Pictures from Jutland: Placing the Poetries of Seamus Heaney and William Carlos Williams

2019 ◽  
Vol 36 (1) ◽  
pp. 1-13
Author(s):  
Ciarán O' Rourke
2003 ◽  
pp. 195-203
Author(s):  
Irene Artigas Albarelli

La idea de este trabajo es analizar la manera en la cual el problema de la representación aparece en los poemas “Haymaking” y “The Corn Harvest” de William Carlos Williams (1962) y “The Seed Cutters” de Seamus Heaney (1975). Comencemos por dejar claro que en realidad se trata de ekphrasis de algunos cuadros del pintor flamenco Pieter Brueghel, “el Viejo.” Una ekphrasis es la representación verbal de una representación visual. El concepto, aunque parece sencillo, entraña problemas que se relacionan con la idea misma de representar, de volver a presentar, de hacer presente algo que es otra cosa. Si tenemos una representación verbal sobre otra representación, ahora visual, es de esperar que la primera siempre ponga en juego ciertos conceptos referentes al lenguaje, que compare su medio con el de lo que representa, que se cuestione la forma y la posibilidad de hacerlo.


Author(s):  
Michael O’Toole

In this article I examine aspects of the relationship between mothers and sons from an attachment perspective in an Irish context. Through the works of Irish writers such as Seamus Heaney, John McGahern, and Colm Tóibín, I focus on particular aspects of this relationship, which fails to support the developmental processes of separation and individuation in the many men who come to me for psychotherapy. I illustrate key points concerning this attachment dynamic through the use of clinical examples of my work with two men from my practice. While acknowledging that many other cultural factors play a significant role in the emotional development of children, integrating the work of our poets, novelists, and scholars with an attachment perspective


Author(s):  
Robert Carlton Brown

This is the much-anticipated new edition of the important volume of avant-garde writing, Readies for Bob Brown's Machine. The original collection of Readies was published by Brown’s Roving Eye Press in 1931. Despite including works by leading modernist writers including Gertrude Stein, Ezra Pound, William Carlos Williams, Kay Boyle, F.T. Marinetti, and 35 other writers and artists, this volume has never been re-issued. Like the ‘talkies’ in cinema, Brown’s machine and the ‘readies’ medium he created for it proposed to revolutionise reading with technology by scrolling texts across a viewing screen. Apart from its importance to modernism, Brown’s research on reading seems remarkably prescient in light of text messaging, e-books, and internet media ecologies. Brown’s designs for a modernist style of reading, which emphasised speed, movement, and immediacy, required a complete re-design of reading and writing technology. Complete with a new Preface by Eric White and a new Introduction and a separate chapter on the contributors by Craig Saper, this critical facsimile edition restores to public attention the extraordinary experiments of writing readies for a reading machine.


2016 ◽  
Vol 46 (1) ◽  
pp. 105-118
Author(s):  
Romana Huk

What has lyric to do with any radical phenomenology's choreography? Maurice Scully in Several Dances asks that question, as he has for years now, alongside other poets of Ireland's avant-garde whose ‘distinguishing (not inhibiting) feature’, as Sarah Bennett writes (acknowledging the work of Alex Davis and Eric Falci before her) is that in it ‘the lyric subject persists’ – in tandem with, this essay argues, what she names ‘an interest in perception … [which] is perhaps the most compelling commonality in these poets' work’. What distinguishes Scully's from the lyric phenomenology of American poets from William Carlos Williams (invoked throughout the volume) to George Oppen (also invoked) is that he queries existentialism's ‘singular’ approach to phenomena, achieved as Heidegger thought through the phenomenological ‘bracketing’ of individual (and communal) preconceptions from the perception of things. Cosmic – even theological – speculation enters in as Scully's poems move out past both self-centered lyric and twentieth-century cancellations of all preconceptions in the ‘limit-thinking’ and being-toward-death that phenomenology proposed for seeing past the self. Yet Scully works with mortality always in his sights too as he sings ‘the Huuuman / Limit-at-tation Blues’ (p.118) and, more vertiginously, considers both the undelimitability and the fragility of us.


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