Beginnings: Oxford and Cambridge Poetry in the Early 1950s

2020 ◽  
pp. 3-18
Author(s):  
William Wootten
Keyword(s):  
Oxford University ◽  
The Press ◽  
The 1950S

This chapter focuses on the student poets of Oxford and Cambridge in the 1950s who rose to prominence in the early 1960s. The works of these student poets, among them A. Alvarez, Alan Brownjohn, Jenny Joseph, J. E. M. [Edward] Lucie-Smith, George Macbeth, and Anthony Thwaite, were published in Oxford Poetry, the most significant poetry publishing venture in Oxford or Cambridge in the 1950s. Oxford Poetry was established in 1952 by Michael Shanks, then President of the Oxford University Poetry Society, who linked up with the painter and printer Oscar Mellor. The pamphlets the press turned out were slim — five or six poems — but they were well produced, and they were keenly read, as was Oxford Poetry.

The Press and the Wider University

2017 ◽  
Author(s):  
Lawrence Goldman
Keyword(s):  
Educational Institution ◽  
Academic Culture ◽  
State Funding ◽  
Oxford University ◽  
University Of Oxford ◽  
The Press ◽  
The World ◽  
Successful Business ◽  
The University ◽  
Unique Relationship

Oxford University Press operates as a department of the University of Oxford and, along with its Board of Delegates, draws many of its staff, authors, editors, and advisers from the graduates and scholars of that institution. Financial contributions from a successful and expanding Press have sustained the University during an era of decreasing state funding. The publications of the Press have enhanced and extended the scholarly reputation of the University and advertised Oxford University as a leader in education and research around the world. The Press relies upon the University for governance and a home in an academic culture that lends authority to all its publications. As a successful business located within an educational institution, the legal and fiscal status of the Press has sometimes been challenged, but the unique relationship has persisted. This chapter surveys the academic, financial, and administrative links between the two institutions.

The Poetry Question

2017 ◽  
Author(s):  
Roy Foster
Keyword(s):  
Financial Constraints ◽  
English Literature ◽  
Contemporary Poetry ◽  
Oxford University ◽  
Critical Success ◽  
The Press ◽  
Heated Debate ◽  
The Media ◽  
The 1960S ◽  
The University

Oxford University Press, with a long tradition of publishing scholarly books on English literature, canonical authors, and anthologies of poetry, did not introduce a contemporary poetry list until the 1960s. Under the direction of Jon Stallworthy, himself a noted poet, and with the support of the Delegates, the Press developed a vibrant list that included the work of poets from Britain, Ireland, America, Australia, and New Zealand, as well as English poetic translations of European titles. Despite its critical success the poetry list was not profitable, and, facing serious financial constraints across the business, the Finance Committee decided to discontinue the list in 1998. The chapter discusses the financial considerations behind the decision, the heated debate it provoked both within the University and in the media, and the lasting impact of the controversy on the Press.

scholarly journals Trying To Speak: Between Politics and Aesthetics, Darmstadt 1970–1972

2006 ◽  
Vol 3 (2) ◽  
pp. 255-275 ◽  
Author(s):  
MARTIN IDDON
Keyword(s):  
Trade Unions ◽  
Close Reading ◽  
The West ◽  
Protest Movements ◽  
Avant Garde ◽  
Political Upheaval ◽  
The Press ◽  
Wide Scale ◽  
The 1950S

AbstractIn the historiography of the Darmstadt Ferienkurse, the 1970s, when they are examined at all, are generally regarded as a period of stagnation, between the fervour of serial activity in the 1950s and the resurgence of the courses in the 1980s under the banner of various inflections of New Complexity. Yet, in a period of political upheaval after 1968, dissent was felt at Darmstadt too, and protests in 1970 and 1972 saw the institution at its most politically volatile. These protest movements caused the courses’ director, Ernst Thomas, to institute wide-scale changes in their structure and content. Key roles in these protests were taken by journalists: indeed, clear parallels can be drawn between the seemingly egalitarian calls from journalists for Mitbestimmung (co-determination) at Darmstadt and the similar demands being made by their trade unions in the West German federation. Thomas’s failure to deal with journalistic pressure and his heavy-handed treatment of individual protesters (notably Reinhard Oehlschlägel) meant that, shrewd and durable though his reinvention of the courses was, it would be only in 1982, with the accession of a new director, that the press would begin to speak positively about the Darmstadt courses once more. A close reading of these two protests shows the sometime ‘citadel of the avant-garde’ at a distinctly precarious moment in its history. At the time, some felt that such protests could lead to the demise of the courses, and it was far from clear whether Thomas’s reforms would be successful. But, even within this period of uncertainty, the Darmstadt Ferienkurse were anything but stagnant.

scholarly journals Literary Contributions by Paddy Bushe, Bernard O'Donoghue and Suso de Toro

Oceánide ◽  
2020 ◽  
Vol 13 ◽  
pp. 127-131
Author(s):  
Oceánide ◽  
O'Donoghue Bernard ◽  
Paddy Bushe ◽  
Suso De Toro
Keyword(s):  
Peripheral Vision ◽  
Piers Plowman ◽  
Seamus Heaney ◽  
Oxford University ◽  
European Universities ◽  
The Press ◽  
Suso De Toro ◽  
Contemporary Irish Literature ◽  
The Guardian ◽  
Selection Of

Paddy Bushe was born in Dublin in 1948 and now lives in Waterville, Co. Kerry. He writes in Irish and in English. His collections include "Poems With Amergin" (1989), "Digging Towards The Light" (1994), "In Ainneoin na gCloch" (2001), "Hopkins on Skellig Michael" (2001) and "The Nitpicking of Cranes" (2004). "To Ring in Silence: New and Selected Poems" was published in 2008. He edited the anthology "Voices at the World’s Edge: Irish Poets on Skellig Michael" (Dedalus, 2010). His latest collections are "My Lord Buddha of Carraig Eanna" (2012), "On A Turning Wing" (2016) and "Móinéar an Chroí" (2017). He received the 2006 Oireachtas prize for poetry, the 2006 Michael Hartnett Poetry Award and the 2017 Irish Times Poetry Now Award. He is a member of Aosdána. In 2020, Dedalus Press publishes "Double Vision", a two-volume publication comprising Second Sight, the author’s own selection of his Irish language poems, accompanied by the author’s own translations, as well as "Peripheral Vision", his latest collection in English. Bernard O’Donoghue’s was born in Cullen, County Cork in 1945, he has lived in Oxford since 1965. His first full-length collection, "The Weakness", emerged in 1991 with Chatto & Windus, following on from a trilogy of pamphlets. His second collection, "Gunpowder" (1995) won the Whitbread Poetry Award. More recently, he published the collection "Outliving" and a selection of his poetry by Faber in 2008, followed by "Farmers Cross" (2011), which was shortlisted for the T.S. Eliot Prize. In 2009 he was honoured by the Society of Authors with a Cholmondeley Award. Until recently, O’Donoghue taught and worked for Oxford University, specialising in medieval verse and contemporary Irish literature. His reputation as a scholar consolidated in 1995 with his critical work, "Seamus Heaney and the Language of Poetry", described as “excellent” by Ian Sansom in "The Guardian". More recently O’Donoghue edited the "Cambridge Companion to Seamus Heaney" and has produced a number of translations of medieval works, including "Gawain and the Green Knight" (2006) and, forthcoming from Faber, "Piers Plowman". Xesús Miguel "Suso" de Toro Santos (1956-) is a Spanish writer. A modern and contemporary arts graduate, he has published more than twenty novels and plays in Galician. He is a television scriptwriter and regular contributor to the press and radio. Suso de Toro writes in Galician and sometimes translates his own work into Spanish. His works have been translated into several languages, and have been taught in European universities. There are plans to make three of his works into films: "A Sombra Cazadora" (1994), "Non Volvas" (1997), and "Calzados Lola" (2000).

scholarly journals PAYING JUDGES: WHY, WHO, WHOM, HOW MUCH? NEILL LECTURE 2006

2012 ◽  
Vol 18 (1) ◽  
pp. 1-36
Author(s):  
Michael J Beloff QC
Keyword(s):  
Public Life ◽  
Oxford University ◽  
Vice Chancellor ◽  
The Press ◽  
The Law

My Lords, Ladies and Gentlemen, it is a great privilege for me to be invited to deliver the 5th Neill Lecture following in the footsteps of such legal giants of our time as Lord Bingham of Cornhill, Lord Woolf of Barnes, Lord Steyn and Lord Hoffman, just as the page followed in the footsteps of Good King Wenceslas in the snowy wastes of Bohemia. After four aces the Fellows of All Souls have clearly opted to play the Joker.Pat Neill, the honorand, is fit to be ranked with Tom and Harry, not to speak of Johann and Lenny, in the annals of the law although he abstained from taking judicial appointment in this country.  Instead, like a modern Pooh Bear, he became Lord High everything else, notably – I make a judicious selection - Warden of All Souls, Vice Chancellor of Oxford University, Chairman of the Press Council, Chairman of the Committee of Standards in Public Life and Treasurer of Gray’s Inn.

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