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Beyond landscape and lyricism

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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Jonathan Driskell

production of his first feature films, Jenny (1936) and Drôle de drame (1937), and will finish with his contributions to poetic realism at the end of the decade, Le Quai des brumes , Hôtel du Nord , and Le Jour se lève . The seemingly contradictory term ‘poetic realism’ describes a popular and critically respected film movement that emerged in France in the 1930s, which centred on pessimistic, fatalistic stories about

in Marcel Carné
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Cary Howie

, emphatically yours. There, a differently fallow space waits, like a throat within a kiss. Lyric virtue At least one monk has thought explicitly about the poetics of learning as loving, learning as being together with other bodies and other tongues. Thomas Merton, the twentieth-century Franco-American Trappist, describes a beloved English professor from the 1930s, Mark Van Doren, in terms that hit a little too close to home: “Who is this [man] who really loves what he has to teach, and does not secretly detest all literature, and abhor poetry, while pretending to be a

in Transfiguring medievalism
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Michael Kindellan

6 Poetic instruction Michael Kindellan Charles Olson is a didactic poet, a ‘poet-teacher’.1 Though, for instance, he wrote several conspicuously ‘didactic poems’, such as ‘Ballad for Americans’, the ‘ABC’ poems, ‘Letter for Melville 1951’ and ‘The Collected Poems Of’ to name but a few, the Maximus poems undoubtedly constitute the core texts. Not only are these poems intentionally and explicitly didactic – the very first poem presents the eponymous creature Maximus coming to ‘tell you’ what is what – but they are used by Olson as pedagogical texts (MP, 5

in Contemporary Olson
Anke Bernau

8 Lydgate’s saintly poetics Anke Bernau While most scholarship on the works of John Lydgate has tended to concentrate on ‘secular’ works such as Troy Book (c. 1412–20) or Fall of Princes (c. 1431–38), more recently some voices have started to speak out about the innovative aspects of his religious writings, especially his saints’ lives. Thus, in 2006, Fiona Somerset urged scholars to look across Lydgate’s immense and diverse oeuvre, arguing that ‘Lydgate’s hagiographical writings are a particularly fertile ground for such cross-comparison’.1 Jennifer Sisk

in Sanctity as literature in late medieval Britain
Elisabeth Bronfen

between intention and reception due to the inclusion of points of focalisation, the duplicity of the image’s enmeshment of a conservative and a subversive drive. Rather than exorcise Poe’s conjunction of femininity, death and aesthetics, I will instead take his poetics seriously and begin by questioning the presuppositions underlying his claim. What does it mean to maintain that the

in Over her dead body
Tom Betteridge

Chapter 4 . Elizabethan poetics and politics The Perills are many, great and imminent. Great in respect of the Persons and Matters. Persons The Quenes Majesty herself as Pacient. The Pope, the King of France, and Spayne as Authors and Workers; and their Associates. The Quene of Scotts as Instrument, wherby the Matters shall be attempted ageynst the Quenes Majesty. Matters For the recovery of the Tirany to the Pope, which of late Years hath bene discovered and so weakened, as, if the gret Monarchies wer not his Mayntenors, and intended his Recovery, the same

in Literature and politics in the English Reformation
Tom Betteridge

Chapter 2 . Edwardian politics and poetics My counsailo[u]rs with suche other necessarie p[e]rsons [that] attend vppon me that daie [St Stephens?] must also be consydered / There maie be no fewer then sixe counsailo[u]rs at the least / I must also have a divine a philosopher an astronom[e]r a poet a phisician / a potecarie / a Mr of request[es] / a sivilian / a disard / two gentlemen ushers besides Juglers / tomblers / fooles / friers and suche other … (Letter from the lord of misrule [George Ferrers] regarding arrangements for the Christmas entertainments of

in Literature and politics in the English Reformation
Brett Bowles

the work inimitably his own. This evolution is apparent not only in his original screenplays for Merlusse and César , but La Femme du boulanger (1938), a final adaptation of Giono that reproduces only the broadest lines of the original short story. In addition to winning over reviewers who had previously dismissed Pagnol’s work as canned theatre, these films occupied a unique place within the style known as poetic

in Marcel Pagnol
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Robert H. MacDonald

. My argument is that the attitudes of 1916 can best be recovered through a reconstruction of a poetics of popular imperialism, incorporating that intricately complex set of tropes, signs, codes, discourses, plots and myths which constitute the social meaning of the popular imperial ethic. To use Michael Herzfeld’s phrasing, this metaphorical system is the reality by which the individual relates him or

in The language of empire