Relevant bibliographies by topics / Tony Harrison

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Academic literature on the topic 'Tony Harrison'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

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Journal articles on the topic "Tony Harrison"

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Fogarty, William. "The Rhubarbarian’s Redress: Tony Harrison and the Politics of Speech." Twentieth-Century Literature 66, no. 2 (June 1, 2020): 207–32. http://dx.doi.org/10.1215/0041462x-8536165.

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Taking up the persistent question of poetry’s sociopolitical capacities by considering how Harrison’s poems depend on the power of local speech, this article examines how they cast his working-class northern English dialect in meter and rhyme as a way to scrutinize social hierarchies. Marshaling various forms of speech, including his own vernacular, into traditional patterns of poetry, Harrison interrogates classist notions about nonstandard speech and its relation to that tradition while exploring the disturbances produced by class separation. Where poetry scholarship in general and Harrison scholarship in particular often place demotic registers in opposition to traditional verse forms, this article argues that it is precisely the working relationships Harrison finds between verse forms and speech forms that upend hierarchies in his poetry, making new music out of local parlance.
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Parmet, H. L. "Tony Harrison and the Holocaust." Holocaust and Genocide Studies 17, no. 3 (January 1, 2003): 515–17. http://dx.doi.org/10.1093/hgs/dcg030.

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Brauner, David, and Anthony Rowland. "Tony Harrison and the Holocaust." Modern Language Review 98, no. 3 (July 2003): 707. http://dx.doi.org/10.2307/3738315.

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Bower, Rachel, and Jacob Blakesley. "Tony Harrison: International Man of Letters." English Studies 99, no. 1 (January 2, 2018): 1–5. http://dx.doi.org/10.1080/0013838x.2018.1403154.

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Handley, Agata G. "On (Not) Being Milton: Tony Harrison’s Liminal Voice." Text Matters, no. 6 (November 23, 2016): 276–90. http://dx.doi.org/10.1515/texmat-2016-0017.

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Tony Harrison’s poetry is rooted in the experience of a man who came out of the working class of Leeds and who, avowedly, became a poet and a stranger to his own community. As Harrison duly noted in one interview, from the moment he began his formal education at Leeds Grammar School, he has never felt fully at home in either the world of literature or the world of his working class background, preferring to continually transgress their boundaries and be subject to perpetual change. The paper examines the relation between poetic identity, whose ongoing construction remains one of the most persistently reoccurring themes of Harrison’s work, and the liminal position occupied by the speaker of Harrison’s verse. In the context of the sociological thought of such scholars as Zygmunt Bauman and Stuart Hall, the following paper discusses the way in which the idea of being in-between operates in “On Not Being Milton,” an initial poem from Harrison’s widely acclaimed sonnet sequence The School of Eloquence, whose unique character stems partly from the fact that it constitutes an ongoing poetic project which has continued from 1978 onwards, reflecting the social and cultural changes of contemporary Britain.
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Padley, S. "Antony Rowland., Tony Harrison and the Holocaust." English 52, no. 204 (September 1, 2003): 278–82. http://dx.doi.org/10.1093/english/52.204.278.

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Poorghorban, Younes. "Counter Class and Counter Identity: Confrontations of Power in Tony Harrison's Poetry." English Studies at NBU 7, no. 2 (December 30, 2021): 245–60. http://dx.doi.org/10.33919/esnbu.21.2.7.

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Tony Harrison is a contemporary British author whose poetry is highly influential in encountering the issue of identity and class struggles. As a working-class student, Harrison was subject to prejudice and discrimination for his working-class accent. This paper investigates two of his highly admired poems, “On Not Being Milton” and “Them & uz” from a cultural standpoint, mainly concentrated on John Fiske’s theory of power and language. The role of language in the context of his poems is probed. The multiaccentuality of language is represented in his poetry and these two poems become the site of struggle for the imperialising and the localising power. It is intended to illuminate the sought space of identity which Harrison is constantly referring to as a member of the English working-class society. Lastly, the social and personal relationship between Harrison and Milton has been explored positing Harrison in a transcendental context in his relationship with Milton.
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Bower, Rachel. "Tony Harrison in Nigeria: Teacher, Translator and Dramatist." English Studies 99, no. 1 (January 2, 2018): 34–50. http://dx.doi.org/10.1080/0013838x.2017.1405318.

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Petch, Alison. "Collecting, Ordering, Governing: Anthropology, Museums, and Liberal Government (Bennett et al)." Museum Anthropology Review 11, no. 1-2 (May 23, 2017): 34–35. http://dx.doi.org/10.14434/mar.v11i1.23547.

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This work is a book review considering the title Collecting, Ordering, Governing: Anthropology, Museums, and Liberal Government by Tony Bennett, Fiona Cameron, Nélia Dias, Ben Dibley, Rodney Harrison, Ira Jacknis, and Conal McCarthy.
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Hersant, Patrick. "« Cet accident du sens » : Jacques Darras v. Tony Harrison." Palimpsestes, no. 26 (October 1, 2013): 217–34. http://dx.doi.org/10.4000/palimpsestes.1996.

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Dissertations / Theses on the topic "Tony Harrison"

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Marshall, Hallie Rebecca. "Banging the lyre : the classical plays of Tony Harrison." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/21717.

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British poet Tony Harrison (b. 1937) is the most significant English verse playwright of the second half of the twentieth century and an important figure in the reception of classical literature on the British stage. This dissertation explores Harrison’s classical plays in relationship to their Greek and Latin models, positioning them amidst his other poetic works, and examining their cultural and historical contexts. The intent of this study is to examine these plays from a number of perspectives: intertexuality, exploring the ways in which Harrison engages with both classical literature and his own non-dramatic poetry; genre, arguing that Harrison uses not only Greek tragedy as a model, but also the other fifth-century dramatic genres of satyr play and Old Comedy, as well as nondramatic poetry, such as Latin epigrams; social and political contexts, establishing the importance of Harrison’s socio-economic and educational background in understanding the form and content of his dramatic verse, and exploring the ways in which he engages with a range of modern political issues, from the British class system to historical and contemporary military conflicts; performance, discussing Harrison’s interpretation and appropriation of fifth-century Athenian performance conventions, such as masks, as well as the influence that collaborators have had on the development of his unique theatrical style; and reception, articulating Harrison’s place within the history of the performance of English verse translations on the twentieth-century British stage, associating his work with the productions of translations by Gilbert Murray, differentiating his work from the classical adaptations of T.S. Eliot, and arguing that he is directly responsible for the recent forays into classical drama by other prominent poets, such as Seamus Heaney and Ted Hughes. Conclusions are drawn that what Harrison finds of value within the extant corpus of ancient literature is not the elite values of high culture in which a knowledge of Latin and ancient Greek functions as a shibboleth separating the classes (as had been the case until the post-World War II era in Britain), but a model for creating public poetry for the late-twentieth century.
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Vegehan-Marshall, Cécile. "Poésie, politique et ironie dans l'oeuvre de Tony Harrison." Bordeaux 3, 2007. https://hal.archives-ouvertes.fr/tel-01526177.

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Parce qu’elle louvoie constamment entre les extrêmes, surprenant son public là où il ne s’y attend pas, la poésie de Tony Harrison est inclassifiable. A l’instar de l’ironie, son mode d’écriture privilégié, elle est à la fois iconoclaste et traditionaliste, populaire et élitiste, pudique et publique, inclusive et exclusive. Tony Harrison imprime sa marque dans le canon, entre résistance et rébellion, fidélité et originalité, grâce à des traductions audacieuses de textes dramatiques classiques. De même, il revisite la forme sonnet, confronte la langue poétique aux théories sur l’hégémonie culturelle et invite la problématique galvaudée du scholarship boy dans l’Angleterre thatchériste. Dans sa quête d’une poésie publique, ce trouble-fête socioculturel s’approprie des media, ainsi que des lieux de production et de représentation non-conformistes. Brouillant les frontières génériques entre poésie, théâtre et cinéma, entre art et reportage, Tony Harrison impose les rimes et les formes strictes, apparaissant paradoxalement comme le plus traditionaliste des poètes anglais contemporains. Il revisite ainsi l’esthétique tragique pour que la poésie survive aux traumas du vingtième siècle, tout en exhibant une tendance irrépressible à l’ironie. De la ritualisation de la représentation théâtrale à la mise en scène de la littérarité, la poésie de Tony Harrison s’offre en spectacle, écumant les poètes, les langues, les dialectes et les idiolectes pour célébrer les plaisirs de l’écriture
Since the 1970s, Tony Harrison has constantly played with expectations and relished paradoxes. His poetry, like irony, his favourite mode of writing, defies categories. It is both iconoclastic and traditionalist, popular and elitist, self-conscious and public, inclusive and exclusive. Starting his career with the translation and modernisation of dramatic classics, he has made his mark in the poetic canon with his appropriation of the sonnet form. Half-way between resistance and rebellion, homage and originality, he confronts poetic language with theories of cultural hegemony, and invites the outmoded scholarship boy debate into Thatcherist Britain. In his quest for public poetry, he appropriates non-conformist media and cultural venues. While blurring the traditional distinctions between poetry, theatre and cinema, between art and reportage, Tony Harrison imposes rhymes and strict poetic forms, thus paradoxically appearing to be the most traditional of contemporary English poets. He revives Greek tragedy so that poetry might survive the traumas of the twentieth century, but demonstrates an irrepressible tendency for irony. Thus, he endows the theatrical performance with a ritual quality while, at the same time, debunking the artificiality of poetic language. Tony Harrison’s poetry exhibits texts, poets, languages, dialects and idiolects to celebrate the pleasures of poetry
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Whitaker, Stephen John. "Prometheus to revelation : fire in the work of Tony Harrison." Thesis, University of Hull, 2013. http://hydra.hull.ac.uk/resources/hull:8604.

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Byrne, Sandie. "Self-contradiction and self-construction in the poetry and personae of Tony Harrison." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295785.

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Taylor, Christian James. "Barbarian masquerade : a reading of the poetry of Tony Harrison and Simon Armitage." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/12075/.

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This thesis investigates Simon Armitage’s claim that his poetry inherits from Tony Harrison’s work an interest in the politics of form and language, and argues that both poets, although rarely compared, produce work which is conceptually and ideologically interrelated: principally by their adoption of an ‘un-poetic’, deliberately antagonistic language which is used to invade historically validated and culturally prestigious lyric forms as part of a critique of canons of taste and normative concepts of poetic register which I call barbarian masquerade. Harrison’s first collection The Loiners is analysed alongside Armitage’s debut Zoom! in order to demonstrate a shared antipathy towards traditional form and language, and this poetics of dissent is traced across a range of collections, showing that although Harrison’s writing is more obviously class-conscious or Marxist than Armitage’s ludic and ironic output, both poets’ deployment of masquerade reveals a range of shared aesthetic, poetic and political concerns. The final chapters of the thesis demonstrate the complexity of the two poets’ barbarian poetics by analysing Harrison’s militant secularism and Armitage’s denunciations of state violence, hate crime and social exclusion, and by showing that their masquerade writing transcends simple renegotiations of language, structure and style in its search for a public poetry defined by its engagement with, rather than withdrawal from, social, moral and political debate. The thesis ends by suggesting that Harrison’s influence on Armitage might apply to other New Generation poets and to more recent writers, whose work is invoked in order to suggest a continuity of politicised, barbaric writing.
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Vitagliano, Joseph Antony. "'Cloven tongues' : a cross-cultural exploration of the poetry of Derek Walcott and Tony Harrison." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.620270.

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Hélie, Claire. "Les Nords poétiques, poétique du Nord (Basil Bunting, Ted Hughes, Tony Harrison et Simon Armitage)." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030156.

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Séparé du Sud pastoral, de la capitale londonienne et d’Oxbridge par une frontière moins géographique que culturelle, le Nord de l'Angleterre a une géographie variable en fonction des besoins du discours. Une constante discursive parcourt cependant la littérature sur la région : marqué par ses rudes conditions climatiques, jadis peuplé de barbares, en butte aux invasions et ravagé par la Révolution Industrielle, le Nord serait en marge de la sphère poétique. Or, à partir des années 1960, dans le cadre d'une redécouverte des marges de l'ex-empire et d’une dissolution des frontières nationales due à la mondialisation, le Nord revendique son droit à figurer à part entière au cœur de la carte poétique. Les poésies de Basil Bunting, de Ted Hughes, de Tony Harrison, et de Simon Armitage nous invitent à parcourir ces Nords géographiques, historiques, culturels, mais avant tout poétiques. Ces quatre poètes, nés dans le Nord, ont en commun d’avoir pris une distance, sinon physique, du moins intellectuelle, avec la région, ce qui leur a permis de poser un regard critique. Le mouvement nostalgique de retour à la terre natale amorce une réappropriation sur le plan de l’imaginaire de cet espace colonisé par des discours dépréciatifs. Les poètes y découvrent une source intarissable de créativité et partent en quête d’une langue qui résorbe l’écart entre nordicité et poéticité : l'impur accent barbare devient axiome poétique. Comment cette poésie du Nord met-elle en question l'anglicité et la tradition poétique anglaise en même temps qu'elle la structure ? Si « poésie du Nord » il y a, quelles en sont les réalisations dans la voix, le rythme et la forme poétiques ?
Divided from the pastoral South, London and Oxbridge by a frontier that is less geographical than cultural, Northern England has been constructed through shifting discourses. One discursive feature though has been constantly present in the literature on the region : since the place is forbidding (not the least because of its grim weather), since it used to be populated with barbaric tribes and provided a buffer against even more barbarian invasions, since it was devastated by the Industrial Revolution, the North is excluded from the poetic sphere. Yet since the 1960s, in a context of peripheries emerging from the former empire and of national frontiers disappearing due to globalisation, the North has claimed its right to hold a central place on the poetic map. Basil Bunting, Ted Hughes, Tony Harrison and Simon Armitage have participated in reconfiguring geographical, historical, cultural, but, most importantly, poetic Norths. The nostalgic return to the region where they were born and bred reads as a creative and critical reappropriation of a space that has been colonised by derogatory discourses. The poets discover an inexhaustible source of inspiration and set on a quest for a language that would bridge the gap between northerness and poetry : their impure barbarian accent becomes a poetic axiom. How does this Northern English poetry question Englishness and the English poetic tradition while constructing them ? If « Northern English poetry » does exist, how does it show in terms of poetic voice, rhythms and forms ?
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Robinson, Peter. "Shared intimacy : a study of Tony Harrison's public poetry with specific reference to his poetics, the political status of his work and his development of the genre of the film/poem." Thesis, University of Hull, 1998. http://hydra.hull.ac.uk/resources/hull:3868.

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Smalley, Rebecca Emily. "The role of memory in the poetry of Douglas Dunn and Tony Harrison, with specific reference to elegy." Thesis, Durham University, 1991. http://etheses.dur.ac.uk/1489/.

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Copley, Hannah Louise. "The burden and promise of history : the post-War poetics of Jon Silkin, Geoffrey Hill, and Tony Harrison." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/13417/.

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This thesis has two intersected lines of enquiry: it examines how Jon Silkin, Geoffrey Hill, and Tony Harrison respond to the Second World War and the Holocaust in their published writing, and it considers – using each poet’s archived correspondence, notebooks, and drafts – how their creative process and self-representation was informed by their self-awareness of their historical and geographical position. Analysing their published and unpublished work, my study explores how each poet’s (self-asserted) place within the poetic tradition, their creative, national, international, and personal identity, and their understanding of history and poetry was inextricable from their particular position as post-War English poets. Focussing in the first chapter on how Silkin, Hill, and Harrison engage with a tradition of war poetry within their writing, and in the second on the ways that they consider place, Englishness, identity, and belonging, this thesis explores how each writer’s published poetry and unpublished correspondence and drafts continually negotiate with the geographical and historical circumstances that shaped both their survival and the position of their witness. It argues that the result of this sometimes difficult negotiation and self-reflection is a determinately cosmopolitan and outward-facing post-War poetic – a set of individual styles both symptomatic and responsive to the historical events that took place within and beyond their national borders, and to the ethical, aesthetic, and political questions that these events subsequently raised.
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Books on the topic "Tony Harrison"

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Burton, Rosemary. Tony Harrison. London: British Council, 1987.

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Burton, Rosemary. Tony Harrison. London: British Council, 1988.

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Kelleher, Joe. Tony Harrison. Plymouth, U.K: Northcote House in association with the British Council, 1996.

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Sheehan, Sean. The poetry of Tony Harrison. London: Greenwich Exchange, 2008.

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Tony Harrison and the Holocaust. Liverpool: Liverpool University Press, 2001.

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Kaiser, John R. Tony Harrison: A bibliography, 1957-1987. London: Mansell, 1989.

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Tony Harrison: A bibliography, 1957-1987. London: Mansell, 1989.

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Tony, Harrison. Permanently bard: Selected poetry. Newcastle upon Tyne: Bloodaxe Books, 1995.

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H, v., & O: The poetry of Tony Harrison. Manchester: Manchester University Press, 1998.

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Owens-Cooksey, Heather. Prometheus: A film by Tony Harrison : study guide. London: Film Education, 1999.

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Book chapters on the topic "Tony Harrison"

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Hühn, Peter. "Harrison, Tony." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8716-1.

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McEwan, Neil. "Tony Harrison 1937–." In The Twentieth Century (1900–present), 579–83. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20151-8_76.

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Hühn, Peter. "Harrison, Tony: Das lyrische Werk." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8717-1.

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Bex, Tony. "Tony Harrison and the rhetorics of reality." In Humane Readings, 107–18. Amsterdam: John Benjamins Publishing Company, 2009. http://dx.doi.org/10.1075/pbns.190.10bex.

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Roberts, Neil. "Poetic Subjects: Tony Harrison and Peter Reading." In British Poetry from the 1950s to the 1990s, 48–62. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25566-5_4.

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Huk, Romana. "Postmodern Classics: the Verse Drama of Tony Harrison." In British and Irish Drama since 1960, 202–26. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22762-4_15.

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Thurston, Michael. "Tony Harrison’s V." In The Underworld in Twentieth-Century Poetry, 147–60. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230102149_7.

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Gill, Jo. "‘Northern Working-class Spectator Sports’: Tony Harrison’s Continuous." In The Literary North, 157–74. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137026873_10.

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"Notes." In Tony Harrison. Bloomsbury Academic, 2021. http://dx.doi.org/10.5040/9781474299367.0006.

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"Bibliography." In Tony Harrison. Bloomsbury Academic, 2021. http://dx.doi.org/10.5040/9781474299367.0007.

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