On the basis of the French text and a translation that is at once accurate and poetical, this book provides an introduction to the poem, Le Cimetière marin, and thereby to the complex intellectual world of Valéry. A valuable resource for scholars, Valéry's Graveyard is accessible to all serious readers. As it does not require a knowledge of French, the book is suitable for study in any course on modern literature.
Questioning the view that the work is not representative of the poet's mature accomplishment, Suzanne Nash argues that the revisionary process involved in its creation led Valery to reflect on problems fundamental to poetic production and thus provided inspiration for all his later poetry. Originally published in 1983. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Death is the one certainty in life, yet, with the decline of religion in the West, we have become collectively reluctant to talk about it. Our contemporary rituals seek to sanitise death and distance us from our own inevitable fate. If we want to know how previous generations dealt with death, graveyards (famous and not) tell us the history -- if we are able to read them. If we want to know how we struggle today with understanding or facing up to death, then graveyards provide a starting point. And, if we want to escape the present taboo on acknowledging our mortality and contemplate our own end, then graveyards offer a rare welcome. From Neolithic mounds to internet memorials via medieval corpse roads and municipal cemeteries, war graves and holocaust memorials, Roman catacombs, Pharaonic grave-robbers, Hammer horrors, body-snatchers, Days of the Dead, humanist burials and flameless cremations, Stanford shows us how to read a graveyard, what to look out for in our own, and how even the most initially unpromising exploration can enthral. This enhanced edition includes suggestions of over 40 graveyards and cemeteries to visit in the UK and beyond, a photographic tour of Saint Margaret's Cemetery, Burnham Norton and an audio tour by the author of Paddington Old Cemetery, London.
Of Richard Hugo's Making Certain It Goes On, David Wagoner has written: "Richard Hugo spared himself (and us) no pains or joys in making the wonderful, vigorous original poems brought together in this single collection. His was and is a very important voice in modern American poetry." Hugo was also an editor of the Yale Younger Poets series and a distinguished teacher and master of the personal essay. Now many of his essays have been assembled and arranged by Ripley Hugo, the poet's widow and a writer and teacher, and Lois and James Welch, writers and close friends of the poet. Together the essays constitute a compelling autobiographical narrative that takes Hugo from his lonely childhood through the war years and his working and creative life to an interview just before his death in 1982. William Matthews, also a friend of Hugo's, has written an introduction.
The Oxford poets of the 1930s--W. H. Auden, C. Day Lewis, Stephen Spender, and Louis MacNeice--represented the first concerted British challenge to the domination of twentieth-century poetry by the innovations of American modernists such as Ezra Pound and William Carlos Williams. Known for their radical politics and aesthetic conservatism, the "Auden Generation" has come to loom large in our map of twentieth century literary history. Yet Auden's voluble domination of the group in its brief period of association, and Auden's sway with critics ever since, has made it difficult to hear the others on their own terms and in their own distinct voices. Here, rendered in eloquent prose by one of our most distinguished critics of modern poetry, is the first full-length study of the poetry of C. Day Lewis, a book that introduces the reader to a profoundly revealing and beautifully wrought record of his poetry against the cultural and literary ferment of this century. Albert Gelpi explores in three expansive sections the major periods of the poet's development, beginning with the emergence of Day Lewis in the thirties as the most radical of the Oxford poets. An artist who sought through poetry a way of "living in time" without traditional religious assurances, Day Lewis went further than his friends in seeking to forge a revolutionary poetry out of his commitment to Marxism. When Stalinism led to his resignation from the Communist Party, Day Lewis in the forties went on to shape a rich, fiercely perceptive poetry out of the convergence of the wartime crisis with the explosive events of his own inner life, intensified by the erotics of a decade-long affair. Returning to his Irish roots and meditating on the persistent tension between agnosticism and faith in the work of his third and final period, Day Lewis wrote some of the most moving poems in the language about mortality and dying, the limits and possibilities of human striving. Through the traumatic changes of his life C. Day Lewis came increasingly to depend on the intricacies of poetry itself as a way of living in time. His abiding belief in the psychological and moral functions of poetry impelled him in his critical writings and in his own poetic practice to delineate a modern poetics that presents an effective alternative to the elitist experimentation associated with Modernism. This vital revisionist reading of Day Lewis demonstrates that much of his best work was written after the thirties and establishes him as one of the most significant and accomplished British poets of the modern period.
A multidisciplinary index covering the journal literature of the arts and humanities. It fully covers 1,144 of the world's leading arts and humanities journals, and it indexes individually selected, relevant items from over 6,800 major science and social science journals.
This title is a thorough introduction to ethical literary criticism, defined as a critical methodology to interpret literature from the perspective of ethics, with the whole set of concepts and theories elucidated and textual analyses provided. While building on ideas from both western ethical criticism and the Chinese tradition of moral criticism, ethical literary criticism acts as a counterpoint to the former's lack of theoretical foundations and applicable methodologies and the latter's tendency to make subjective moral judgments. Developed into a coherent theoretical framework, it asserts the ethical nature and edifying function of literature and thereby seeks to highlight in the literary text the ethical relationship and moral order among human beings and within society in the historical context. Though provocative to a degree, the arguments and methodological toolbox used inject a unique ethical dimension into literary criticism and will help readers understand anew the ethical and social potency of literature. The book's theoretical elucidation, examples from practical criticism and introduction to key terminologies make this book an essential guide for students and general readers interested in ethical literary criticism and a valuable read for scholars of literary criticism, ethical criticism and literary theory.
