Academic literature on the topic 'English poetry – 20th century – History and criticism'
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Journal articles on the topic "English poetry – 20th century – History and criticism"
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Kinkley, Jeffrey C. "The Monster That Is History: History, Violence, and Fictional Writing in Twentieth-Century China. By David Der-Wei Wang. [Berkeley, Los Angeles and London: University of California Press, 2004. 402 pp. ISBN 0-520-23140-6.]." China Quarterly 182 (June 2005): 439–41. http://dx.doi.org/10.1017/s0305741005270261.
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This celebration of modern Chinese literature is a tour de force, David Wang's third major summation in English. He is even more prolific in Chinese. Wang's command of the creative and critical literatures is unrivalled.Monster's subject is “the multivalence of Chinese violence across the past century”: not 1960s “structural violence” or postcolonial “epistemic violence,” but hunger, suicide, anomie, betrayal (though not assassination or incarceration), and “the violence of representation”: misery that reflects or creates monstrosity in history. Monster thus comments on “history and memory,” like Ban Wang's and Yomi Braester's recent efforts, although for historical reasons modern Chinese literature studies are allergic to historical and sociological methodologies.Monster is comparative, mixing diverse – sometimes little read – post-May Fourth and Cold War-era works with pieces from the 19th and 20th fins de siècle. Each chapter is a free associative rhapsody (sometimes brilliant, sometimes tedious; often neo-Freudian), evoking, from a recurring minor detail as in new historicist criticism, a major binary trope or problematic for Wang to “collapse” or blur. His forte is making connections between works. The findings: (1) decapitation (loss of a “head,” or guiding consciousness?) in Chinese fiction betokens remembering or “re-membering” (of the severed), as in an unfinished Qing novel depicting beheaded Boxers, works by Lu Xun and Shen Congwen, and Wuhe's 2000 commemoration of a 1930 Taiwanese aboriginal uprising; (2) justice is poetic, but equals punishment, even crime, in late Qing castigatory novels, Bai Wei, and several Maoist writers; (3) in revolutionary literature, love and revolution blur, as do love affairs in life with those in fiction; (4) hunger, indistinct from anorexia, is excess; witness “starved” heroines of Lu Xun, Lu Ling, Eileen Chang and Chen Yingzhen; (5) remembering scars creates scars, as in socialist realism, Taiwan's anticommunist fiction, and post-Mao scar literature; (6) in fiction about evil (late Ming and late Qing novels; Jiang Gui), inhumanity is all too human and sex blurs with politics; (7) suicide can be a poet's immortality, from Wang Guowei to Gu Cheng; (8) cultural China's most creative new works invoke ghosts again, obscuring lines between the human, the “real,” and the spectral.
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Frolova, Natal'ya S. "Devices of comic in the work of the 20th century English-speaking Ugandan poets." Vestnik of Kostroma State University, no. 4 (2019): 140–44. http://dx.doi.org/10.34216/1998-0817-2019-25-4-140-144.
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Poetry of the Ugandans are analysed in an article in the context of the use of devices of comic in the East African English-language poetry. The critical-realistic and enlightener tendencies that were eagerly apprehended by most East African authors in the 1960s have not allowed them going beyond the direct criticism of damning poetry to this day as well, although point-by-point attempts to use humour and satire when contemplating socio-political issues, do occur throughout the sixty-year existence of East Africa English-language poetry. The dilogy by Okot p’Bitek, Timothy Wangusa and Taban Lo Liyong are clear examples of such attempts made in Uganda literature. At the same time, the three authors use fundamentally different techniques of comic, when portraying modern reality, both purely African and universal human.
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Odnoral, Valeria. "The New Lyric Studies of the 21th Century: The Aesthetic and the Social in Poetry Criticism." Ideas and Ideals 13, no. 1-2 (March 19, 2021): 401–13. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-401-413.
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The article considers the problem of correlation of aesthetic form and social content in contemporary poetry through the prism of contemporary poetry criticism, in particular, the New Lyric Studies of 2008 (M. Perloff, Y. Prins, R. Terada, V. Jackson, etc.). A representation of the lyrics as a genre of poetry, in which historically structured subjectivism and identity of author are interrelated with poetic writing, is at the center of the New Lyric Studies. In this context the lyrics is relative and volatile but also is the closest genre to the poetic nature, that allows to merge an autonomous entity of poetry with ‘agendas’ in the poem, which were difficult to connect in either too formal or too contextual critical approaches to the poetry in the 20th century. This became possible in the conditions of New Lyric critics speaking up against a substitution of poetry and literary criticism for historical, anthropological and cultural criticism because of the high popularity of cultural studies in the 1990s and the ensuing incorporation of interdisciplinarity in literary studies. Despite the objective of New Lyric critics to revitalize a theoretical study of poetry in the spirit of academic criticism of the New Criticism, the modifications in the methods for producing, existence and broadcasting of poetry and therefore in poetry of the last 50 years, poetry itself prevented the New Lyric from becoming the regressive movement. Some representatives of the New Lyric Studies subsequently expressed the need to study poetry in terms of new historical poetics and to create different methods capable to analyze the relations between culture and poetic form – between the social and the aesthetic. Having considered advantages and limitations of the New Lyric studies in the context of contemporary poetry discourse, reflecting not only the nature of contemporary criticism, but also perhaps the history of poetry criticism of 20-21th centuries, which is the dynamical coexistence and the mutual succession of different movements, the author draws a conclusion that this movement defines the right vector for the reconciliation of the long-standing struggle of formalism and contextualism in the poetry criticism as well as social and aesthetic components which poetic work includes.
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Huisman, Rosemary. "The discipline of English Literature from the perspective of SFL register." Language, Context and Text 1, no. 1 (February 4, 2019): 102–20. http://dx.doi.org/10.1075/langct.00005.hui.
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AbstractThe paper first traces the history and elaboration of the tertiary discipline English Literature through the 19th and 20th centuries to the present day, with special focus on the axiology, the values, given to the discipline and with a brief account of literary criticism and literary theory. It then refers to the work on registerial cartography in systemic functional linguistics (SFL) and explores the register of the contemporary discipline in first-order field of activity and second-order field of experience, with examples from the language of webpages and exam papers of Australian universities. It continues with a brief overview of the author’s own work using SFL in the study ofthe poeticandthe narrativein English poetry and prose fiction of different historical periods and concludes with a caveat on the central disciplinary process, that of interpretation.
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Mehl, Scott. "Early Twentieth-Century Terms for New Verse Forms (‘free verse’ and others) in Japanese and Arabic." Studia Metrica et Poetica 2, no. 1 (July 7, 2015): 81–106. http://dx.doi.org/10.12697/smp.2015.2.1.04.
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In the first half of the twentieth century, when Japanese and Arabic poets began writing free-verse poetry, many terms were proposed as labels for the new form. In addition to the calques on “free verse,” neologisms were created to name the new poetry. What is striking is that, in these two quite different literary spheres, a number of the proposed neologisms were the same: for example, in both Japanese and Arabic the terms prose poetry, modern poetry, and colloquial poetry were proposed (among others) as alternatives to the label free poetry. This essay provides an annotated list of the neologisms in Japanese and Arabic, with a list of English terms for comparison; and by referring to the contemporary Japanese and Arabic criticism on the topic of poetic innovation, this essay attempts to explain the similarity between the Japanese and Arabic neologisms. In short, the Japanese and Arabophone arguments in favour of adapting the free-verse form were based on similar premises regarding modernity, freedom, and a vision of literary history that was rooted in an evolutionary theory of genre development.
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Костригин, А. А. "HISTORICAL-PSYCHOLOGICAL IDEAS OF A.P. NECHAEV. PART 1: HISTORY OF LITERATURE, LITERARY CRITICISM, HISTORICAL PSYCHOLOGY." Институт психологии Российской академии наук. Социальная и экономическая психология, no. 1(21) (April 12, 2021): 252–70. http://dx.doi.org/10.38098/ipran.sep.2021.21.1.010.
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Статья посвящена Александру Петровичу Нечаеву (1870-1948), выдающемуся отечественному психологу и педагогу первой половины XX в. В данной работе А.П. Нечаев показан как историк психологии. Рассматриваются историко-психологические работы и взгляды ученого по трем направлениям: анализ историко-литературных работ, в которых освещаются идеи, связанные с исторической психологией; анализ работ, освещавших состояние психологии на рубеже XIX-XX вв. и об отдельных персоналиях современной Нечаеву психологии; анализ специальных историко-психологических и историко-философских работ. В первой части представляются историко-литературные и литературно-критические работы: «Об отношении Крылова к науке» (1895) и «Поэзия А.Н. Майкова. Критический очерк» (1898). Отечественный психолог анализирует взгляды И.А. Крылова на ученых и научную деятельность, выраженных в художественных метафорах и отражавших общественные и народные представления о науке. Рассматривая творчество Майкова, Нечаев показывает, что поэзия может выполнять психологические задачи: с одной стороны, она влияет на эмоциональное состояние читателя и на развитие его личности, с другой - выражает внутренние особенности самого поэта, и необходима ему для удовлетворения собственных потребностей и стремлений. Несмотря на то, что напрямую эти работы не касаются проблематики истории психологии, они показывают интерес Нечаева к историко-научным исследованиям, а также могут быть отнесены к области исторической психологии, поскольку в них представлено изучение образов ученого и поэта и их психологические качества, характерные для XIX в., через художественное творчество и литературу. The article is dedicated to Aleksander Petrovich Nechaev (1870-1948), an outstanding Russian psychologist and teacher of the first half of the 20th century. In this work, Nechaev is presented as a historian of psychology. The historical-psychological views and works of the scientist in three directions are considered: analysis of historical and literary works in which ideas related to historical psychology are presented; analysis of works covering the state of psychology at the turn of the 19th-20th centuries and dedicated to Nechaev’s contemporaries in psychology; analysis of special historical-psychological and historical-philosophical works. The first part presents the historical-literary and literary-critical works of Nechaev: «On Krylov's attitude to science» (1895) and «Poetry of A.N. Maikov. A critical sketch» (1898). The Russian psychologist analyzes the views of I.A. Krylov on scientists and scientific activities, expressed in artistic metaphors and reflecting public and popular ideas about science. Considering the work of Maikov, Nechaev shows that poetry can perform psychological tasks: on the one hand, it affects the emotional state of the reader and the development of his personality, on the other hand, it expresses the inner characteristics of the poet himself, poetry is necessary for him to satisfy his own needs and intentions. Even though these works do not directly relate to the problems of history of psychology, they show the interest of Nechaev to historical-scientific research, and can also be attributed to the field of historical psychology: through artistic creativity and literature, the author studies the images of a scientist and a poet and their psychological traits specific to the 19th century.
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Brannigan, John, Marcela Santos Brigida, Thayane Verçosa, and Gabriela Ribeiro Nunes. "Thinking in Archipelagic Terms: An Interview with John Brannigan." Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 20, no. 35 (May 13, 2021): 3–28. http://dx.doi.org/10.12957/palimpsesto.2021.59645.
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John Brannigan is Professor at the School of English, Drama and Film at University College Dublin. He has research interests in the twentieth-century literatures of Ireland, England, Scotland, and Wales, with a particular focus on the relationships between literature and social and cultural identities. His first book, New Historicism and Cultural Materialism (1998), was a study of the leading historicist methodologies in late twentieth-century literary criticism. He has since published two books on the postwar history of English literature (2002, 2003), leading book-length studies of working-class authors Brendan Behan (2002) and Pat Barker (2005), and the first book to investigate twentieth-century Irish literature and culture using critical race theories, Race in Modern Irish Literature and Culture (2009). His most recent book, Archipelagic Modernism: Literature in the Irish and British Isles, 1890-1970 (2014), explores new ways of understanding the relationship between literature, place and environment in 20th-century Irish and British writing. He was editor of the international peer-reviewed journal, Irish University Review, from 2010 to 2016.
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Szaruga (Wirpsza), Leszek (Aleksander). "On various kinds of involvement of Avant-Garde." Tekstualia 4, no. 59 (December 20, 2019): 173–90. http://dx.doi.org/10.5604/01.3001.0013.6443.
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The article analyses selected poems and tractates of poetry, with a special focus on the solutions regarding versifi cation, rhythm, and language (dialectological structures, syntactical forms and neologisms characteristic of poetic writing in Polish and Russian, as well as the contexts of English and German languages). Because the author attempts to distinguish the specifi city of poetry and the most important areas of literary biography in selected areas, he asks what the ways of poetry are, trying to present his point of view about the intellectual climate of the end of the 19th century, when the refl ection of language was the strongest and fundamental sign to identity. Besides, he shows what happened in the poetry of Marinetti, Majakowski, Benn, Brecht, Becher, Pound, Jasieński, Brzechwa, and Czyżewski. The article deals with the problem of historical, sociological, political, cultural and religious dialogue in poetry. The dialogue is dedicated to the search of a new language of expression. The author presents what the status of the poetry is at the beginning of the 20th century and what are the ways of poetry spreading and using language as a medium not only of communication, but also an identifi cation of unbelievable, impossibility, and as a consequence what are the strategies in poetry in addition to language (Russian and Polish, but also English and German). All of these paradigms determined functions of lyrics, which can be named an intertextual creativity. The author tries to answer the fundamental question about human condition and identity, the meaning of poetic sign, individual human possibilities towards history and politics, as well as the ways of using different connections with literature, art, religion (especially mysticism), philosophy and intertextual components which described the worldview of poetry.
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Burney, Fatima. "Strategies of Sound and Stringing in Ebenezer Pocock's West–East Verse." Comparative Critical Studies 17, no. 2 (June 2020): 319–36. http://dx.doi.org/10.3366/ccs.2020.0365.
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In an effort to capture how Orientalist translations, imitations and criticism of Asian poetry came to inform the idealization of lyric as a universal genre, this paper focuses on the practice of poetic metre in the nineteenth century. How did Victorian conceptions of recitational communities, bounded by shared ‘national’ metres, square against the wealth of translated works that were a major component of Victorian print culture? The amateur Orientalist Ebenezer Pocock explained various metres and musical practices associated with ‘Persian lyrics’ in his book Flowers of the East (1833) and offered equivalent metres in English before replicating these shared English/Persian metres in his own imitative poem ‘The Khanjgaruh: A Fragment’. This article sketches how Pocock's casting of this hybrid material in metres that would already have been recognizable to his English readers seems to have the intended effect of both orienting his work towards his domestic audience and grounding such a flexible approach within the Persian tradition itself. Pocock's poem sits amongst a range of accompanying materials including translations of Sa‘dī and scholarly essays on comparative philology and Persian literary history. Each of these different pieces supports the collection's greater effort – best encapsulated by ‘The Khanjgaruh’ – to both remember and imagine the shared poetic history between Asia and Europe. Pocock's writing thus emblemizes how the nineteenth-century ‘West–East lyric’ was a product of both historical and philological recovering as well as the willed creation of poets and poetry enthusiasts. As a category, lyric performs a binding function in Pocock's work to pull together a linguistically and professionally diverse community of writers.
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Dingle, Lesley. "Conversations with Emeritus Professor Stroud Francis Charles (Toby) Milsom: A Journey from Heretic to Giant in English Legal History." Legal Information Management 12, no. 4 (December 2012): 305–14. http://dx.doi.org/10.1017/s1472669612000679.
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AbstractLesley Dingle, founder of the Eminent Scholars Archive at Cambridge, gives a further contribution in this occasional series concerning the lives of notable legal academics. On this occasion, the focus of her attention is Stroud Francis Charles (Toby) Milsom QC BA who retired from his chair of Professor of Law at the University of Cambridge in 2000 after a distinguished career as a legal historian at the universities of Oxford, London School of Economics and St John's College Cambridge. His academic life and contentious theories on the development of the Common Law at the end of the feudal system in England were discussed in a series of interviews at his home in 2009. At the core are aspects of his criticism of the conclusions of the nineteenth century historian Frederick William Maitland, upon which the teaching of the early legal history of England was largely based during much of the 20th century. Also included are insights into his research methods in deciphering the parchment Plea Rolls in the Public Records Office, and anecdotes relating to his tenure as Dean at New College Oxford (1956–64) as well as associations with the Selden Society: he was its Literary Director, and later President during its centenary in 1987. Professor Milsom also briefly talked of his memories of childhood during WWII and his inspirational studies as a student at the University of Pennsylvania (1947–48).
Dissertations / Theses on the topic "English poetry – 20th century – History and criticism"
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Ni, Xia Jia. "From imagism to informationism :a study of 20th century experimental poetry in English." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3953521.
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Emig, Rainer. "The end of modernism in English poetry." Thesis, University of Oxford, 1992. http://ora.ox.ac.uk/objects/uuid:c02149d4-6f3b-4368-b20e-d8e669514ccf.
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'End' as 'goal' and 'limit' is explored in signs, symbols, metaphors, metonymies, and myths in the works of G.M. Hopkins, Yeats, Eliot, and Pound, before the study examines the aesthetics of modernist poetry which - through psychoanalysis, economy, and language philosophy - presents itself as one facet of the 'modernist project'. Modernist poetry struggles with its material, the lacking motivation of signs, the unstable connection of signifier and signified. Already in Hopkins this creates tensions between mimetic endeavour and construction. Appropriation and distancing as compensation strategies prefigure modernism's tendencies of simultaneous expansion and reduction. They produce impasses, evident in attempts to signify the self: absence, dissolution, and submission to myth, recurring limits in modernist poetry. Yeats's poems avoid mimetic tensions by focussing on opaque signifieds of symbols, intertextuality rather than empiricism. Yet the excluded 'outside' in the shape of history questions works and their creator. Again, silence, dissolution, or superhistoricism become refuges, leading to dissolution of symbols into metaphors and metonymies or their sublimation in myth. Eliot's poems seemingly return to realism. Yet their focussing on everyday life disguises the internalisation of reality in psychological landscapes. Difficulties of drawing borderlines between subject and object(s) result: objects become threatening and characters mutilated in reifications, processes expressed in shifts from metaphor to metonymy. Pound's stabilising strategies reify language itself. His personae try to legitimise poems by incorporating histories of others, but produce overcharge and disintegration. Imagism refines modernism's reductive move, but creates monadic closure. Attempts at impersonality and superhistoricism lead to the dominance of the suppressed. Vorticism's construction/destruction dialectic does not tolerate 'works'. Only the ideogrammatic method achieves the shift to signifiers only which enables poems to 'include' reality and history at the cost of blindness towards themselves. Psychoanalysis displays analogies in its holistic concepts and simultaneous internal delineations, its distrust of signs and incomplete and lacking constructs deriving from them. Modernist poetry's struggle with tradition in order to legitimise its existence mirrors the individual's subjection to the 'law of the father'. Individuation is achieved by mutilation; the return to imaginary wholeness preceding it, although Utopian goal, remains impossible; it appears in poems as self-destruction. The economy of modernist poems shows their fight against expenditure, creation of artificial value through symbols, eventually a reductio ad absurdum in poems producing only themselves in reification. Work and subject become borderlines when reality shifts into the text altogether and the signified is eliminated. Language philosophy reproduces the positions of modernist poems towards reality, admitting the separation of language and objects: Nietzsche in disqualifying truth, Wittgenstein uncovering language's impotence. Again the excluded appears as the mystical which Heidegger re-integrates by setting up language as reality's creator and receptacle of Being. The nominalist upside-down turn of his linguistic universe is analogous to modernism's myth of itself. Adorno criticises the closed nature of works as statements and advocates a 'true' modernism in the fragmentation of the work and openness towards heterogeneity. Like Baudrillard, he stresses the riddle of art which permits its orbital position, neither detached from societal conditioning nor completely subjected to it, thus capable of unveiling the relativity of master-narratives. The 'true' modernist poem displays its tensions and 'sacrifices itself in order to remind its reader of the damages of existence.
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Bennett, Sarah. "The American contexts of Irish poetry, 1950-present." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669957.
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Hazzard, Oli. "Trying to have it both ways : John Ashbery and Anglo-American exchange." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:87f922c5-79dc-4fd5-85dd-50c4a7661015.
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This dissertation explores John Ashbery's interactions with several generations of English poets, during a period which ranges from the late 1940s to the present day. It seeks to support two principle propositions: that Ashbery's engagements with contemporaneous English poets had a decisive influence on his poetic development; and that Ashbery's own poetic and critical work can be employed to revise our understanding of mid-to-late 20th century English poetry. The dissertation demonstrates that Ashbery's relationships with four English poets - W.H. Auden, F.T. Prince, Lee Harwood and Mark Ford - occurred at significant junctures in, and altered the course of, his poetic development. Ashbery's critical and poetic engagements with these poets, when read together, are shown to constitute an idiosyncratic but coherent re-reading of the English poetry of the past and present. The dissertation addresses the ways in which each poet theorises the difficulties posed, and opportunities afforded, by perceived changes in Anglo-American poetic relations at different points during the 20th century. Chapter one re-evaluates Ashbery's relationship with Auden. It traces the legacy of Auden's coterie poetics in The Orators for Ashbery and Frank O'Hara, offers a revisionary reading of The Vermont Notebook as a strident response to Auden's late-career conservativism, and reads in depth Ashbery's unpublished, highly ambivalent elegy for him, "If I had My Way, Dear". Chapter Two attends to the extensive correspondence between Ashbery and Prince, argues that Prince's work provided a model for Ashbery's "encrypted" early lyrics addressing his homosexuality, and reads "Clepsydra" as an early elaboration of Ashbery's conception of a reciprocal influential model. Chapter Three examines Lee Harwood's "imitations" of Ashbery, and considers the latter's first critical formation of an English "other tradition" through his association of Harwood with the work of John Clare. Chapter Four portrays Ashbery's relationship with Mark Ford as a successful enactment of reciprocal influence, a form of engagement which allows Ashbery a means to "shake off his own influence" and to retain his status as a "major minor writer".
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Phillips, Malcolm. "Experiment and representation : the domestic surreal in contemporary British and American poetry." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/14707.
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In order to counter what I regard as premature and reductive formulations of a 'native' British postmodernism, I identify a specific tendency in contemporary writing which I name the domestic surreal, and which I trace through the poetry of John Ashbery, Frank O'Hara, Roy Fisher, Christopher Middleton, John Ash, Peter Didsbury and Ian McMillan. Through close reading and a comparative approach, I uncover key preoccupations with idiosyncratic perception, shared experience, urban space and poetic play. I also describe a network of allegiances and influence among these writers which reveals the domestic surreal to be one of the contemporary manifestations of an imaginative tradition which stretches back through the Surrealist and Cubist movements to Baudelaire and Rimbaud. For the poets of the domestic surreal, engagement with an aesthetic tradition is inextricably linked with their response to contemporary conditions. Drawing on dialectical and poststructuralist perspectives, I propose that the domestic surreal attempts to resist the constraints of social and aesthetic consensus in Britain and America in the period following the Second World War.
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Goodland, Giles. "Modernist poetry and film of the Home Front, 1939-45." Thesis, University of Oxford, 1992. http://ora.ox.ac.uk/objects/uuid:cbc4f071-0e64-4a07-866d-ba83359262cb.
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This thesis is an exploration of the links between modernist literature and film and society at a period of historical crisis, in Gramscian terms a moment of national 'popular will'. In general, these works are informed by a greater organicity of form, replacing the previous avant-garde model of a serial or mechanical structure. This organicity, however, maintains an element of disjunction, in which, as with filmic montage, the organicity is constituted on the level of the work seen as a totality. Herbert Read's aesthetics are shown to develop with these changes in the Thirties and the war years. The work of H.D. and T.S. Eliot is explored in the light of these new structural elements, and the formal questioning of the subject through the interplay of 'we' and montages of location and address in the poems. The pre-war years are portrayed in these works as a time of shame, and the war as a possible means of redemption, perhaps through suffering, or through the new subjectivity of the wartime community. The documentary movement provides an opportunity to trace these formal changes in a historical and institutional context, and with the work of Dylan Thomas, the relations between mass and high culture, film and poetry, are investigated, as well as the representation of the Blitz, in which guilt is sublimated into celebratory transcendence. These aspects, and the adaptation of a European avant-garde to meet British cultural needs, are examined in the work of the Apocalyptic movement. The last structure of feeling is reconstruction, which is related to Herbert Read's thought, but shown to inform all these other works and to be a linking-point between ideology and the structure of the text, formed as an organic unity that promises a reconstructed post-war society.
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Boykin, Dennis Joseph. "Wartime text and context: Cyril Connolly's Horizon." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/1959.
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This thesis examines the literary journal Horizon, its editor Cyril Connolly, and a selection of its editorial articles, poems, short stories and essays in the context of the Second World War, from 1939-45. Analyses of these works, their representation of wartime experience, and their artistic merit, serve as evidence of a shared and sustained literary engagement with the war. Collectively, they demonstrate Horizon’s role as one of the primary outlets for British literature and cultural discourse during the conflict. Previous assessments of the magazine as an apolitical organ with purely aesthetic concerns have led to enduring critical neglect and misappraisal. This thesis shows that, contrary to the commonly held view, Horizon consistently offered space for political debate, innovative criticism, and war-relevant content. It argues that Horizon’s wartime writing is indicative of the many varied types of literary response to a war that was all but incomprehensible for those who experienced it. These poems, stories and essays offer a distinctive and illuminating insight into the war and are proof that a viable literary culture thrived during the war years. This thesis also argues that Horizon, as a periodical, should be considered as a creative entity in and of itself, and is worthy of being studied in this light. The magazine’s constituent parts, interesting enough when considered separately, are shaped, informed, and granted new shades of meaning by their position alongside other works in Horizon. Chapters in the thesis cover editorials and editing, poetry, short stories, political essays, and critical essays respectively. Analyses of individual works are situated in the context of larger concerns in order to demonstrate the coherence of debate and discourse that characterised Horizon’s wartime run. In arguing that Horizon is a singular creative entity worthy of consideration in its own right, this thesis locates itself within the emerging field of periodical studies. Further, by arguing that the magazine demonstrates the value of Second World War literature, it articulates with other recent attempts to reassess the scope and quality of that literature. More specifically, this thesis offers the first focused and in-depth analysis of Horizon’s formative years.
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Boykin, Dennis Joseph. "Wartime text and context Cyril Connolly's Horizon /." University of Sydney, 2007. http://hdl.handle.net/2123/1959.
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Doctor of Philosophy (PhD)This thesis examines the literary journal Horizon, its editor Cyril Connolly, and a selection of its editorial articles, poems, short stories and essays in the context of the Second World War, from 1939-45. Analyses of these works, their representation of wartime experience, and their artistic merit, serve as evidence of a shared and sustained literary engagement with the war. Collectively, they demonstrate Horizon’s role as one of the primary outlets for British literature and cultural discourse during the conflict. Previous assessments of the magazine as an apolitical organ with purely aesthetic concerns have led to enduring critical neglect and misappraisal. This thesis shows that, contrary to the commonly held view, Horizon consistently offered space for political debate, innovative criticism, and war-relevant content. It argues that Horizon’s wartime writing is indicative of the many varied types of literary response to a war that was all but incomprehensible for those who experienced it. These poems, stories and essays offer a distinctive and illuminating insight into the war and are proof that a viable literary culture thrived during the war years. This thesis also argues that Horizon, as a periodical, should be considered as a creative entity in and of itself, and is worthy of being studied in this light. The magazine’s constituent parts, interesting enough when considered separately, are shaped, informed, and granted new shades of meaning by their position alongside other works in Horizon. Chapters in the thesis cover editorials and editing, poetry, short stories, political essays, and critical essays respectively. Analyses of individual works are situated in the context of larger concerns in order to demonstrate the coherence of debate and discourse that characterised Horizon’s wartime run. In arguing that Horizon is a singular creative entity worthy of consideration in its own right, this thesis locates itself within the emerging field of periodical studies. Further, by arguing that the magazine demonstrates the value of Second World War literature, it articulates with other recent attempts to reassess the scope and quality of that literature. More specifically, this thesis offers the first focused and in-depth analysis of Horizon’s formative years.
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Lynch, Éadaoín. "'This may be my war after all' : the non-combatant poetry of W.H. Auden, Louis MacNeice, Dylan Thomas, and Stevie Smith." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/16566.
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This research aims to illuminate how and why war challenges the limits of poetic representation, through an analysis of non-combatant poetry of the Second World War. It is motivated by the question: how can one portray, represent, or talk about war? Literature on war poetry tends to concentrate on the combatant poets of the First World War, or their influence, while literature on the Second World War tends to focus on prose as the only expression of literary war experience. With a historicist approach, this thesis advances our understanding of both the Second World War, and our inherited notions of 'war poetry,' by parsing its historiography, and investigating the role critical appraisals have played in marginalising this area of poetic response. This thesis examines four poets as case studies in this field of research-W.H. Auden, Louis MacNeice, Dylan Thomas, and Stevie Smith-and evaluates them on both their individual explorations of poetic tone, faith systems, linguistic innovations, subversive performativity, and their collective trajectory towards a commitment to represent the war in their poetry. The findings from this research illustrate how too many critical appraisals have minimised or misrepresented Second World War poetry, and how the poets responded with a self-reflexivity that bespoke a deeper concern with how war is remembered and represented. The significance of these findings is breaking down the notion of objective fact in poetic representations of war, which are ineluctably subjective texts. These findings also offer insight into the 'failure' of poetry to represent war as a necessary part of war representation and prompt a rethinking of who has the 'right' experience-or simply the right-to talk about war.
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Ellis, Toshiko 1956. "The modernist dilemma in Japanese poetry." Monash University, School of Asian Languages and Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/8720.
Full textBooks on the topic "English poetry – 20th century – History and criticism"
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English poetry since 1940. London: Longman, 1993.
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Edwardian poetry. Oxford: Clarendon Press, 1991.
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Essays on poetry. Normal, Ill: Dalkey Archive Press, 2003.
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1946-, Roberts Neil, ed. A companion to twentieth-century poetry. Oxford: Blackwell Publishers, 2001.
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An introduction to twentieth-century poetry in English. New York: St. Martin's Press, 1999.
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Alice, Entwistle, ed. A history of twentieth-century British women's poetry. Cambridge, UK: Cambridge University Press, 2005.
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Jeffries, Lesley. The language of twentieth-century poetry. New York: St. Martin's Press, 1993.
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Twentieth-century poetry and the visual arts. New York: Cambridge University Press, 2008.
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Michael, Schmidt. Reading modern poetry. London: Routledge, 1989.
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Hühn, Peter. The narratological analysis of lyric poetry: Studies in English poetry from the 16th to the 20th century. Berlin: Walter de Gruyter, 2005.
Find full textBook chapters on the topic "English poetry – 20th century – History and criticism"
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"18th, 19th & Early 20th Century Criticism." In Pre-Romanticism in English Poetry of the Eighteenth Century. Bloomsbury Academic, 1989. http://dx.doi.org/10.5040/9781350388246.part-001.
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Haltrin-Khalturina, Elena V. "From the English Renaissance Literary History: Sherry, Puttenham, Spenser, and Shakespeare on Fictions." In “The History of Literature”: Non-scientific sources of a scientific genre, 132–58. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-132-158.
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A survey of academic histories of literature published in the 19th and 20th centuries in different countries reveals that, while thoroughly covering the English Renaissance poetics, the scholarship allows for a variety of views on Tudor literary theory and on what constitutes literary canon. Considering this variety of views, we also have to be aware of two different perspectives on the large body of literary art of the 16th-century: the present-day and the Elizabethan. Drawing on a substantial number of sources, we offer a general account of influential theoretical (poetological and rhetorical) works known in the 16th-century Great Britain, including those written in English. Also of note are educational treatises, “mirror” literature, and metaliterary comments withing literary works. Authors of those treatises used to interpret fiction as something feigned, counterfeit — an attitude informing ludic passages in Spenser and Shakespeare. Whereas the techniques of fashioning fictions by way of employing figures of feigned/counterfeit representation were addressed in detail by such critics as R. Sherry and G. Puttenham, the poets — Spenser and Shakespeare — seemed to be testing these techniques in practice. Our study pays particular attention to methods used by Spenser and Shakespeare when creating simulated, fictional reality.
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Cheney, Patrick. "Poetics." In The Oxford History of Poetry in English, 83–100. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198830696.003.0005.
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The sixteenth century prints the first treatises in English on ‘poetics’, a branch of literary criticism outlining a theory of poetry. Traditionally, modern scholars understand English poetics to be rhetorical: poetry is a rational form of persuasion. However, sixteenth-century theorists also introduce a counter-theory known as the sublime, first outlined by Longinus, who sees poetry as an irrational art aiming at ‘amazement and wonder’. For Longinus, the goal of sublime poetry is not to civilise the human but to secure freedom from the human: sublime poetry catapults the reader to the godhead. Sidney’s Defence taps into a poetics of sublime freedom, as do other treatises, such as Scott’s Model of Poetry. Consequently, the sixteenth century is the first era to theorise sublime poetic freedom of the literary imagination itself. Poets and playwrights like Marlowe in Doctor Faustus cohere with the theorists by scripting a liberating poetics of sublime authorship.