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Beyond landscape and lyricism
Author: John Kinsella

This book explores the author's contemporary poetics and pedagogy as it emerges from his reflections on his own writing and teaching, and on the work of other poets, particularly contemporary writers with whom he feels some affinity. At its heart is the author's attempt to elaborate his vision of a species of pastoral that is adequate to a globalised world (the author himself writes and teaches in the United States, the UK and his native Australia), and an environmentally and politically just poetry. The book has an autobiographical element, as the author explores the pulse of his poetic imagination through significant moments and passages of his life.

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‘“I have not finished”’
Jeffrey Wainwright

swept by bursts of sunlight’. The littoral has held a powerful place in Geoffrey Hill’s poetic imagination right from the beginning. The seashore and tracts between water and land appear recurrently in For the Unfallen . In ‘Genesis’ the speaker sees ‘The osprey plunge with triggered claw, / Feathering blood along the shore’. It is bleak too in ‘Requiem for the Plantaganet Kings’ where ‘the sea / Across daubed rock evacuates its dead.’ In ‘The Guardians’ the old ‘wade the disturbed shore; / Gather the dead as the first dead scrape home.’ In ‘Doctor Faustus’ there is

in Acceptable words
Andrew Smith

visions and their relationship to narrative form can be exemplified through a reading of Eliot’s ‘The Lifted Veil’ (1859). Writing spiritualism and the poetic imagination: ‘The Lifted Veil’ George Eliot was hostile to spiritualism, although she did correspond with F.W.H. Myers and was a sceptical attendee at a séance in the 1870s. 8 In addition Jill Galvan has noted

in The ghost story, 1840–1920
Thompson as writer, reader and critic
Luke Spencer

others, who drew attention nearly twenty years ago to Thompson’s revelatory ‘insertion of the poetic imagination into the discourse of Marxism’.2 I hope what follows will offer some insights into how that insertion yielded, at its most productive, an exemplary poetics of radical engagement. Soldiering and teaching Talk of free-will and determinism, and I think of Milton. Talk of man’s inhumanity, I think of Swift. Talk of morality and revolution, and my mind is off with Wordsworth’s Solitary. Talk of the problems of self- 96 Fieldhouse_Thompson_272.indd 96 23

in E. P. Thompson and English radicalism
Open Access (free)
Stirner, anarchy, subjectivity and the art of living
John Moore

spontaneous creativity, anarchist subjectivity is marked for Bey by imagination and invention, and hence finds its most appropriate mode of expression in poetic language. Stirner, anarchy, subjectivity and the art of living 57 Anarchist subjectivity emerges in his work as a synonym for poetic subjectivity, and anarchist revolt as a synonym for the immediate realisation of the creative or poetic imagination in everyday life. Anarchy, in short, remains a condition of embodied or lived poetry. The notion of lived poetry originates with the situationists, who contrast lived

in Changing anarchism
Representations of Tasso’s life in England
Jason Lawrence

wonderful, / And more to be admir’d than scoff ’d withal.’ In Wade’s poem the validity or otherwise of the angelic visitation becomes almost irrelevant: whether it is believed to be genuine or rather the manifestation of a deeply disturbed poetic imagination, the impact of the ‘kind Spirit’ on the poet himself seems certainly to be considered beneficial

in Tasso’s art and afterlives
Florence D’Souza

remodelling Indian society through a Utilitarian form of British rule. 34 Defending James Mill from the reproach of only negatively and destructively attacking the social and administrative institutions of India, Majeed credits him with deploying a politically oriented, imitative imagination (as distinct from the aesthetic, poetic imagination of the Romantics), in order to rationally create a new

in Knowledge, mediation and empire
Olson’s lifelong preoccupation with the sciences
Peter Middleton

intensities of a particle beam scattered in various directions. From these data the experimenter draws a curve, which he then presents to the theoretical physicist and asks: What kind of force produced such a graph?11 Poets might well ask themselves what kind of imagination produced such a force. Was it not a scientific version of poetic imagination? Firstly, and most obviously, such discourse presents scientific inquiry as proceeding by the reduction of complexity to the interaction of ­invisible MUP_Herd_Printer.indd 42 21/11/2014 12:39 Olson and the sciences 43

in Contemporary Olson
Tourism, cross-cultural space, and ethics in Irish poetry
Charles I. Armstrong

Irish poetry poem transcends these circumstances through its fascination with the strange, almost surreal conversion of Troubles history into tourist commodity: We take them to those streets they want to see most, at first, as though it’s all over and safe behind bus glass like a staked African wasp. Unabashedly, this is our splintered city, and this, the corrugated line between doorstep and headstone. (Morrissey, 2002: 14) There is a sense, here, of how the transformations of history present ready-made material for the poetic imagination: the tension between past

in Literary visions of multicultural Ireland
A methodological induction
Yves Peyré

, independent images but as a coherent and logically connected poetic nexus, or as interdependent facets of the poetic imagination, the blushing apples in Sappho’s fragment and in Tibullus’s, Ovid’s and Seneca’s reworkings explore the nature of intertextual difference and consonance in relation to the problematic articulation of questionable opposites; these contradictions, which intertextuality both underlines

in Interweaving myths in Shakespeare and his contemporaries