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in education ◽  
2021 ◽  
Vol 27 (1) ◽  
pp. 99-107
Author(s):  
Maya Borhani

Amongst a group of poet-scholar friends, all of us students of the American poet Robert Bly, often speak of our “gratitude to old teachers,” the title from one of Bly’s (1999) poems. We cherish a meditative awareness of deeply rooted presences holding us up, buoying us as we stride across “Water that once could take no human weight” that now “holds up our feet / And goes on ahead of us ….” What is this mystery? Through the love and support of “old teachers,” we are held, led, and supported, into an unknown future that, without their guidance, we might never have reached. Many of Bly’s students (myself included) refer to how meeting him “changed” or even “saved” their lives. Similarly, I could say this of meeting and studying with Canadian curriculum scholar and poet Carl Leggo. Practicing gratitude to old teachers fosters vital pedagogic engagement and personal connection in a world often fraught with isolation and despair. Reflecting on how these poetic influences have inspired and guided my own personal and professional life, this essay ruminates on grateful legacies within literary and curriculum studies, and beyond. Keywords: gratitude, curriculum studies, mentorship, poetry, poetic inquiry


Author(s):  
Eleanor Catherine Slater

Within the unstable sphere of 1950s Cold War political tensions, American women became the 'bastion of safety in an insecure world' (Tyler May 2008: p.9). For politicians such as Richard Nixon, women's loyalty to the home served as a commitment to America, negotiating a settlement which secured women within the confinements of domestic duties. This ideal, advertised through compelling magazine articles, manipulatively enabled a universal identity for women based within the home. Pages packed with the latest consumer products and laced with 'smooth artificiality... cool glamour, and the apple-pie happy domesticity' (Bronfen 2004: p.115) birthed a rich propaganda for domestic containment. Examining the political climate of Cold War America through the lens of domestic containment, this article argues that American poet Sylvia Plath tackled the illusions of consumerism to fuel her writing, challenging outright gender inequality which defined the nation.Using Betty Friedan's The Feminine Mystique alongside genuine articles from the era, this article assesses the ideological conflict of the 1950s domesticated woman against Plath's personal battle between writing and domestic life. Through her raw depictions of realism in literature and intense poetry, it becomes impossible to 'contain' Plath, not only within the domestic sphere, but in her own writing.


Author(s):  
Daria Munko

The article examines William Carlos Williams’ works that focus on the everyday, mundanity, and poetize daily life which was common in modernist literature. In our time, Williams’ poetry inspired director Jim Jarmusch to make a poetic film «Paterson» about everyday life and the poetic potential of ordinary routine life. The director reinterprets Williams’ ideas and makes a complex, postmodern film about everyday life in the small town Paterson, where he depicts the routine life of his main character, a bus driver. This life, despite its external simplicity and triviality, encourages the hero named Paterson to read modernist literature and write his own poems whose themes and images are intertwined with the work of the well-known Paterson resident, William Carlos Williams himself. In particular, we examine the intermedial interaction of Williams’ works («Paterson» and «This Is Just To Say») with the film and the indirect transition of one sign system into another. In addition to the more or less direct and explicit influence of literature on film through allusions or quotations from the work of the American modernist poet, Williams’ poetry becomes a precedent for the stylized poems of the film’s main character, written by a contemporary American poet Ron Padgett («Another One», «The Run», «Love Poem») and Jarmusch himself («Water Falls»). In this article, we also compare Padgett’s and Jarmusch’s poetry with some of Williams’ poems («Blizzard», «To A Poor Old Woman»), to demonstrate the similarity of motifs and imagery. Thedirector’s work can be interpreted as a manifestation of the idea of looking for poetry in the everyday, or that everyday life is already poetry. Jarmusch’s film about everyday life provides a possible answer to the question of literary anthropology «why is literature as a medium important in people’s lives» – creativity is the very meaning of life. This penetration of one art form (poetry) into another (cinema) gives grounds for speaking about the relevance of the themes of modernist poetry in the context of modernity and about the meaning and value of simplicity for creativity in general.


2021 ◽  
Vol 11 (12) ◽  
pp. 1668-1675
Author(s):  
Fazel Asadi Amjad ◽  
Kamran Ahmadgoli ◽  
Qadir Haqiqatshenas

The American poet Robert Bly is among the most important literary figures in the second half of the 20th century. He worked in various capacities as a poet, translator, teacher and workshop organizer among other things, so much so that he is sometimes compared to Ezra Pound on account of the variety of his interests and the extent of his influence. Like Pound, Bly developed an interest in Asian poetic traditions, including that of Iran, and in doing so, he translated the poetry of Rumi (better known as Mowlana in Iran) and Hafez into English. The present study seeks to trace the paths through which Bly came to develop an interest in Persian mystical poetry and to demonstrate two concerns that guided and informed his interest in this tradition; that is, the socio-political vocation of the poet and the formal advantages of the poetic form known as Ghazal. Such concerns, it will be argued, are firmly rooted within the American literary tradition and therefore this study reveals the continuities that underlie Bly’s interest in Persian poetry, suggesting that he sometimes approached Persian poetry on his own terms, without paying proper attention to the context, a shortcoming that, as will be shown, is the result not of ignorance but what may be called methodological laxity.


2021 ◽  
Vol 4 (11) ◽  
pp. 196-202
Author(s):  
Jannat -E- Hosne Ara ◽  
Most. Mushfeka Zannat ◽  
Chowdhury Adiba Zahin

This paper attempts a comparative study in the presentation of vulnerability and instability evident in people's life due to modernity by Mathew Arnold, a Victorian poet, and Robert Frost, a Modern American poet. Investigating various features with crises existing in modern life is a major aim of this paper. Moreover, the comparative analysis seeks to identify the major similarities and differences in the portrayal of human nature based on modern features in the poetry of these two poets. Since this research is theoretical in nature, it depends primarily on reviewing already published works on the relevant topics. The presence of modern elements is very obvious in the writings of both the poets though they belong to two different periods. Their poetry reflects modern crisis and vulnerability like alienation, pessimism, doubtfulness, isolation, self -centeredness, and so on. Nature is also treated in a different way as well as the reality of modern life represented in a different light by the poets. Finally, this research focuses on bringing out the features of instability and vulnerability of modern life that are still mirrored in contemporary society.


Obiter ◽  
2021 ◽  
Vol 30 (2) ◽  
Author(s):  
Ròsaan Krüger

The speaker in the poem “Mending Wall” by American poet Robert Frost questions the wisdom of the saying that “Good Fences Make Good Neighbo[u]rs”. The walls or fences referred to in the poem represent more than just physical barriers separating adjacent premises; the speaker sees them as representing obstacles to communication and friendship between individuals. Seen from theperspective of the speaker, a fence or wall is a “bad” thing. But the speaker is but one of the parties to the neighbourly relationship. For the speaker’s neighbour, a wall or a fence is “a protector of privacy”. Thus there are two views on walls or fences: they can be seennegatively as obstructing good relations, or positively as dividers that secure good relations between neighbours by separating them and protecting their privacy rights. What do dividers (or barriers), physical or otherwise, have to do with law? During recent research visits to the Durban Magistrate’s Court (October 2007, February 2008) the author noted with interest that magistrates at the Durban court often had to deal with applications for binding-over orders (or “peace orders”) intended to secure the peace between neighbours. Binding-over orders can be seen as legal “fences” or “walls” established in terms of statute at the request of one of the parties where violence or threats of violence imperil the peaceful co-existence of neighbours. Section 384 of the Criminal Procedure Act 56 of 1955 – which allows for such applications – is one of only two sections of that Act that remains on the statute book. The provisions of section 384 have been called archaic and irrelevant in view of the provisions of the Domestic Violence Act of 1998 and its 1993 predecessor. Seen in this light, a reconsideration of section 384 seems redundant. But the matter is not that simple. The application ofthe Domestic Violence Act requires the existence of a domestic relationship between the parties as defined in section 1 of that Act. The complainant who approaches a magistrate for a binding-over order in terms of section 384 and the person against whom the order is sought may not be in a domestic relationship as defined in the Act, thus ruling out the application of the Domestic Violence Act. Therefore, section 384 goes wider in that it aims to preserve the peace within a broader context than the Domestic Violence Act.Consequently reconsideration thereof is warranted. In this note the author discusses the provision for binding-over orders asset out in section 384 of the Criminal Procedure Act of 1955. In order to do so, she traces the origins thereof before considering the specific scope of section 384. In the main she analyses the constitutionality of this section in the light of relevant jurisprudence of the Constitutional Court and comparative jurisprudence of the European Court of Human Rights. She concludes with a recommendation.


2021 ◽  
Vol 16 (3) ◽  
pp. 166-186
Author(s):  
Vadim Andreev

ABSTRACT Variance of individual style over time and the tendencies in style evolution are important issues in modern linguistics. This paper investigates how parameters of space and movement categorization were deployed by the famous American poet H.W. Longfellow at different stages of his creative career. The attention is focused on lexical units with spatial meaning. The analysis revealed significant changes in (i) the structure of space, (ii) the ratio of horizontal vs. vertical relations of objects, statics vs. dynamics, and (iii) the role of a human being in poetic space. The early verse represents the world as a balanced unity, which then turns into a more complex system with two strata of reality. At the final stage of Longfellow’s creative career, space in his poetic world is integrated again but now acquires a new structural organisation that is different, to a certain extent, from that of his early period.


2021 ◽  
Vol 2 (137) ◽  
pp. 19-28
Author(s):  
Haitham Kamil Al-Zubidi ◽  
Noor Hassan Radhi

Mary Oliver is an American poet who has been so much fascinated by the natural world since her childhood. Natural world occupies a very large space in her poetry, if not her entire poetic work. She was born in Ohio 1935, and she spent her childhood there surrounded by Nature. She graduated from high school and went to Vassar college and Ohio State University, yet she could not get a degree. She moved to New York where she met the sister of Edna St. Vincent Millay, the famous American poet and playwright. She got a closer look to Edna’s works by organizing her papers for almost seven years. As for career, she held the position at Bennington College by being the Catherine Osgood Foster Chair for Distinguished Teaching. Later on she settled in Provincetown, Massachusetts for almost forty years inspired by the natural scenes there which are conveyed in her collections.


2021 ◽  
pp. 153270862110199
Author(s):  
Pengfei Zhao

This autoethnographic writing documents how a family of Chinese descent spent their first 100 hours after the Atlanta Shooting on March 16, 2021, in which a White gunman killed eight people, including six Asian women. It bears witness to the rise of the anti-Asian racism in the United States during the COVID-19 pandemic and offers a snapshot of the private life of a family of Asian descent in the dawn of the Stop Asian Hate Movement. Drawing on Korean American poet Cathy Park Hong’s term minor feelings, this essay explores how emotions, rooted in racialized lived experience and triggered by the mass shooting, evolved, shifted, and fueled the sentiments that gave rise to the Stop Asian Hate Movement. Compared with the more visible violence against Asians and Asian Americans displayed on social media, it interrogates the less visible traumatic experience that haunts Asian and Asian American communities.


Author(s):  
Pham Thi Hong-An

A text is absolutely not a writer’s genuine creation, but it principly receives the material and is altered from another text. The concept of intertextuality is constructed by Julia Kristeva (1941-), stressing the interconnection between a text and other prior ones. Intertextuality can be in the form of topics, motifs, images, symbols, and so on, constantly employed by the writer either unconsciously, as believed by Freud, or consciously. In so doing, intertextuality, however, does not mean to diminish creativity in writing; on the contrary, it diversifies the process. Emily Dickinson (1830 – 1886), a talented but reclusive American poet, has utilized quite a number of images, symbols, and tales in the Bible, the text of considerable influence in her culture and society, in her poems. Her intertextuality with the Bible sophisticatedly proves her thoughts of the religion and its practice. Her religious experiences, which are interwoven in her poetry, reveal the spirit of liberty and sensitiveness she possesses. Bearing such philosophy in poetry and life, Dickinson can be regarded as a symbol of American soul, with unique and creative individualism. This paper will analyze and clarify the aforementioned proposition, principly using the method of intertextual criticism.


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