Kenneth Rexroth Research Articles

Kenneth Rexroth’s Translation of Du Fu Poetry from the Perspective of Functional Equivalence Theory

Kenneth Rexroth, a well-known American poet and translator, has contributed to Du Fu poetry translation in the Western society. From the perspective of Nida’s functional equivalence theory, this research takes Rexroth’s English translations of Du Fu poems as a case to study the translation strategies adopted by Rexroth. This explores translation strategies of Du Fu poetry from the perspective of functional reciprocity theory, and is supposed to provide references for the English translation of the ancient Chinese poetry in the future. The above examples all reflect the faithfulness and accuracy of the free translation under the theory of functional equivalence, and accurately express the connotation of the original poem. Above all, the translator has adopted literal translation when translating the above verse. in order to achieve the requirement of the theory of functional equivalence, which enabled the target readers to have the same experience as the original readers. This was the most fundamental purpose of using the literal translation here.

William Carlos Williams and West Coast Poetic Culture: Personalist Poetics from Paterson to Bolinas Mesa

Abstract This article aims to show the pervasive influence of William Carlos Williams’s later more “personalist” work, in particular, on the poetry of Kenneth Rexroth, Philip Whalen, and Joanne Kyger. I analyze how Williams’s later poetics influence West Coast poets, particularly Kenneth Rexroth, whose idea of a “personalist” poetics stands opposed to the “impersonalist” aesthetics of T.S. Eliot-Ezra Pound wing of modernism. I then introduce close readings of several poems of Philip Whalen, whose personalist style is more internal and less extraverted than the other poets and represents another step away from the modernist Williams and toward a highly subjective personalist aesthetic where the poem can become a graph of the poet’s “mind moving.” I go on to argue that Joanne Kyger’s poetic practice is much influenced by Whalen’s innovative take on Williams’s discursive poetics and contend that Kyger’s Zen-influenced “poetics of interconnectedness” contribute to her reframing Bolinas as an aesthetic site strongly connected to Williams’s post-Paterson sensibilities.

Introduction

Introduction

“theirs is a kind of ecological esthetics”: Three Mountain Poems by Kenneth Rexroth, Gary Snyder, and Philip Whalen

“theirs is a kind of ecological esthetics”Three Mountain Poems by Kenneth Rexroth, Gary Snyder, and Philip Whalen1 Todd Giles (bio) I In 1957 West Coast poet Kenneth Rexroth published “Disengagement: The Art of the Beat Generation” in New World Writing No. 11. The Beats, according to Rexroth, were “interested in Far Eastern art and religion; some even call themselves Buddhists. Politically they are all strong disbelievers in State, war, and the values of commercial civilization” (53). West Coast poets were not just turning toward East Asia for inspiration, they were also turning away from their own country— away from McCarthyism, racism, complacency, sprawling Levittowns, thermonuclear detonations, and suburban fallout shelters. They were in, as Rexroth explains, “a state of revolt so absolute that its elders cannot even recognize it. The disaffiliation, alienation, and rejection of the young has, as far as their elders are concerned, moved out of the visible spectrum altogether” (42). While this disaffiliation drew them spiritually and philosophically toward the East, it also, through their study of Chinese rivers and mountains poetry, Zen philosophy, and meditation practices, brought some of the younger West Coast poets back into the American landscape with a profound understanding and appreciation for their place in (and responsibility toward) the environment. In a way, they were following their Modernist predecessors such as Stein, Hemingway, Pound, and Eliot who moved to Europe after the previous world war to help redefine themselves and their nation. [End Page 285] The year 1957 also saw the publication of Alan Watts’s influential book The Way of Zen, which pointed out that the time was right in America for a spiritual awakening: Our very history has seriously undermined the common-sense assumptions which lie at the roots of our social conventions and institutions. Familiar concepts of space, time, and motion, of nature and natural law, of history and social change, and of human personality itself have dissolved, and we find ourselves adrift without landmarks in a universe which more and more resembles the Buddhist principle of the ‘Great Void.’ The various wisdoms of the West, religious, philosophical, and scientific, do not offer much guidance to the art of living in such a universe, and we find the prospects of making our way in so trackless an ocean of relativity rather frightening. For we are used to absolutes, to firm principles and laws to which we can cling for spiritual and psychological security. (vii–viii) As Watts points out, the post-atomic age has brought us face-to-face with the very real potential destruction of the world and everything we hold so dear— “assumptions,” “conventions,” “institutions,” “concepts,” and so forth. “This is why,” he says of the burgeoning counterculture’s engagement with Eastern philosophy, “there is so much interest in a culturally productive way of life which, for some fifteen hundred years, has felt thoroughly at home in ‘the Void,’ and which not only feels no terror for it but rather a positive delight” (viii). This Void of which Watts speaks is another term for the Buddhist notion of śūnyatā, or emptiness, where western binaries such as this versus that, right versus wrong, and us versus them give way to suchness, interconnection, and perpetual unfolding; where, as Dwight Goddard— who Philip Whalen and Gary Snyder were reading at the time— put it in his translation of The Heart Sutra, “form is emptiness, emptiness is not different from form, neither is form different from emptiness, indeed, emptiness is form” (85). Rexroth likewise speaks of the intellectual and cultural break in the western mind keenly felt by Snyder, Whalen, and other members of the counterculture who turned to the nondualist “ocean [End Page 286] of relativity” and new (older) conceptions of “nature and natural law . . . and social change” posited by Eastern philosophy in the concluding chapter of his 1971 American Poetry in the Twentieth Century: Twenty years before ecology became a fashionable evasion, Snyder and Whalen . . . were talking about the ecological revolution and the community of love and learning from the mountains and rivers and the Indians of the Northwest and studying Buddhism and Hinduism. . . . With Snyder, Whalen, Rothenberg, Bill Knott, Leonard Cohen, we are already deep into...

Poems for the Unborn

The Japanese poet-scholar John Solt is perhaps best known in the United States for his excellent biocritical study (Harvard, 1999) of the avant-garde poet Kitasono Katue, who served, from the mid-1930s on, as Ezra Pound's primary conduit to the stylization of Japanese poetics that he so admired. “Kit Kat,” as Pound fondly called the poet he knew only via their extensive correspondence, was Pound's translator, editor, and sometime collaborator; in return, Pound (who did not read Japanese) wrote admiringly of Katue's work in Guide to Kulchur and elsewhere.Solt has now published a beautifully produced volume of his own distinctive poetry—a poetry that fuses the concision of Japanese tanka and haiku with very up-to-date explorations of what Pound called moeurs contemporaines: riddling short lyrics laced with humor and a telling irony that makes the reader smile with a shock of recognition. In the spirit of Kenneth Rexroth, with whom he studied in Santa Barbara, Solt's seemingly “simple” free verse is carefully structured. The minimalist poems are placed, one per page, in different spatial positions, with the Japanese translation en face. The volume contains a sprinkle of elegies and occasional poems, but Solt's signature poems are epigrams or aphorisms in the vein of the Zen koan: i held my tongueas if it werea ticketThe pun on the word held and the ticket metaphor can be read quite variously: I said nothing, saving my “ticket” for future gain. Or I “held” my tongue as one holds on to a precious ticket for some form of entrance, perhaps erotic. Indeed, Solt excels at the erotic poem—one that is never directly confessional or even personally expressive but that gives the reader a strong sense of a particular moment, as inice cubes meltin the crackleof your nakednessyou roll down your lace stockingsexposing the same designin tattoo . . . where it is the imprint the lace leaves on the skin that produces arousal. We never know who the “you” of these poems is, nor does it matter. We only know—in the case of a neighboring poem—that the lovers have “met again / and again / like spinning tops,” until “with centrifugal force / we easily slipped / outside the windows / of our eyes.” Caught up in the moment of ecstasy, they no longer see one another.In this complex and subtle poetry, comparisons come readily, only to be given an ironic twist: the mind is a kitehe thoughtletting goof both stringsAnd things are never quite what they seem: you toasted“happiness to usand confusionto our enemies”and I laughedsecureuntil a cloud formedin my mindWe have all had this experience of group approval only to wonder—the next minute—whether we really agree. Solt's minimalist lyrics not only make us smile: they also make us think.

A Study on Du Fu’s Poems Translation Strategies and Their Value

Du Fu’s poems, as outstanding works of Chinese classical literature, have been translated by many translators at home and abroad and have a high degree of spread. By analysing the translation strategies of David Watson, Kenneth Rexroth, Stephen Owen, and Xu Yuanchong, this paper discusses the real value of the reception of translation strategies to the target language culture, Du Fu’s image building, and the Chinese culture. Furthermore, some suggestions on promoting the dissemination of the Chinese culture through literary translation are put forward.

An Application of the "Harmony-Guided Criteria" to the English translation of Song ci: A Case Study of "Immortals at the Magpie Bridge" by Qin Guan

Ezra Pound's Cathay set the stage for a translation of free verse and influenced many translators such as Arthur Waley and Kenneth Rexroth. However, before Pound, rhymed Chinese poems were mainly translated into rhymed English poems by Herbert Giles, W. J. B. Fletcher, etc. Is it necessary to challenge the dominant translation poetics of free verse and insist that rhymed Chinese poems are best translated into rhymed English poems? Six English versions of a Song ci poem "Immortals at the Magpie Bridge" on the Chinese Valentine's Day were analyzed in details based on the newly proposed "Harmony-Guided Criteria" for poetry translation, which takes "Harmony" as the translation standard at the macro level, "resemblance in style, sense and poetic realm" at the middle level, and the "eight beauties of poetry translation" at the micro level. It shows that the criteria can be applied to the translation of rhymed Chinese ci poems into rhymed English poems, though with limitations.

The Spiritual Imagination of the BeatsWomen Writers of the Beat Era: Autobiography and IntertextualityWorld Beats: Beat Generation Writing and the Worlding of U.S. LiteratureKerouac: Language, Poetics, and Territory

The Spiritual Imagination of the BeatsWomen Writers of the Beat Era: Autobiography and IntertextualityWorld Beats: Beat Generation Writing and the Worlding of U.S. LiteratureKerouac: Language, Poetics, and Territory

Left in the West: Literature, Culture, and Progressive Politics in the American West ed. by Gioia Woods

Reviewed by: Left in the West: Literature, Culture, and Progressive Politics in the American West ed. by Gioia Woods Daniel Worden Left in the West: Literature, Culture, and Progressive Politics in the American West. Edited by Gioia Woods. Reno: University of Nevada Press, 2018. vii + 432 pp. Illustrations, contributors, index. $34.95, paper. This expansive and provocative collection of essays focuses on how Left politics took shape in western American literature from the Progressive Era to the present. As Gioia Woods notes in the volume's introduction, the literary Left is typically thought to be rooted in the urban centers of the East Coast, and while the leftist politics in the West shared many ideas and even writers with the East, "western leftists developed concerns unique to the region, elevating issues of industrialization and environmental degradation, Native American sovereignty, and immigrant communities' access to power" (3). Woods's introduction usefully contextualizes the history of leftist activism and writing in the West, from figures like Kenneth Rexroth and Lawrence Ferlinghetti to the recent struggle over the Dakota Access Pipeline. This broad scope is a key contribution of this volume. On the one hand, essays in the book address well-known political texts, such as Charlotte Perkins Gilman's Herland, Woody Guthrie's ballads, and John Steinbeck's Grapes of Wrath. Yet on the other hand, many essays address archives, figures, and texts that broaden and complicate what might count as leftist politics in the twentieth- and twenty-first-century West. From essays about peace activists in Utah, Ward Moore's speculative fiction, Mari Sandoz's fiction and autobiography, and the environmentalist thinking of Peter Berg, to accounts of poet Jack Spicer's revision of frontier tropes, Edward Weston and Tina Modotti's photographic engagement with bohemian spaces, Deborah Miranda's blend of the personal and the political, and Louise Thompson's unpublished memoirs, the collection arranges a broad array of ideas under the banner of "progressive politics." The essays in the volume tend to be focused on particular archives or texts, and so the overarching connections between the variety and abundance of material in the volume can feel disconnected. Yet that is less of a problem with the volume than evidence of its success in expanding and revising our expectations about what fits under the rubric of leftist politics in western American literature. This edited volume adds to the already well-established scholarship on leftist politics in twentieth-century America, by drawing attention to the unique rapacity of political thinking and writing west of the Mississippi River. [End Page 116] Daniel Worden School of Individualized Study and Department of English Rochester Institute of Technology Copyright © 2020 Center for Great Plains Studies, University of Nebraska–Lincoln

The Zen Relationship between Chinese Poetry and American Poetry

Zen has become especially popular after 1950 and the Zen craze of East Asia not only has become a kind of belief but also a way of life in America. Many American writers introduce, advocate, and concentrate on their Zen, and even go to the East to learn Zen. They applied the ideology, content and allusions of Chinese Zen to their works, so they have a close relationship with Chinese Zen. This article aims to analyze the poems of Kenneth Rexroth, Anthony Piccione, Gary Snyder and James P. Lenfesty to explore the mysterious relationship between Chinese and American poetry. These poets imitate the quiet beauty, wild freedom or orthodox of Zen poetry. Furthermore, each of them forms their own writing characteristics, thus creating a new realm of American poetry.

Study of the Compensation for Cultural Filtration in the Translation of Yu Xuanji's Poems

Yu Xuanji's Poems were translated into the Anglophone World by Jeanne Larsen, Kenneth Rexroth and Ling Chung, Kang-i Sun Chang and Haun Saussy, Justin Hill and Genevieve Wimsatt. This essay mainly focuses on cultural filtration and compensation strategies in these translated versions. Inadequate understanding is the main cause for cultural filtration. This essay analyzes inadequate understanding for Chinese literary tradition, Chinese culture, Chinese language and Chinese ancient society. Translation of literal meaning with notes, translation of implicated meaning with notes, juxtaposition of implicated meaning and literal meaning and paraphrase embedded in text were adopted by these translators to compensate the cultural filtration. The research on the cultural filtration and compensation strategies in these translated versions helps translators to recognize that knowing Chinese culture and Anglophone culture adequately and taking appropriate compensation ways are crucial for the translation of Yu Xuanji's poems.

Analysis of Translator's Subjectivity from the Perspective of Receptive Aesthetics: Taking Kenneth Rexroth's Translation of Chinese Classical Poetry as Examples

Analysis of Translator's Subjectivity from the Perspective of Receptive Aesthetics: Taking Kenneth Rexroth's Translation of Chinese Classical Poetry as Examples

Judith Gautier, Vers Libre, and the Faux East

ABSTRACTJudith Gautier (1845–1917) is best known as muse to Victor Hugo and Richard Wagner. More recently, critics have started crediting her for bringing Asian culture to Parnassian-era Paris in her 1867 translations of Chinese poetry, Le Livre de jade. In most of her translations, Gautier adapted Chinese texts to suit personal and contemporary French poetic ideals, which were in turn appropriated by readers as models of Chinese ideals. Her poetic creations reveal an early modernist style, which is at once disorienting and familiarizing. This article reconsiders Gautier's translations to show how and why these adaptations replaced original Chinese sources for subsequent generations of modernist poets, including Stéphane Mallarmé, Ezra Pound, and Kenneth Rexroth. Orientalist tendencies in these eminent poets are products of Gautier's subjective, gendered, and inventive interpretation of the East, shaped not only by the translations themselves but also by Gautier's ways of understanding.

“Those to Whom Interesting Things Happen”: William Carlos Williams, Kenneth Rexroth, Lew Welch, and Joanne Kyger, and the Genome of San Francisco Renaissance Poetry

This article examines the “genome” of the influence William Carlos Williams’s poetry has had in terms of its vernacular speech-based aesthetics on the poets of the San Francisco Renaissance. The influence of Williams’s work on Kenneth Rexroth, Lew Welch, Gary Snyder, Philip Whalen, and Joanne Kyger are examined. This article argues that Williams’s influence becomes a fixture in the evolution of Bay Area poets and poetics after the San Francisco Renaissance and ascendancy of Beat Poetry, through its continuation into the decades of the 1970s and 1980s.

“Those to Whom Interesting Things Happen”: William Carlos Williams, Kenneth Rexroth, Lew Welch, and Joanne Kyger, and the Genome of San Francisco Renaissance Poetry

“Those to Whom Interesting Things Happen”: William Carlos Williams, Kenneth Rexroth, Lew Welch, and Joanne Kyger, and the Genome of San Francisco Renaissance Poetry

"A Voice of Rock as the sound of Prophesy": Discussing Allen Ginsberg’s New Jersey poetics and recording of the album “The Lion for real” with guitarist Marc

December 19th 2014 Issued in 1989, the album “The Lion for Real” is the repository of seventeen poems composed by beat poet Allen Ginsberg. Following on a path initiated by Kenneth Rexroth or Lawrence Ferlinghetti to name but a few, Ginsberg set out to record his poems in spoken words or in Jacques Roubaud’s phrase, “American poetry recovers its lost orality [,] from Allen Ginsberg to Robert Creely.”(Roubaud, 20) On the album, Ginsberg refrained from singing the lyrics the way he used to, for...

Translation of Culture-Loaded Words in the Ci-Poem Turn of Zui Hua Yin From the Perspective of Meaning in Semantics

Ci-poetry holds an important position in spreading Chinese literature and cross-cultural communication. It contains many culture-loaded words and because of this, the accurate translation of the meaning becomes a barrier during Ci-poetry rendering. This thesis is conducted from the perspective of the theory of meaning stated by Jeffery Leech in Semantics and selects Turn of Zui Hua Yin written by Li Qingzhao, a female poet in Song Dynasty, as a case study, placing its culture-loaded words into three categories according to the differences of their conceptual and associative meaning in Chinese and English cultures. Then, in each category, this thesis comparatively analyses the translation of the culture-loaded words in four English versions from Xu Yuan-zhong, Ding Zuxin, Kenneth Rexroth, and Gong Jinghao, and finally concludes proper translation methods and merits and demerits of each version at this point.

On The North American Road

On The North American Road Hassan Melehy (bio) At the End of the Road: Jack Kerouac in Mexico Jorge García-Robles Daniel C. Schecter, trans. University of Minnesota Press http://www.upress.umn.edu/book-division 132 Pages; Print, $17.95 Following shortly on the publication of The Stray Bullet (2013), Daniel Schecter’s translation of Jorge García-Robles’s book about William S. Burroughs in Mexico, the University of Minnesota Press has issued At the End of the Road, the author’s companion volume on Jack Kerouac. One of the great values of this book, as is the case for the earlier one, is to place Kerouac in the context of transnational phenomena, hence to broaden the conception of him that prevails in the United States. As I wrote about The Stray Bullet a last year in these pages (36.3), understanding Beat Generation authors in this way, rather than as limited in their perceptions to a few roughly strewn sand piles in the landscape of US culture, is essential to grasping their contributions to literature. In response to depictions in their work of encounters with marginalized cultures and subcultures both in the United States and abroad, critical treatments have generated occasions for smugness about racism in American literature. Beginning with literary bully Kenneth Rexroth in the late 1950s, a steady stream of critics have done their best to pound the Beat Generation into a picture of overgrown adolescents giggling at shapes and colors different from what they knew back home. For their fascination with zones of cultural ferment that manage to elude the smother of dominant culture (African-American neighborhoods, farmworker encampments, impoverished districts in Third World countries), Burroughs and Kerouac have been corralled into characterizations as sexual tourists or “hipster racists.” It is, of course, entirely appropriate to question their participation in imperial white privilege—their work proposes such questioning on a regular basis—but restricting them to this dimension effaces the major challenge their writing brought to the mechanisms of domination. In the preface to At the End of the Road, written for the US edition, García-Robles considers the paradoxical complexity that pervades Kerouac’s perceptions of Mexico. García-Robles begins: “After his own, Mexico was perhaps the single most important country in Jack Kerouac’s life.” Proceeding to a detailed exposition of this importance based on both literary and biographical sources, García-Robles never shies away from the fact that Kerouac “invented and embellished Mexico with his literary designs.” This imaginative treatment is one part of a literary project in which “all the places, situations, and people he re-created in his novels were inventions, too.” These observations are a refreshing inversion of the typical US approach to Kerouac that sears the skin of his books for their supposed distortions of nonwhite persons and cultures, viewing him as a thinly disguised memoirist rather than the novelist he was and preposterously holding him to the journalistic standards that García-Robles explicitly rejects. The strongest parts of At the End of the Road occur when García-Robles considers the nature of Kerouac’s relationship to Mexico, focusing on the aspects of the country’s reality that interested him and the fictions he produced about them. Noting the flimsy, pseudo-ethnographic imagery that Kerouac sometimes employs, García-Robles pushes further to see dynamic literary machinery at work. He cuts through the cemented image of Kerouac as a mere purveyor of US stereotypes: the Beat author’s “racializations,” rather, are encounters with the deep insecurities of a dominant culture and opportunities to discover what it fails to capture. “In his mind, Jack was beginning to concoct the mythic face of Mexico, whose immediate, apparent freshness contrasted with the hypercivilized, pragmatic civilization of America.” Offering comparisons with reactions to Mexico by other foreign writers—Vladimir Mayakovsky’s disillusionment that the Indians weren’t James Fenimore Cooper’s, Jack London’s ideologically crystallizing statement on the degeneracy of Mexicans stemming from their “various commingled bloods,” those of D. H. Lawrence, Jerzy Grotowski, Carlos Castaneda, and even Burroughs for other reasons—García-Robles focuses on Kerouac...

Here on the Edge: How a Small Group of WWII Conscientious Objectors Took Art and Peace from the Margins to the Mainstream by Steve McQuiddy

 OHQ vol. 115, no. 3 The final two chapters offer more than a standard conclusion and reiteration of main points. Jacob elaborates on Yakama decolonization praxis, places those efforts within an indigenous-rights framework, and offers suggestions for those engaged in the work of cultural revitalization.Three points seem most salient in these chapters: first,her discussion of discipline,responsibility,respect,humility,and care for the past at the center of Yakama identity ; second, her analysis of gender and gender equity; and third, her notion that anyone can do decolonization work. These are powerful notions at the heart of the book. Michelle Jacob’s Yakama Rising is an excellent contribution to the First People Series, and the University of Arizona Press should be praised for facilitating its publication. It will be of great interest to undergraduates and graduates in American Indian and Native studies as well as to community activists and policy makers. Jeffrey P. Shepherd University of Texas at El Paso Here on the Edge: How a Small Group of WWII Conscientious Objectors Took Art and Peace from the Margins to the Mainstream by Steve McQuiddy Oregon State University Press, Corvallis, 2013. Illustrations, notes, bibliography, index. 336 pages. $24.95 paper. Here on the Edge is an engaging and beautifully written history. The “edge” McQuiddy documents is the work of members of the fine arts and tree-planting work camp of World War II objectors at Camp #56 in Waldport, Oregon. The move to the mainstream he traces is of Waldport’s painters, musicians, writers, printers and actors descending on post-war San Francisco and mixing with the likes of Allen Ginsberg, Kenneth Rexroth, and Lawrence Ferlinghetti.Together,the Beats andWaldport’s “conchies”(conscientiousobjectors)shapedthe San Francisco arts renaissance and, ultimately, the 1960s counterculture where pacifism, as argued by McQuiddy, became mainstream. Although I have some background in this topic, I learned much from McQuiddy’s extensive research and capable handling of complex historical strands. Even more, I was deeply moved by the story of resistance and transformation McQuiddy has spun from oral histories, books, articles, manuscripts, and original interviews. He captures the stunning intentionality of people with outrageous goals and their unlikely impact. It made me ache for a similar possibility. But that is the book’s larger point. Based on conviction and hard work, these people created their own possibilities under seemingly impossible conditions. As the book sketches, the WWII alternative service camps were products of the deplorable treatment of war resisters during WWI. The Historic Peace Churches (Brethren, Mennonite, and Quaker) worked with the U.S. government and pressed for change, resulting in the recognition of a conscientious objector status and the establishment of alternative service camps.The government provided the 150 sites, often former New Deal–era Civilian Conservation Corps (CCC) camps, and assigned work duties. Everything else for the 12,000 men classified and assigned by the Selective Service to“do work of national importance”was paid for and organized by the Peace Churches — their food, clothes, education , entertainment, everything (p. 14). It was an unlikely and at times unwieldy alliance, made more so by the occupants themselves. The camp“inmates”were drawn from all walks of life, all parts of the country, unified only in their opposition to war.Camp #56 was distinctively diverse. Most men were fresh off their family farms, having gained their convictions from their religious training.But a strategic few Reviews  atWaldport were accomplished poets,painters, or musicians, often secular or political in their opposition to war and dedicated to pursuing their arts for the purpose of peace. McQuiddy details the inevitable rubs between the groups but captures their dynamics,unlikely alliances, and mutual learning, an important topic in its own right. The Waldport artists decided it was not enough to simply do their assigned treeplanting work and bide their time until the war’s conclusion.Led by poetWilliam Everson, the group focused on what they and the world would need when the violence ended. Working fifty hours a week planting trees, fighting fires, and crushing rock, by night the Fine Arts Group produced a body of work — paintings, poetry, books, plays — that influenced other camps and the outside...

Recent Poe-Related Dissertations

Research Article| November 01 2013 Recent Poe-Related Dissertations The Edgar Allan Poe Review (2013) 14 (2): 253–258. https://doi.org/10.5325/edgallpoerev.14.2.0253 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Recent Poe-Related Dissertations. The Edgar Allan Poe Review 1 November 2013; 14 (2): 253–258. doi: https://doi.org/10.5325/edgallpoerev.14.2.0253 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectivePenn State University PressThe Edgar Allan Poe Review Search Advanced Search (All of the following abstracts are quoted directly from DAI Abstracts.)Brickey, Russell. “The Dark Sublime in American Poetry: From Poe to the Bomb.” Purdue University, Ph.D., 2010. 3413732.This project traces a strain of the sublime in American poetry from the poetry of E. A. Poe, through the eras of Modernism, Confessional Poetry, and the atomic bomb. On American soil, the sublime turns toward the grotesque and Dark Romantic, generating a number of variations on the orthodox Romantic experience of sublimity as initially defined by Kant. Thomas Weiskel's seminal definition of three stages in the orthodox Romantic sublime process provides a template for the several formulations of sublimity examined in this project. Rob Wilson and John Gery are also important theorists of American poetry. Prominent poets include Kenneth Rexroth, Robert Frost, Wallace Stevens, Sharon Olds, Lorine Niedecker, William Stafford, and Ai. Bradford, Adam Cunliffe. “Communities of Death: Walt Whitman,... You do not currently have access to this content.