a consequence it opens the way for richer and more nuanced readings of Berryman's work as well as for invigorating reassessments of Eliot's own verse and his influence on twentieth-century poetry.

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15

JORDAN, AMY. "“All Your Ages at the Mercy of My Loves”: Rewriting History in John Berryman's Homage to Mistress Bradstreet." Journal of American Studies 48, no. 4 (April 3, 2014): 999–1018. http://dx.doi.org/10.1017/s0021875814000632.

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Since its 1953 publication, John Berryman's Homage to Mistress Bradstreet has incited debate. The text's dialogue with the first published poet of colonial North America has been described as a factual study, a redaction of adultery and a veiled critique of modern society. It is seldom noted, however, that Berryman's strategy of “modulat[ing]” his voice into Anne Bradstreet's raises key questions regarding his reappropriation of her life and writing. Does Homage's conscious ventriloquism problematize its status as a “historical” poem? And how might this revised understanding illuminate the work's relation to America's origins? This paper proposes a more multifaceted context for Homage's composition than has hitherto been recognized. Through mapping the poem's rewriting of history, I demonstrate it to be the product of both national and literary anxieties: if voicing Bradstreet enables Berryman to interrogate the American Dream's legacy, her canonical status casts scrutiny upon the contemporary poet's role in an age of sociopolitical tensions. Foregrounding Berryman's public self-positioning in Homage invites a reassessment of his engagements with society that liberates his oeuvre from “confessional” designations. As a result, it opens the way for readings that might situate Homage and The Dream Songs within the wider tradition of American epic poetry.

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16

Philmus, Robert M. "John Berryman: Lives of the Poet." Canadian Review of American Studies 16, no. 4 (December 1985): 491–503. http://dx.doi.org/10.3138/cras-016-04-10.

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17

Hardy, B. "Re-reading Berryman: Power and Solicitation." English 40, no. 166 (March 1, 1991): 37–46. http://dx.doi.org/10.1093/english/40.166.37.

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18

Johnson, Manly, Paul Mariani, John Berryman, and Harry Thomas. "Dream Song: The Life of John Berryman." World Literature Today 65, no. 1 (1991): 122. http://dx.doi.org/10.2307/40146229.

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19

Johnson, Manly. "John Berryman: A Note on the Reality." World Literature Today 64, no. 3 (1990): 422. http://dx.doi.org/10.2307/40146635.

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20

Davis, William V., and Stephen Matterson. "Berryman and Lowell: The Art of Losing." American Literature 61, no. 4 (December 1989): 723. http://dx.doi.org/10.2307/2927030.

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21

Macfarlane, Sonja. "An Interview with Associate Professor Mere Berryman." Kairaranga 18, no. 2 (July 1, 2017): 3–7. http://dx.doi.org/10.54322/kairaranga.v18i2.225.

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22

GOODWIN, DONALD W. "Dream Song: The Life of John Berryman." American Journal of Psychiatry 147, no. 12 (December 1990): 1675—a—1676. http://dx.doi.org/10.1176/ajp.147.12.1675-a.

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23

Berryman, Alan A., and Jeffrey A. Millstein. "Reply from A.A. Berryman and J.A. Millstein." Trends in Ecology & Evolution 4, no. 8 (August 1989): 240. http://dx.doi.org/10.1016/0169-5347(89)90169-9.

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24

Spencer, Luke. "Mistress Bradstreet and Mr. Berryman: The Ultimate Seduction." American Literature 66, no. 2 (June 1994): 353. http://dx.doi.org/10.2307/2927984.

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25

McGowan, P. "BERRYMAN, SEXTON AND THE POSSIBILITIES OF POETIC LANGUAGE." English 62, no. 239 (August 20, 2013): 380–404. http://dx.doi.org/10.1093/english/eft038.

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26

Fitzpatrick, C. "FRIENDSHIP AND CONFESSION: SAUL BELLOW AND JOHN BERRYMAN." English 63, no. 241 (January 2, 2014): 132–52. http://dx.doi.org/10.1093/english/eft054.

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27

Arditi, Roger. "Population Analysis System.Alan A. Berryman , Jeffrey A. Millstein." Quarterly Review of Biology 65, no. 1 (March 1990): 130–31. http://dx.doi.org/10.1086/416707.

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28

Nevin, John A. "Keller, Schoenfeld, Cumming, and Berryman as Instructional Stimuli." Behavior Analyst 12, no. 2 (October 1989): 221–25. http://dx.doi.org/10.1007/bf03392500.

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29

Blake, D. H. "Public Dreams: Berryman, Celebrity, and the Culture of Confession." American Literary History 13, no. 4 (April 1, 2001): 716–36. http://dx.doi.org/10.1093/alh/13.4.716.

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30

Baggett, Marybeth Davis. "Book Review: God of Rescue: John Berryman and Christianity." Christianity & Literature 63, no. 4 (September 2014): 549–52. http://dx.doi.org/10.1177/014833311406300421.

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31

Golden, Amanda. "John Berryman at Midcentury: Annotating Ezra Pound and Teaching Modernism." Modernism/modernity 21, no. 2 (2014): 507–28. http://dx.doi.org/10.1353/mod.2014.0051.

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32

O’Hanlon, Karl. "‘The Violent and Formal Dancers’: John Berryman and Geoffrey Hill." Cambridge Quarterly 45, no. 3 (September 2016): 208–23. http://dx.doi.org/10.1093/camqtly/bfw013.

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33

Berryman, Jana. "Message from President of INACSL: Jana Berryman, ND, CNS, RN." Clinical Simulation in Nursing 4, no. 1 (January 2008): e53. http://dx.doi.org/10.1016/j.ecns.2009.05.048.

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34

Cooper, Brendan. "John Berryman Reconsidered: Cold War Politics in Dream Song 59." Explicator 66, no. 3 (April 2008): 139–42. http://dx.doi.org/10.3200/expl.66.3.139-142.

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35

Smith, Thomas R., and James D. Bloom. "The Stock of Available Reality: R. P. Blackmur and John Berryman." South Atlantic Review 52, no. 1 (January 1987): 112. http://dx.doi.org/10.2307/3200004.

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36

Shaw, Elizabeth C., and Staff. "Aristotle on the Sources of the Ethical Life by Sylvia Berryman." Review of Metaphysics 74, no. 2 (December 2020): 381–83. http://dx.doi.org/10.1353/rvm.2020.0074.

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37

Dixon, Steve. "Berryman, Jerome W.Children and the Theologians: Clearing the Way for Grace." Practical Theology 3, no. 3 (July 27, 2010): 381–83. http://dx.doi.org/10.1558/prth.v3i3.381.

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38

Arditi, Roger. "POPSYS Series 2: Two-Species Analysis. Version 1.0. Alan A. Berryman." Quarterly Review of Biology 66, no. 4 (December 1991): 538. http://dx.doi.org/10.1086/417441.

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39

Boyd, Sarah. "Spotlight on the culture of the classroom: An interview with Mere Berryman." Set: Research Information for Teachers, no. 3 (November 1, 2008): 2–3. http://dx.doi.org/10.18296/set.0518.

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40

MANGEL, M. "Alan A. Berryman, , Plenum Press, New York (1988) $97.50 (cloth), 603 pp." Bulletin of Mathematical Biology 52, no. 1-2 (1990): 331. http://dx.doi.org/10.1016/s0092-8240(05)80019-9.

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41

Hunter, Mark D., and Peter W. Price. "Detecting cycles and delayed density dependence: a reply to Turchin and Berryman." Ecological Entomology 25, no. 1 (February 2000): 122–24. http://dx.doi.org/10.1046/j.1365-2311.2000.00250.x.

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42

Rivas, Elizabeth D. "Where Were the Mexicans? The Story is a Conversation." Association of Mexican American Educators Journal 15, no. 2 (September 3, 2021): 104–22. http://dx.doi.org/10.24974/amae.15.2.425.

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This essay explores the institutionalized master narrative of public institutions and how the mandated policies enacted by public institutions impact social studies teachers when they are delivering instruction to their students. A socio-transformative constructivist framework guides the essay in order to affirm that knowledge is socially constructed and mediated by cultural, historical, and institutional contexts (Rodriguez, 1998; Rodriguez & Berryman, 2002). This essay also examines how educators can go beyond the teaching of their course curriculum to enact change at their campus and district. Also, this essay examines how district leaders can support teachers who want to be social justice change agents.

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43

Matterson, Stephen, and Thomas Travisano. "Midcentury Quartet: Bishop, Lowell, Jarrell, Berryman and the Making of a Postmodern Aesthetic." Modern Language Review 96, no. 2 (April 2001): 485. http://dx.doi.org/10.2307/3737378.

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44

Ginzburg, Lev R., and Dale E. Taneyhill. "Higher Growth Rate Implies Shorter Cycle, Whatever the Cause: A reply to Berryman." Journal of Animal Ecology 64, no. 2 (March 1995): 294. http://dx.doi.org/10.2307/5764.

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45

Marcia Southwick. "Ode to John Berryman, and: Ode to Archibald MacLeish, and: Ode to Wallace Stevens." Prairie Schooner 83, no. 3 (2009): 169–72. http://dx.doi.org/10.1353/psg.0.0288.

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46

Brogan, J. V. "Midcentury Quartet: Bishop, Lowell, Jarrell, Berryman, and the Making of a Post-modern Aesthetic." American Literature 72, no. 4 (December 1, 2000): 884–85. http://dx.doi.org/10.1215/00029831-72-4-884.

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47

Hyde, Brendan. "Jerome W. Berryman: The spiritual guidance of children: Montessori, godly play, and the future." Journal of Religious Education 62, no. 2 (July 2014): 87–88. http://dx.doi.org/10.1007/s40839-014-0007-0.

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48

Berezina, Irina, and Irina Bayuk. "Pore Space Connectivity in Different Rock-Physics Methods—Similarity and Differences." Applied Sciences 12, no. 19 (October 10, 2022): 10185. http://dx.doi.org/10.3390/app121910185.

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This study is focused on the analysis of pore space connectivity in reservoir rocks. This parameter is of vital importance for the oil and gas industry since it controls hydraulic permeability. Five methods of rock physics are used for this goal. Three of these methods (self-consistent version of generalized singular approximation, Berryman self-consistent method, and differential scheme) take into account the pore space connectivity implicitly. The other two methods, the f-model of the generalized singular approximation and a similar modification of the Berryman method suggested in this work, allow for quantifying the connectivity via a special parameter (f-parameter). In order to reveal a physical meaning of this parameter, two simple models of carbonate rock (porous-cracked limestone) are considered. The first model is a double porosity model containing spherical pores and cracks. The second model contains only spherical pores, and their connectivity is expressed via the f-parameter. The pores and cracks are filled with brine and gas. Application of the two groups of methods for modeling the effective elastic properties of the carbonate rock gives a possibility of relating the f-parameter to the characteristics of the cracks and pores. The f-parameter is shown to be controlled by the relative crack volume in the total pore space. An increase in crack porosity and crack density leads to an increase in the f-parameter. A good correlation of the f-parameter with crack density is demonstrated. It is shown that for the porosity range 2–20%, a relationship between the f-parameter and crack density ε, in general, has the form f=alog10(ε)2+blog10(ε)+c for ε≤εmin. For the crack density less than εmin the f-parameter can be approximated by a constant value fmin. The values of εmin and fmin and coefficients a, b, and c depend on the porosity of spherical pores, saturation type, and pair of methods used for finding the link. These results give f-models an advantage in searching zones of the enhanced permeability and quantifying the ability of these zones to filtrate fluids.

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49

LeCompte, Elizabeth, Kate Valk, and Maria Shevtsova. "Covid Conversations 3: Elizabeth LeCompte and Kate Valk." New Theatre Quarterly 37, no. 3 (July 19, 2021): 205–22. http://dx.doi.org/10.1017/s0266464x21000129.

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Elizabeth LeCompte co-founded The Wooster Group with like-minded pioneers in New York in 1975, leading and directing its collaborators as deaths, departures, and new arrivals have changed its composition and emphases over the decades, segueing into a world-wide uncertain present. Kate Valk joined in 1978, the last representative of The Wooster Group’s foundational period, apart from LeCompte herself, who is still a key member of the company. References in this conversation are primarily to works after 2016. LeCompte briefly remarks on the importance of Since I Can Remember – one of the Group’s ongoing works in progress in 2021 – as an archival project that draws on Valk’s memory of how Nayatt School was made during her formative years. Having become, since then, a quintessential Wooster Group performer, Valk extended her artistic skills to stage direction, undertaking, most recently, The B-Side (2017). Both the initiative and idea for the piece came from performer Eric Berryman, who had brought Valk the collection of blues, songs, spirituals, and preachings on the 1965 LP made from the research of scholar folklorist Bruce Chapman. Berryman had been inspired to approach Valk because of her exclusive use of unadulterated historical recordings in Early Shaker Spirituals (2014), her directorial debut. The main work in rehearsal during 2020 and which was still locked down by the Covid-19 pandemic at the time of this conversation is The Mother, a Wooster Group variant of Brecht’s dramatized version of Gorky’s novel, directed by LeCompte. LeCompte discusses the current situation, emphasizing the increased vulnerability of independent artists and small-scale theatre, while giving a glimpse of the disadvantages for such groupings built into the North American system of project funding. The Wooster Group is a salient example of small-scale theatre that, despite continually precarious conditions, which the pandemic has highlighted and exacerbated, has achieved its creative goals and has defined its place in the exploratory avant-garde flourishing vigorously in the 1960s and 1970s. This particular avant-garde, LeCompte believes, has seen various important developments over the years but might well now be counting its last days. The conversation here presented was recorded on 31 October 2020, transcribed by Kunsang Kelden, and edited by Maria Shevtsova, Editor of New Theatre Quarterly.

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50

Swift, Daniel. "The Selected Letters of John Berryman, edited by Philip Coleman and Calista McRae." Essays in Criticism 72, no. 1 (January 1, 2022): 101–7. http://dx.doi.org/10.1093/escrit/cgac006.

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