Relevant bibliographies by topics / Kinsella

Academic literature on the topic 'Kinsella'

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Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Kinsella"

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Birns, Nicholas. "Stolen from the Snows: John Kinsella as Poet and as Fiction Writer." CounterText 6, no. 2 (August 2020): 232–38. http://dx.doi.org/10.3366/count.2020.0195.

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This piece explores the fiction of John Kinsella, describing how it both complements and differs from his poetry, and how it speaks to the various aspect of his literary and artistic identity, After delineating several characteristic traits of Kinsella's fictional oeuvre, and providing a close reading of one of Kinsella's Graphology poems to give a sense of his current lyrical praxis, the balance of the essay is devoted to a close analysis of Hotel Impossible, the Kinsella novella included in this issue of CounterText. In Hotel Impossible Kinsella examines the assets and liabilities of cosmopolitanism through the metaphor of the all-inclusive hotel that envelops humanity in its breadth but also constrains through its repressive, generalising conformity. Through the peregrinations of the anti-protagonist Pilgrim, as he works out his relationships with Sister and the Watchmaker, we see how relationships interact with contemporary institutions of power. In a style at once challenging and accessible, Kinsella presents a fractured mirror of our own reality.
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Obert, Julia C. "The Entomological Imagination: Thomas Kinsella's Insect Poems." Irish University Review 47, no. 2 (November 2017): 360–72. http://dx.doi.org/10.3366/iur.2017.0286.

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Insects are central to Thomas Kinsella's poetic ecologies. First, they highlight Kinsella's interest in process and change. Many of his volumes thematize circularity and cyclicality, growth and decay, and insects' short lives make these metamorphoses available to poetic perception. Second, Kinsella uses insect behaviour to reflect on human relationality. Such relationality often cannot hold in Kinsella's work; it is frequently hierarchical or exploitative. However, an index swarm is a non-hierarchical, self-organizing group, a leaderless yet cooperative assemblage that privileges collective intelligence over individual talent. Modes of animal organization, Kinsella implies, might teach humans how to live more symbiotically.
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Birns, Nicholas. "Introduction to John Kinsella's PINK LAKE." Thesis Eleven 155, no. 1 (December 2019): 3–7. http://dx.doi.org/10.1177/0725513619892170.

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John Kinsella’s fiction emphasizes similar themes of environmental activism, political protest, and critique of Australian society, as does his widely acclaimed poetry. As in his verse, his orientation as a fiction writer is both local and global, regional and cosmopolitan. But in his fiction Kinsella engages in a double interrogation of both mainstream society and his own posture in opposition to it. In the novella Pink Lake a film director is interviewed by an uncomprehending journalist and driven to desperation by the philistinism of Australian society. But his own arrogance, unexamined white and male privilege, and illusion that just because he practices what he calls cinema vérité he has in fact attained the truth mean that he is part of the problem as well. Kinsella examines the problematics of social critique in a neoliberal world, noting their ironies while still believing in their possibility and necessity.
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Ryan, John Charles. "On the Death of Plants: John Kinsella’s Radical Pastoralism and the Weight of Botanical Melancholia // Sobre la muerte de las plantas: El pastoreo radical de John Kinsella y el peso de la melancolía botánica." Ecozon@: European Journal of Literature, Culture and Environment 7, no. 2 (October 25, 2016): 113–33. http://dx.doi.org/10.37536/ecozona.2016.7.2.1004.

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Through the poetry of Australian writer and activist John Kinsella (b. 1963), this article emphasizes the actual, embodied—rather than metaphorical—dimensions of the death of plants vis-à-vis the pressing international context of accelerating botanical diversity loss (Hopper) and the anthropogenic disruption of floristic communities globally (Pandolfi and Lovelock). On many levels—scientific, ecological, social, metaphysical—a fuller appreciation of plant life necessitates an understanding of their decline, decay, and demise. Toward a more nuanced appreciation of plant lives, the discussion draws a distinction—but aims to avoid a binary— between biogenic and anthropogenic instances of plant-death. Considering the correlation between vegetal existence, human well-being, and our co-constituted lives and deaths, I assert that a more encompassing and ecoculturally transformative outlook on plants involves not only an acknowledgement of their qualities of percipient aliveness but also a recognition of their senescence and perishing. Kinsella’s poetry reflects such themes. His botanical melancholia derives from the gravely fragmented locus of his ecological consciousness: the ancient, native plantscape existing as small, disconnected remnants within the agro-pastoral wheatbelt district of Western Australia. Consequently, rather than an incidental occurrence, plant-death is essential to Kinsella’s enunciation of radical pastoralism as a counterweight to an idyllic textualization of botanical nature as existing in an unimpacted Arcadian state of harmony, balance, and equitable exchange with the built environment (Kinsella Disclosed 1–46). Resumen A través de la poesía del escritor y activista australiano John Kinsella (1963), este artículo hace hincapié en las dimensiones reales, en vez de metafóricas, de la muerte de las plantas frente al apremiante contexto internacional de acelerar la pérdida de diversidad botánica (Hopper) y la alteración antropogénica de las comunidades florísticas a nivel mundial (Pandolfi y Lovelock). En muchos niveles, científico, ecológico, social-metafísico, una apreciación más completa de la vida vegetal requiere una comprensión de su declive, decadencia y desaparición. Hacia una apreciación más matizada de las vidas de las planta, el debate suscita una distinción, pero tiene como objetivo evitar un dualismo, entre ejemplos biogénicos y antropogénicos de muertes de plantas. Teniendo en cuenta la correlación entre la existencia vegetal, el bienestar humano, y nuestras vidas y muertes co-constituidas, afirmo que una perspectiva más abarcadora y transformadora eco-culturalmente sobre las plantas implica no sólo un reconocimiento de sus cualidades de vitalidad perspicaz sino también un reconocimiento de su senectud y ruina. La poesía de Kinsella refleja este tipo de temas. Su melancolía botánica deriva del locus seriamente fragmentado de su conciencia ecológica: el paisajismo vegetal antiguo y nativo que existe como restos pequeños, desconectados dentro del distrito agropastoral del cinturón-de-trigo de Australia Occidental. En consecuencia, en lugar de un mínimo hecho en su obra, la muerte de la planta es esencial para la enunciación de Kinsella del pastoreo radical australiano. Su poesía proporciona un como un contrapeso a una textualización idílica de la naturaleza botánica que existe en un estado arcádico e inmaculado de armonía, equilibrio, e intercambio equitativo con el entorno construido (Kinsella, Disclosed 1–46).
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Steele, William. "The Essential W. P. Kinsella by W. P. Kinsella." NINE: A Journal of Baseball History and Culture 23, no. 2 (2015): 191–92. http://dx.doi.org/10.1353/nin.2015.0023.

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Gregory, Peter. "George Patrick Kinsella." Homeopathy 93, no. 4 (October 2004): 225. http://dx.doi.org/10.1016/j.homp.2004.08.003.

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Kellogg, David. "Kinsella, Geography, History." South Atlantic Quarterly 95, no. 1 (January 1, 1996): 145–70. http://dx.doi.org/10.1215/00382876-95-1-145.

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Block, Walter E. "Forestalling, Positive Obligations and the Lockean and Blockian Provisos: Rejoinder to Stephan Kinsella." Ekonomia 22, no. 3 (November 21, 2016): 27–41. http://dx.doi.org/10.19195/2084-4093.22.3.2.

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Forestalling, Positive Obligations and the Lockean and Blockian Provisos: Rejoinder to Stephan KinsellaThe Blockian proviso mandates that no one precludes or forestalls anyone else in their land homesteading patterns such that they prevent them from homesteading virgin encircled land. Kinsella 2007, 2009A takes issue with this position and likens it to the properly denigrated Lockean proviso. The present paper is an attempt to distinguish the two provisos one from the other, and defend the former from Kinsella’s critiques.
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McVeigh, Brian. "Reply To Kinsella (1997)." Journal of Material Culture 2, no. 3 (November 1997): 385–87. http://dx.doi.org/10.1177/135918359700200307.

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Abbate Badin, Donatella. "In Memoriam. Thomas Kinsella (1928-2021). Dublin, Turin, Philadelphia." Studi irlandesi. A Journal of Irish Studies 12 (June 30, 2022): 11–28. http://dx.doi.org/10.36253/sijis-2239-3978-13756.

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In remembering Thomas Kinsella in this obituary, the author has dwelt on a little-publicized event of the poet’s life, the granting of an honorary degree by the Turin University on 9 May 2006. The occasion is seen as a belated homage to a poet who had not always received his due in the past and as a harbinger of the full recognition that was to be granted to him in the succeeding years. By analysing his Acceptance Speech, the poem he read at the ceremony and the informal conversations that took place at the time, the author identifies some important concerns that would emerge in Kinsella’s Late Poems that dwell on ageing, taking stock of one’s life, understanding and belief.
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Dissertations / Theses on the topic "Kinsella"

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De-Barra, Seamas. "The symphonies of John Kinsella." Thesis, Durham University, 2012. http://etheses.dur.ac.uk/7313/.

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Séamas de Barra The Symphonies of John Kinsella ABSTRACT This thesis offers the first comprehensive analytical and critical study of the symphonies of John Kinsella (b. 1932), one of the leading figures in contemporary Irish music. This cycle of ten works represents the most substantial contribution to the genre by an Irish composer, and Kinsella’s varied handling to the form is examined and discussed in relation both to historical and contemporary developments. While his understanding of musical structure and the manner in which he shapes musical time are deeply indebted to the work of Jean Sibelius, Kinsella’s compositional idiom is derived from a personal adaptation of serialism in which the technique of the note-row is manipulated to readmit the forces of tonal attraction. The result of these twin influences is an arrestingly individual approach to composition, the development of which is traced across the cycle as each of the symphonies in turn is subjected to extensive analysis. Because he chose to pursue an independent path in the 1980s, Kinsella seemed a somewhat isolated figure to his contemporaries. Retrospectively, his work can be seen as instinctively in tune with broader developments, however, as both serialism (understood as a way of thinking rather than as a style) and the music of Sibelius have emerged as two of the dominant influences on current musical thinking.
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Brazeau, Robert Joseph. ""Mired in attachment" : cultural politics and the poetry of Seamus Heaney and Thomas Kinsella /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0030/NQ66194.pdf.

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Reed, Marthe. "The poem as liminal place-moment : John Kinsella, Mei-mei Berssenbrugge, Christopher Dewdney and Eavan Boland." University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0136.

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Places are deeply specific, and often richly resonant for us in terms of memory, emotion, and association, yet we nevertheless frequently move through them insensible of their constitution and diversity, or the shaping influences they have upon our lives. As such, place affords a vital window into the creation and experience of poetry where the poet is herself attuned to the presence and effect of places; the challenge for the scholar is to articulate place's nature and role with respect that poetry. In
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Elstone, Jane M. "Divided minds and grafted tongues : tradition and discontinuity in the poetry of Austin Clarke, Thomas Kinsella and John Montague." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.335687.

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Fergusson, Stephen. "Native literature in Canada a comparative study of the coyote trickster in the literature of Thomas King and W.P. Kinsella." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/MQ61746.pdf.

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Fergusson, Stephen Aubrey. "Native literature in Canada : a comparative study of the coyote trickster in the literature of Thomas King and W.P. Kinsella." Sherbrooke : Université de Sherbrooke, 1999.

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Flanagan, Ian. "#I have risen from my gnawed books' : modernity, intertextuality and the body in Thomas Kinsella's literary corpus." Thesis, Royal Holloway, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396253.

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Ngoyi, Louise Kyalwe K. "Les minéralisations cuprifères du katanguien associées aux domes granitiques ubendiens (province métallogénique zairo-zambienne): l'exemple du gisement de Kinsenda-Luina (Zaïre)." Doctoral thesis, Universite Libre de Bruxelles, 1992. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212917.

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"Representations of Women in the Poetry of Thomas Kinsella." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.20946.

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abstract: This dissertation addresses the representation of women in the poetry of the Irish poet Thomas Kinsella. Using a variety of theoretical approaches, including historical criticism, French feminist theory and Jungian psychoanalytical theory, I argue that although women are an integral part of Kinsella's ongoing aesthetic project of self-interrogation, their role in his poetry is deeply problematic from a feminist perspective. For purposes of my discussion I have divided my analysis into three categories of female representation: the realistically based figure of the poet's wife Eleanor, often referred to as the Beloved; female archetypes and anima as formulated by the psychologist C.G. Jung; and the poetic trope of the feminized Muse. My contention is that while the underlying effect of the early love and marriage poems is to constrain the female subject by reinforcing stereotypical gender positions, Kinsella's aesthetic representation of this relationship undergoes a transformation as his poetry matures. With regard to Kinsella's mid-career work from the 1970s and the 1980s I argue that the poet's aesthetic integration of Jungian archetypes into his poetry of psychic exploration fundamentally influences his representation of women, whether real or archetypal. These works represent a substantial advance in the complexity of Kinsella's poetry; however, the imaginative power of these poems is ultimately undermined by the very ideas that inspire them - Jungian archetypal thought - since women are represented exclusively as facilitators and symbols on this male-centered journey of self-discovery. Further complicating the gender dynamics in Kinsella's poetry is the presence of the female Muse. This figure, which becomes of increasing importance to the poet, transforms from an aestheticized image of the Beloved, to a sinister snake-like apparition, and finally into a disembodied voice that is a projection of the poet and his alter-ego. Ultimately, Kinsella's Muse is an aesthetic construction, the site of inquiry into the difficulties inherent in the creative process, and a metaphor for the creative process itself. Through his innovative deployment of the trope of the Muse, Kinsella continues to advance the aesthetics of contemporary Irish poetry.
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Ph.D. English 2013
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Lee, Buck Hsieh Fang, and 李協芳. "History, Politics, and Poetics in Thomas Kinsella’s Poems." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/67814067982726702129.

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碩士
輔仁大學
英國語文學系
91
This thesis is a study of history, politics and poetics in Thomas Kinsella’s poems─“Nightwalker” (1967), “Butcher’s Dozen: A Lesson for the Octave of Widgery” (1972), and “St. Catherine’s Clock”(1987). These three poems characterize Kinsella’s historical perspective in the process of poetic composition and its perpetual revisions that allow readers to perceive Kinsella’s poetic development and its nature of writing process─a self-reflexive perspective of writing and revising in an on-going project. History, for Kinsella, is not only the source for writing, but also the approach and technique of reading the past and revising lived moments in context. The introduction briefly begins with Thomas Kinsella in relation to modern Irish poetry after Yeats and Joyce and also periodizes these three primary texts in Kinsella’s poetic development from the sixties to the present. Chapter one focuses on the experiment of writing poetry in “Nightwalker” that suggests the self-reflexive perspective of writing in relation to the de/reconstructing self/subjectivity and investigates the nature of writing process and the self-exploration in the poetic composition. Chapter two particularly emphasizes on Kinsella’s poetic implication of Bloody Sunday and the Widgery Report in “Butcher’s Dozen.” Consulting with witness, documents, and narratives, the second chapter reconstructs the lived moment of Derry in 1972 and further engages the poetic implications within the practices of colonial politics, nationalism, and versions of historical interpretations. Chapter three specifically presents and discusses the intertextuality of the poetic composition with engravings, documents, narratives, and autobiography. This chapter attempts to incorporate issues from previous two chapters that embody metacommentray of writing process and the poetic tradition in Kinsella’s historiography of the poetics and recollections of family and childhood.
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Books on the topic "Kinsella"

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Badin, Donatella Abbate. Thomas Kinsella. New York: Twayne Publishers, 1996.

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Kinsella, Karin. The Karin Kinsella collection. Chislehurst: Karin Kinsella, 1986.

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Green, Christine. Deadly practice: A Kate Kinsella mystery. New York: Worldwide, 1997.

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Green, Christine. Deadly practice: A Kate Kinsella mystery. New York: Walker, 1995.

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Green, Christine. Deadly practice: A Kate Kinsella mystery. New York: Walker, 1995.

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Brian, John. Reading the ground: The poetry of Thomas Kinsella. Washington, D.C: Catholic University of America Press, 1996.

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Dwyer, Tommy. Kinsella's oversight: A reply to "the butcher's dozen", a poem on Bloody Sunday by Thomas Kinsella. Belfast: Athol Books, 1987.

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1953-, Mengham Rod, and Phillips, G. R. E. 1936-, eds. Fairly obsessive: Essays on the works of John Kinsella. Nedlands, W.A: Centre for Studies in Australian Literature, 2000.

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H, Jackson Thomas. The whole matter: The poetic evolution of Thomas Kinsella. Syracuse, N.Y: Syracuse University Press, 1995.

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Don, Murray. The fiction of W.P. Kinsella: Tall tales in various voices. Fredericton, N.B., Canada: York Press, 1987.

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Book chapters on the topic "Kinsella"

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Yeung, Heather H. "Economies of Poetic Production: The Poetry of Thomas Kinsella." In Spatial Engagement with Poetry, 79–109. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137478276_8.

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Harmon, Maurice. "‘Move, if you move, like water’: The Poetry of Thomas Kinsella, 1972–88." In Contemporary Irish Poetry, 194–213. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-80425-2_10.

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Matthews, Steven. "Thomas Kinsella’s Poetic of Unease." In Irish Poetry: Politics, History, Negotiation, 74–103. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25290-9_3.

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Fitzsimons, Andrew. "Thomas Kinsella." In The Cambridge Companion to Irish Poets, 224–39. Cambridge University Press, 2017. http://dx.doi.org/10.1017/9781108333313.020.

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"Thomas Kinsella (1928-)." In Contemporary Irish Poetry, New and Revised editon, 170–97. University of California Press, 1988. http://dx.doi.org/10.1525/9780520908178-020.

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"W. P. Kinsella: The Winter Helen Dropped By." In The Wild Rose Anthology of Alberta Prose, 153–67. University of Calgary Press, 2003. http://dx.doi.org/10.1515/9781552384787-012.

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Lernout, Geert. "The Dantean Paradigm: Thomas Kinsella and Seamus Heaney." In The Clash of Ireland, 248–64. BRILL, 1989. http://dx.doi.org/10.1163/9789004490406_016.

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Hisgen, Ruud, and Adriaan van der Weel. "“A Feverish Attempt”: On Translating Kinsella into Dutch." In The Clash of Ireland, 265–77. BRILL, 1989. http://dx.doi.org/10.1163/9789004490406_017.

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"6 POETRY AT MID-CENTURY I: THOMAS KINSELLA." In Modern Irish Poetry, 167–97. University of California Press, 1986. http://dx.doi.org/10.1525/9780520410756-008.

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Gilbert, Daniel R. "A Pragmatist Ethics of Differences, Centers, and Margins." In Ethics Through Corporate Strategy, 18–41. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195096248.003.0002.

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Abstract You and I can learn more about making business more ethical from the creative efforts by Bill Watterson (“Calvin & Hobbes”), the late Jay Ward (“Rocky & Bullwinkle”), Dean Young and Stan Drake (“Blondie”), W.P. Kinsella (Box Socials), Gish Jen (Typical American), and Douglas Coupland (Generation X) than from reading about all the white-collar criminals ever convicted. I have come to this conclusion long after the day when, in my first month at Bucknell University, a student-I will call him “Senior”-entered my office with a proposal for heightening his classmates’ awareness about ethics.1 I threw cold water on Senior’s idea. And I would do so again.
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Conference papers on the topic "Kinsella"

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Tschaikner, Martin, Danja Brandt, Henning Schmidt, Felix Bießmann, Teodor Chiaburu, Ilona Schrimpf, Thomas Schrimpf, Alexandra Stadel, Frank Haußer, and Ingeborg E. Beckers. "Multisensor data fusion for automatized insect monitoring (KInsecta)." In Remote Sensing for Agriculture, Ecosystems, and Hydrology XXV, edited by Christopher M. Neale and Antonino Maltese. SPIE, 2023. http://dx.doi.org/10.1117/12.2679927.

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Казанцева, А. Э. "Ellipsis as the predominant type of graphic expressive means in S. Kinsella's novel The Undomestic Goddess." In НАУКА РОССИИ: ЦЕЛИ И ЗАДАЧИ. НИЦ «Л-Журнал», 2018. http://dx.doi.org/10.18411/sr-10-04-2018-13.

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