Patrick Kavanagh

2021 ◽  
pp. 127-156
Author(s):  
Nicholas Grene
Keyword(s):  
Long Poem ◽  
Small Farmer ◽  
Comic Novel

Patrick Kavanagh is unique among modern Irish writers in that he spent the first half of his life as a largely self-educated small farmer in Monaghan, while struggling to find a voice for that experience as a writer. In his early poetry and his autobiography, The Green Fool, he sought to render the realities of farming and to escape romantic literariness; ‘Inniskeen Road’ and ‘Shancoduff’ are key breakthrough poems in this effort. While he was later to reject the didacticism of The Great Hunger, the achievement of this extraordinary long poem is the combination of inside and outside perspectives on the stunted life of the bachelor farmer Patrick Maguire. Moving away from Monaghan to Dublin allowed Kavanagh to re-create his farming world in the comic novel Tarry Flynn and later lyrics such as ‘Threshing Morning’, ‘A Christmas Childhood’ and ‘Art McCooey’.

Beckett's Early Verse and the Modernist Long Poem: A Study of ‘Enueg I’

2019 ◽  
Vol 28 (2) ◽  
pp. 197-213
Author(s):  
Sławomir Studniarz
Keyword(s):  
Long Poem ◽  
The Waste Land ◽  
Waste Land ◽  
Artistic Activity ◽  
Underlying Network ◽  
Experimental Works ◽  
The Cantos ◽  
Semantic Dimension ◽  
Psychological Dimensions

The premise of the article is the contention that Beckett studies have been focused too much on the philosophical, cultural and psychological dimensions of his established canon, at the expense of the artistry. That research on Beckett's work is issue-driven rather than otherwise, and the slender extant body of criticism specifically on his poetic achievements bears no comparison with the massive exploration of the other facets of Beckett's artistic activity. The critical neglect of Beckett's poetry may not be commensurate with the quality of his verse. And it is in the spirit of remedying this oversight that the present article is offered, focusing on ‘Enueg I’, a representative poem from Echo's Bones, which exhibits all the salient features of Beckett's early poetry. It is argued that Beckett's early verse display the twofold influence, that of the transatlantic Modernism of Eliot and Pound, and of French poetry, specifically the visionary and experimental works of Rimbaud, Apollinaire, and the surrealists. Furthermore, the article also demonstrates that ‘Enueg I’ testifies to Beckett's ambition to compose a complex long Modernist poem in the vein of The Waste Land or The Cantos. Beckett's ‘Enueg I’ has much in common with Eliot's exemplary disjunctive Modernist long poem. Both poems are premised on the acutely felt cultural crisis and display the similar tenor in their ending. Finally, they both close with the vision of the doomed and paralyzed world, and the prevalent sense of sterility and dissolution. In the subsequent analysis, which takes up the bulk of the article, careful attention is paid to the patterning of the verbal material, including also the most fundamental level, that of the arrangements of phonemes, with a view to uncovering the underlying network of sound patterns, which contributes decisively to the semantic dimension of the poem.

Comedy, Class, and Nation

2018 ◽  
Author(s):  
Philip Tew
Keyword(s):  
Youth Culture ◽  
Public Life ◽  
The Novel ◽  
Traditional Values ◽  
Adequate Account ◽  
Cultural Narrative ◽  
Cultural Commodification ◽  
Comic Novel ◽  
Post War ◽  
Recurrent Motifs

This chapter studies the comic novel. If British and Irish culture in the post-war decades underwent some radical social and political upheavals, the novel registered and critiqued these transformations in part through the development of a particular comic mode. Comedy in British and Irish novels published from 1940 to 1973 often turned around the difficult intersection of class and nation. Alongside this overarching attention to class and nation, a number of other recurrent motifs can be traced in the comic novel of the period, such as the representation of cultural commodification, the decline of traditional values, and the emergence of new forms of youth culture. In the context of such widespread changes to the narratives that shaped public life, the comic novel expressed an ironic scepticism concerning the capacity of any cultural narrative to offer an adequate account of contemporary identities.

No, I’m not… Chaucer? The Arabic motif in Troilus and Criseyde and Pushkin’s ‘The Prophet’ [‘Prorok’]

2021 ◽  
pp. 140-153
Author(s):  
A. A. Shapovalova
Keyword(s):  
Direct Contact ◽  
Common Source ◽  
Long Poem ◽  
Troilus And Criseyde ◽  
Potential Influence ◽  
Religious Texts ◽  
Common Motif ◽  
Courtly Romance ◽  
Genetic Source ◽  
The Common

The article discusses two works of literature: Troilus and Criseyde, a long poem written in the genre of courtly romance (1382–1386/1387) by G. Chaucer, and ‘The Prophet’ [‘Prorok’] (1826), a poem by A. Pushkin. The two works are compared due to a common motif: the opening of the chest and swapping of the heart as a sign of the person’s spiritual regeneration. In her comparative analysis of the two poems, the author attempts to identify their common source or the likelihood of direct contact — whether Pushkin had come across Chaucer’s work and borrowed the motif directly. As for the heart being replaced, it seems both poets may have been inspired by several biblical stories. Further analysis of the motif of the chest being opened suggests that the research should focus on the Arabic tradition alone and take into account the potential influence of Islamic religious texts on Pushkin as well as Chaucer. Relying on the available data about Russian and European relations with the Arabic world, the article hypothesises about the ways in which the motif in question could have reached each of the poets. The author names the Quran as the common genetic source of the two poems.

“Is an Archive Enough?”: Megatextual Debris in the Work of Rachel Blau DuPlessis

Genre ◽  
2021 ◽  
Vol 54 (1) ◽  
pp. 139-165
Author(s):  
Bradley J. Fest
Keyword(s):  
Digital Technologies ◽  
Media Ecology ◽  
First Century ◽  
Long Poem ◽  
Cultural Logic ◽  
Television Film ◽  
Twenty First Century ◽  
Rachel Blau Duplessis ◽  
Film And Video

In the twenty-first century, digital technologies have made it possible for writers and artists to create massively unreadable works through computational and collaborative composition, what the author has elsewhere called megatexts. The ubiquity of texts appearing across media that are quite literally too big to read—from experimental novels to television, film, and video games—signals that the megatext is an emergent form native to the era of neoliberalism. But what happens to other long forms, such as the twentieth-century long poem, when written in an era of megatextuality? Rachel Blau DuPlessis's work, including Drafts (1987–2013) and Traces, with Days (2017–), readily suggests itself as a case study for thinking through a megatextual impulse in the twenty-first-century long poem. Though her work is plainly indebted to its modernist precursors (H.D., Pound, Williams, etc.) while disavowing at every level of its composition a patriarchal will toward totality, DuPlessis's various experiments in the long poem are also thoroughly contemporary and respond to the economic, military, political, and environmental transformations of the neoliberal era by drawing upon and producing fragmentary, megatextual debris. This essay positions DuPlessis's work amidst a larger twenty-first-century media ecology, which includes both the megatext and the big, ambitious novel, and argues that rather than simply (and futilely) resist the neoliberal cultural logic of accumulation without end, DuPlessis hypertrophically uses the megatext's phallogocentric form against itself in order to interrogate more broadly what it means—socially, culturally, economically—to write a long poem in the age of hyperarchival accumulation.

scholarly journals 1. Biographical Notice of J. S. Mill

1875 ◽  
Vol 8 ◽  
pp. 259-273
Author(s):  
Fraser
Keyword(s):  
Moral Philosophy ◽  
Human Mind ◽  
John Stuart Mill ◽  
Honorary Member ◽  
British India ◽  
Church Of Scotland ◽  
Small Farmer ◽  
University Of Edinburgh ◽  
The University ◽  
The Church

John Stuart Mill was born in London on the 20th of May 1806, and died at Avignon on the 8th of May 1873. He was of Scotch descent. He was connected with Edinburgh not only as having been an honorary member of this Society, but because his father, James Mill, the historian of British India, and author of the “Analysis of the Human Mind,” received his academical education here. His grandfather was a small farmer, at Northwater Bridge, in the county of Angus, of whom I find nothing more recorded. The father, by his extraordinary intellectual promise when a boy, drew the attention of Sir John Stuart, then member for Kincardineshire, by whom he was sent to the University of Edinburgh, at the expense of a fund, established by Lady Jane Stuart and some other ladies, for educating young men for the Church of Scotland. Towards the end of last century, James Mill attended the classes in Arts and Divinity. He was a pupil of Dalziel, the Professor of Greek, whose prelections he attended, I believe, for three sessions, and his philosophical powers were called forth by Dugald Stewart's lectures in Moral Philosophy.

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