School Poets Research Articles

Thinking Through Ukrainian Cinema

Surprisingly, there has never been an English-language history of cinema, a major within Soviet cinema best known for Oleksandr Dovzhenko's interwar masterpieces and the school of the 1960s, but which m fact includes a far greater number of significant and controversial films. In showcasing recent research on cinema, tins special issue prepares the ground for such surveys. Much like the 2009 special issue of KinoKultura on cinema, edited by Vitaly Chemetsky,2 our collection documents growing Western interest in cinema, as well as the field's move beyond its two best-studied periods, the 1920s and the 1960s.There are several books in English on the most famous film director, Dovzhenko, including George O. Liber's recent biography and Bohdan Y. Nebesio's series of articles on tire film industry of the 1920s, which help put Dovzhenko's oeuvre in a larger context.3 The sixties in Ukraine are finally receiving a comprehensive treatment in English, in Joshua First's monograph.4 What the articles in tins special issue demonstrate, however, is the enduring continuity of cultural hopes and major themes in cinema. In addition to Dovzhenko's poetic tradition, they include an engagement with the past and workmg with (or subverting) ethnographic cultural models.What should be included in cinema, and why, is a complex issue. In Soviet times the two major Ukraine-based film studios produced, on average, something like a quarter of all motion pictures made in the Soviet Union, but many of these had nothing to do with Ukraine and did not involve ethnic directors and actors. At the same time, some ethnic Ukrainians became major film directors in Russia (Grigorii Chukhrai, Sergei Bondarchuk, Larisa Shepitko), while non-Ukrainian directors often became inseparably associated with cinema (Sergei Paradzhanov, Kira Muratova, Roman Balaian). Dovzhenko, the greatest name in cinema, also worked in Moscow late in his career. Given the constant circulation of directors and actors among Soviet film studios and the often random mechanism of film script selection, which Soviet-era films, then, should be included in cinema?The answer has to be both inclusive and specific: all films made in Ukraine constitute part of the cinematic tradition, but the Soviet authorities also supported the development of a national school as an important attribute of nation building in the republic.'' Originally defined by topics or settings (historical and contemporary) and some connection to peasant culture, the quickly developed common aesthetic halts in the form of a romantic, or poetic, vision first articulated in the 1920s and reaffirmed in the 1960s. The school can thus include the work of non-Ukrainian dnectors contributing to this tradition, as well as those who went on to directorial careers elsewhere, while still demonstrating their formative Ukrainian influence. In contrast, other films made in Ukraine can be discussed as part of tire all-Soviet context m which cinema developed.It is also hue that the poetic school's canonization as a cinema tradition could have a stifling effect on the cinema of independent Ukraine, developing as it has in the age of cultural globalization.* * * * * 6 However, tire nearcollapse of the film industry in the period of funding drought from the mid-1990s to the mid-2000s represented a far greater challenge. During the last decade, when cinema has shown hopeful signs of revival, younger filmmakers have often challenged the stereotypes traditionally defining the school and attempted to undermine or redefine it from within.Just as cinema is increasingly trying to address universal issues in modern cinematic language, research on film history is developing as a legitimate and even popular subfield in Western academia. …

Randy P. Schiff Revivalist Fantasy: Alliterative Verse and Nationalist Literary HistoryRevivalist Fantasy: Alliterative Verse and Nationalist Literary History. Randy P. Schiff. Columbus: Ohio State University Press, 2011. Pp. ix+276.

<i>Randy P. Schiff</i> Revivalist Fantasy: Alliterative Verse and Nationalist Literary History<i>Revivalist Fantasy: Alliterative Verse and Nationalist Literary History</i>. Randy P. Schiff. Columbus: Ohio State University Press, 2011. Pp. ix+276.

The New York School Poets and the Neo-Avant-Garde: Between Radical Art and Radical Chic

Book Review| March 01 2013 The New York School Poets and the Neo-Avant-Garde: Between Radical Art and Radical Chic The New York School Poets and the Neo-Avant-Garde: Between Radical Art and Radical Chic. By Silverberg, Mark. Farnham: Ashgate, 2010. xii+ 281 pp. Will Montgomery Will Montgomery Search for other works by this author on: This Site Google Modern Language Quarterly (2013) 74 (1): 135–139. https://doi.org/10.1215/00267929-1892798 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Will Montgomery; The New York School Poets and the Neo-Avant-Garde: Between Radical Art and Radical Chic. Modern Language Quarterly 1 March 2013; 74 (1): 135–139. doi: https://doi.org/10.1215/00267929-1892798 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 Books & JournalsAll JournalsModern Language Quarterly Search Advanced Search The text of this article is only available as a PDF. © 2013 by University of Washington2013 Article PDF first page preview Close Modal You do not currently have access to this content.

Marcas técnico-formales de la polémica literaria en la Escuela Literaria Siciliana

This paper tries to approach the analysis of the composition of the XIII century Sicilian poetic school, those of the dialogic gender of the tenzone, in which there appears a debate about elements relative to the theory of love. In this textual corpus the paper studies the stylistic rhetorical signs used to develop the argumentation and the expressive formulae that poets use to engage, the so-called debate and discussion.

Old Lady Avignon: Petrarch’s Rerum Vulgarium Fragmenta 136 and the Topos of Vituperium in Vetulam

Scholars have traditionally acknowledged Francis Petrarch’s indebtedness to the amorous poetic schools; however, they have overlooked the influence of comic-realistic verse on him. Yet sonnet 136 of Rerum vulgarium fragmenta demonstrates its impact. Rvf 136 is the first of three sonnets decrying the corruption of Avignon. In it, Petrarch depicts Avignon as if a disgusting woman, illustrating the impact of vituperium in vetulam, a sub-genre of comic poetry that inveighs against a stereotyped old woman.

Mixed Feelings: Ashbery, Duchamp, Roussel, and the Animation of Cliché

The association of the cliché with a devalorized and feminized sentimentality—with feeling regarded as excessive, insincere, mechanized, or commercially debased—emerged in the late nineteenth century and was instrumental to the canonization of literary modernism in the 1940s and 1950s. This essay proposes a different reading of clichés by focusing on artists who approach the cliché not with grimness but with fascination. Raymond Roussel, Marcel Duchamp, and John Ashbery recognized the cliché's constitutive function in modern culture; its ties to print, photography, and mechanical reproduction; and its vital role in mediating feeling. Rather than bemoan or attack the cliché, each artist put it at the center of their experiments, punning on and playing with clichés to generate a new language of feeling. For this trio of artists, the mechanical origin and mixed nature of the cliché facilitates rather than impedes their efforts to animate “dead metaphors.” Ashbery, a dedicated reader, translator, and critic of Roussel, adapts Roussel's methods, but his adaptations owe much to the work of a crucial intermediary, Duchamp, whose “bachelor machines” originated in his reading of Roussel. By reading Ashbery through Roussel and Duchamp, this essay illuminates an overlooked genealogy for the New York School poets' experiments with feeling.

In search of poetic discourse of classical Chinese poetry

We address the issue of poetic discourse in classical Chinese poetry and propose the use of imageries as characteristic anchors that stylistically differentiate poetic schools as well as individual poets. We describe an experiment that is aimed at the use of ontological knowledge to identify patterns of imagery use as stylistic features of classical Chinese poetry for authorship attribution of classical Chinese poems. This work is motivated by the understanding that the creative language use by different poets can be characterised through their creative use of imageries which can be captured through ontological annotation. A corpus of lyric songs written by Liu Yong and Su Shi in the Song Dynasty is used, which is word segmented and ontologically annotated. State-of-the-art techniques in automatic text classification are adopted and machine learning methods applied to evaluate the performance of the imagery-based features. Empirical results show that word tokens alone can be used to achieve an accuracy of 87% in the task of authorship attribution between Liu Yong and Su Shi. More interestingly, ontological knowledge is shown to produce significant performance gains when combined with word tokens. This observation is reinforced by the fact that most of the feature sets with ontological annotation outperform the use of bare word tokens as features. Our empirical evidence strongly suggests that the use of imageries is a powerful indicator of poetic discourse that is characteristic of the two poets concerned in the study.

Urban pastoral: natural currents in the New York School

Were the urbane, avant-garde poets of the New York School secretly nature lovers like Edward Abbey, Wendell Berry, and Annie Dillard? In Urban Pastoral, Timothy Gray urges us to reconsider our long-held appraisals of Frank O Hara, John Ashbery, Barbara Guest, and their peers as celebrants of cosmopolitan culture and to think of their more pastoral impulses. As Gray argues, flowers are more beautiful in the New York School s garden of verse because no one expects them to bloom there. Along with the poets whose careers he chronicles, Gray shows us that startlingly new approaches to New York City art and literature emerge when natural and artificial elements collide kaleidoscopically, as when O Hara likens blinking stars to a hairnet, when painter Jane Freilicher places a jar of irises in her studio window to mirror purple plumes rising from Consolidated Edison smokestacks, or when poet Kathleen Norris equates rooftop water towers with grain silos as she plans her escape route to the Great Plains. The New York School poets and their coterie have become a staple of poetics, literary criticism and biography, cultural studies, and art criticism, but Urban Pastoral is the first study of the original New York School poets to offer sustained discussion of the pastoral and natural imagery within the work of these renowned city poets and also consider poets from the second generation of the New York School Diane di Prima, Jim Carroll, and Kathleen Norris. Moving beyond the traditional boundaries of literary criticism to embrace the creative spirit of New York poets and artists, Gray s accessible, lively, and blithely experimental book will shape future discussions of contemporary urban literature and literary nature writing, offering new evidence of avant-garde poetry s role within those realms.

MARK SILVERBERG. The New York School Poets and the Neo-Avant-Garde: Between Radical Art and Radical Chic.

MARK SILVERBERG. The New York School Poets and the Neo-Avant-Garde: Between Radical Art and Radical Chic.

Race and the Avant-Garde: Experimental and Asian-American Poetry Since 1965

Reviewed by: Race and the Avant-Garde: Experimental and Asian-American Poetry Since 1965 Ashanti L. White (bio) Yu, Timothy . Race and the Avant-Garde: Experimental and Asian-American Poetry Since 1965. Stanford: Stanford UP, 2009. "Race and the avant-garde have been linked since the dawn of the twentieth century" commences Timothy Yu's ingenious Race and the Avant-Garde: Experimental and Asian-American Poetry since 1965 (1). In his exhaustive study, Yu delineates the political and social upheaval that defined the 1960s American climate to probe two social groups, Asian Americans and Experimentalists, that emerged from the turmoil to create synchronous aesthetic movements that redefined the avant-garde and American poetry. Since their inception four decades ago, both groups have altered and reformalized their sui generis [End Page 210] methods while emending who warrants inclusion into their poetic schools. Specifically, Yu demonstrates the modus in which Asian American poets and Experimentalists egressed as indeterminate poetic groups that adhered to avant-gardist standards by elucidating their social demarcation. One of the most turbulent debates of the 1960s was the anti-Vietnam War movement, which served as a major catalyst in the Language poetry revolution. Chapter 1 of Yu's study examines Allen Ginsberg, an original pioneer of the avant-garde style, and his poem "Howl," which politicized the usually aesthetic genre. By focusing principally on a point in history and crafting the work from a nonconformist perspective, "Howl" defies traditional poetics by suggesting that vision cannot truly embody universalities. Yu's inspection of "Howl" reveals that the poem's platform relies on the cognizance of the protesters who evolved as social "outsiders" who challenged the supererogatory conflict. The idiosyncrasies of discontent are imparted mainly in Ginsberg's phraseology. In the spirit of Language poetry, Ginsberg applies fractured language and imagery to actively involve the "conscious" reader "who jumped off the Brooklyn Bridge that actually happened and walked / away unknown and forgotten into the ghostly daze of Chinatown / soup alleyways & firetrucks, not even on free beer" (30). Yu informs the reader that although Ginsberg subsumes individualist constructions, he recognizes that inspiration is derived from the situation of the group in which one is a member. Ginsberg's apperception, according to this study, establishes the foundation for the Experimental poetry movement. Yu continues Race and the Avant-Garde by investigating the work of a divergent Language innovator, Ron Silliman, who was sonorously influenced by Allen Ginsberg's style of literary recording. Conversely, Silliman's employment of formalistic modus operandi transformed the Language intendment from person in relation to his outside influences, as was the case with Ginsberg, to the collective experiences as the subject of the poetics. Yu exposes that this catalyst forced Silliman into a "much greater awareness of the location and the limits of his own perspective" (38). But the avant-garde is a movement outside of the mainstream, so the repositioning of Language poetry brought a characterization of the social grouping of its artists as well as the consciousness of other social dimensions within the environment in which the poetry originated. Whereas Ginsberg's focus lay in the anti-Vietnam movement, social revolutions, including the Women's Rights Movements and the African American Civil Rights Movements, were concurrently stirring. Yu divulges that Silliman exploited those happening to differentiate his writing. His embrace and utilization of the distinctiveness of "others" to influence his poetry served as a means of denoting Language poets just as there existed women and gay/lesbian poets. In the opening chapter of Race and the Avant-Garde, Yu asserts that race and the avant-garde are incontrovertibly linked, yet Language poets, who subscribed to the aesthetic and social requirements of the avant-garde, appeared racially and sexually exclusive. Silliman argues that the "social codes" that barred women, homosexual, and ethnic minority writers also dictated Language poets as they aesthetically diverged from other social groups. Yu comments: "This formulation . . . can be and has been interpreted in at least two ways: as an honest, descriptive assessment of the historical and personal forces that seem to have given rise to Language writing . . . or as an exclusionary, prescriptive formula that suggests women and minorities do not or cannot engage...

A Controversial Poet, a Forgotten Dynasty: Jin Dynasty Poets’ Reception of Bai Juyi and Its Historical Significance

A certain dispute that arose during the early Jin dynasty regarding Bai Juyi that seemed to be a coincidental occurrence was to some extent inevitable. On one hand, it foreshadowed the opposition that would later arise between followers of the Tang and Song stylistic schools; on the other, it represented both the Tang school poets’ disdain for the “ornamental avant-garde” poetry that was fashionable at the time as well as their own search for a new creative direction. The re-evaluation of Bai Juyi that occurred during that period, particularly the frequent comparison of Bai to Tao Yuanming, indicates that Bai Juyi’s poetry was widely accepted at the time, which itself represented not only a challenge to traditional perspectives, but also a historical landmark in Bai Juyi’s history of acceptance. Jin dynasty poets’ creative imitation of Bai Juyi’s carefree as well as his satirical poems spurred a maturation of Bai’s spirit of concern for self and reality, which later incorporated itself into the spirit of Chinese literati in general.

The New York School Poets and the Neo-Avant-Garde: Between Radical Art and Radical Chic (review)

The New York School Poets and the Neo-Avant-Garde: Between Radical Art and Radical Chic (review)

The New York School poets and the neo-avant-garde: between radical art and radical chic

Contents: Introduction: 'a lot of guys who know all about bricks' The New York School and the problem of the avant-garde The neo-avant-garde manifesto The poetics of process The politics of taste: comedy, camp, and the neo-avant-garde Conclusion: beyond radical art Appendix Bibliography Index.

New York Nocturne: The City After Dark in Literature, Painting, and Photography, 1850-1950

Reviewed by: New York Nocturne: The City After Dark in Literature, Painting, and Photography, 1850-1950 Joshua Shannon New York Nocturne: The City After Dark in Literature, Painting, and Photography, 1850-1950. William Chapman Sharpe. Princeton, NJ and Oxford: Princeton University Press, 2008. Pp. xxi + 402. $35.00 (cloth). Shot after dusk from the peak of an unfinished 1930s skyscraper, the gorgeous cover image of William Chapman Sharpe's New York Nocturne makes a rich promise to the reader: here is a city sparkling its way through modernity, saturating page and eye with a rhythm of glare and impenetrable black. It is a promise that the author keeps, delivering to the reader a panoramic view of hundreds of dense images of New York at night, drawn from over a century of photography, painting, poetry, and fiction. Sharpe demonstrates his command of this diverse material throughout, and readers are likely to find plenty to enjoy. I was reminded, for example, of the delicious Victorian paradoxes in Poe and O. Henry, and I discovered such oddball wonders as "Thrust at the Sky," a 1932 narrative poem on the erotics of skyscrapers by the improbably named Futurist writer MacKnight Black. The book delves into urban history only occasionally, recapitulating some milestones of street lighting, but offering little on the histories of crime, alcohol, transportation, or even demographics. But it bristles with the lively texture of James McNeill Whistler's libel suit against John Ruskin, for example, and of Jacob Riis's midnight photographic invasions of Lower East Side tenements. This varied and comprehensive treatment, clearly built on years of reading and looking, earned New York Nocturne the Modernist Studies Association's Book Prize in 2009. The Riis section is one of the best in the book. It debunks any simple notion of the muckraking photographer's moral purity with the story of his confusion—nursed on his own early destitution—between his true target, poverty, and the poor themselves. We see Riis manipulating his subjects, entering uninvited and blasting their homes with illuminating Magnesium powder shot from a gun. Sharpe also draws out the complicated sexuality of Edward Hopper's paintings, and he demonstrates throughout the book (if sometimes in a restrictively essentialist way) that gender has been fundamental to New Yorkers' love for and antipathy toward their city. [End Page 683] Such complications are relatively rare, however, and this is a fundamental weakness of the book. The author seems to want his material to be straightforward and lyrical rather than richly halting or uncertain. This disposition may explain Sharpe's decision to end his account, for the most part, around 1950—before Vito Acconci's conceptual-art experiments on Manhattan's darkened piers or Nan Goldin's snapshots of desperate hipsters—but it cannot justify the complete absence of Piet Mondrian's New York abstractions, or of any mention of Jackson Pollock. And while Sharpe does not shy from representations of solitude or murder, he makes regular analogies to Dante and ancient myth, betraying a desire to warmly suture his material into a long history of belles lettres. The postwar cases are selective: Yvonne Jacquette's lyrical paintings of skylines rather than David Wojnarowicz's photographs of gay alienation, George Segal's anodyne sculptures rather than Andy Warhol's diverse experiments at The Factory. The New York School Poets, Diane Arbus, and Hip Hop are likewise entirely sidelined. It is not more grit that I wish Sharpe had brought to the project (Weegee is well represented), but rather more interest in the problems of modernism, which is after all a putative subject of the book. (It does not help that his citations of primary criticism and of previous scholarship are relatively rare, even in the footnotes.) The author is so keen on cataloguing representations of night-time New York that he sometimes overlooks the fact that, in modern art, the crucial topic is often form or mode—not just what but rather how things are said. All the more so here, because the night and the city both present special opportunities and challenges to representation—the night because it changes the look of everything (hiding, revealing, denaturalizing), the city because it is...

Encyclopedia of the New York School poets

Encyclopedia of the New York School poets

A Companion to Catullus (review)

Reviewed by: A Companion to Catullus John B. Van Sickle Marilyn B. Skinner (ed.). A Companion to Catullus. Blackwell Companions to the Ancient World. Malden, Mass.: Blackwell, 2007. Pp. xxvi, 590. $149.95. ISBN 978-1-4051-3533-7. Topics and authors attract, promising expert and timely ways to approach or reconnect with the poet and trace readers' shifting fashions. Good reading starts with the editor—judicious, attentive to scholarly history's turns and to advances by her notable crew. Given the editorial constraints customary here, however, my remarks will focus on a few of the many intersections with scholarly concerns of mine. Text history fascinates in the hands of the late James Butrica—redeeming Pontano, prizing Billanovich (praised now too by a Latin inscription at his Milanese university). Competing perceptions of a Catullan book get historicized by the editor as conditioned by evolving preconceptions about structure: other poetic books could use such reckoning. Already central to the editor's account of order, Peter Wiseman vindicates his standing (with her) as a dean of Catullan studies, bringing again to life hints of "Transpadane upbringing" and providing an exemplary reconstruction of social history for the Valerii Catulli and their Sirmionian villa through lapidary hints from ruins, inscriptions, satire, and epigram. Also reconstructing socio-political circles, Konstan revives and amplifies possible allegory encoded in the manneristic rendering of marriage between Peleus and Thetis, e.g., indicat not merely colorless "reveal" (Guy Lee) but "expose" (cf. "indict"). Despite a textual lapse (legitur, an unmetrical gloss displacing fertur, c. 114.2), Konstan recalls that Callimachus' Lock of Berenice was court poetry and he intuits that the metonym and slight catachresis of caesaries ("head of hair") to translate "lock" might flatter Julia, daughter of Julius Caesar. Catullus' use of Hellenistic learning to negotiate social status, closely argued by Andrew Feldherr, may even prompt rueful reflection about the relative status of learning in our times. The "court poetry" of Catullus' forebears at Alexandria has morphed in recent scholarship into ideological engagement: e.g., Fantuzzi and Hunter (Tradition and Innovation, 2005) decrying notions of "art for art's sake" to restore Hellenistic poetry to "its own intellectual and cultural context" (cf. more emphatically Stephens, Seeing Double. Intercultural Poetics, Berkeley 2003). But if Alexandrian poets looked beyond the library, to honor the hand that fed and to collaborate on ideological instruments for Ptolemaic rule, their role anticipates that of the poets (Livius, Naevius, Ennius) engaged by Rome's elite to corroborate imperial expansion (cf. Habinek, The Politics of Latin Literature, 1998). They codified the mythic frame and epic style for the confident republican order. That order's last master was Cicero, portrayed with empathy and wit by W. R. Johnson as an old school poet, dutifully Roman, perplexed by the rather fresh (neoteroi) "Euphorionic troupe" (cantores) with their "poetics of style for style's sake"—the "peeled" ("slight," lepton)—to which Catullus and his ilk turned, Johnson writes, "away from civic failure and public catastrophe—inward to a private world of immense, exciting emotions and of extraordinary pleasures (and pains)." Rome's political chaos allowed them not a neo-Alexandrian ideology but a mirror of broken ties: fragments of the shattered frame for Catullus' private construct, cobbled together from amicitia, amor, Troy as manifold sign of tragic loss, even one bit of the old foundational mythology reduced to a satiric barb—glubit magnanimi Remi nepotes ("she peels back the descendants of heroic Remus")—ultimate variant of lepton. Construing the "neoteric" emphasis on private amor as retreat from the public engagement of Alexandrian and republican Roman poetics, suggests review of takes on [End Page 516] Virgil and Catullus by both W. R. Johnson and Christopher Nappa. Virgil, perhaps little more than a decade on into the agony of the republic, begins to move beyond neoteric retreat to reclaim an Alexandrian role for his poetics, envisioning public order beyond chaos. In the first half of the Bucolics, Virgil makes ROMA the causative power for new order and new epos, starting to restore but stretch the republican mythic frame—ille mihi semper deus (ecl. 1), nova progenies, Iovis incrementum (Ecl. 4), deus, deus ille (Ecl. 5); cf. Dionaei Caesaris astrum (ecl...

There's Ecstasy in God Being One

There's Ecstasy in God Being One Paul Miller Stephen (bio) With God-in-one distances between creation and judgment collapse, and since there's nothing stopping us-ongoing intensity, neurotic ongoing intensity marks not only the best Jewish poetry but simply hotpoetry, God's trademark unsingularity rippling and rippling.1 If God's one, time's blue toothed to portable eternity inhis or her belly [End Page 114] perhaps the portabilityof monotheism's and iconoclasm's literally lighter idol loads suit nomadic shepherds, and nonnegotiable, scorched earth, theocratic identification with and domination of a set place is an iconic, thus sacrilegious, elephant in the room.2 If God's one, I'm an other,3 a ghost jumping junk-to-junk,4"borrowing" boats like Mandelstam as James Bond,5 segueing observant, secular, wild if somewhat reserved Jewish feedback mechanisms, and powerfully unattached Judaisms.6You beat it, Red Sea parts, escape again, and Charles Bernstein's eyes light up. The Center for Jewish History asks I propose poetry events. Everyone I tell suggests they and their friends read,shy about linking religion and intense textual scrutiny,figuring the religion-text connection subject to fundamentalist manipulation,7 Charles, no religion but wildly liberating textual scrutiny,8 knows we'll talk"secular Jewish culture/radical poetic practice". Paul Miller Stephen Stephen Paul Miller is a Professor of English at St. John's University. His books include Being with a Bullet (Talisman), Skinny Eighth Avenue, (Marsh Hawk), The Bee Flies in May (Marsh Hawk), and Art Is Boring for the Same Reason We Stayed in Vietnam, and The Seventies Now (Duke University Press). He co-edited, with Daniel Morris, Secular Jewish Culture/Radical Poetic Practice (University of Alabama Press) and, with Terence Diggory, The Scene of My Selves: New Work on the New York School Poets (National Poetry Foundation). Footnotes 1. However one characterizes "Jewish poetry", those not identified as Jewish can write it. For instance, in Secular Jewish Culture/Radical Poetic Practice (Stephen Paul Miller, Daniel Morris, eds. University of Alabama Press, 2009), Hank Lazar describes Jewish qualities in Fanny Howe's work, Benjamin Friedlander construes St. Paul as an innovator within secular Judaism, Norman Fischer illustrates how a continuum between silence and articulation blends Jewish and Buddhist perspectives, Marjorie Perloff sees beyond simplistic historicizing to recognize Paul Celan and Wallace Stevens as poetic contemporaries, and my poem-essay points out Spalding Gray's self-portrayal as Jewish. 2. Anita Feldman, in a 2008 conversation, said, "some Israeli settlers have turned "their idea of "the land" into an icon, a sacred image, like the golden calf that the erring Hebrews set up as an object of worship. Tey've identified 'the land' as a sacred object replacing moral law and a Jewish commitment to justice. Remember the person in the audience [at the 2004 Center for Jewish History 'secular Jewish culture/radical poetic practice' panel] who faulted [End Page 115] Jewish writers for not 'making aliyah' to Israel? I think of her as someone who has replaced the Jewish devotion to justice with reverence for 'the land' as sacred". 3. To speak means to be forever on the road" (Osip Mandelstam, "Talking about Dante" [1933], trans. Clarence Brown and Robert Hughes, Delos, No. 6 [1971]: 75). 4. "The quality of poetry is determined by the rapidity and decisiveness with which it instills its command, its plan of action, into the instrumentless, dictionary, purely qualitative nature of word formation. One has to run across the whole width of the river, jammed with mobile Chinese junks sailing in various directions. This is how the meaning of poetic speech is created. Its route cannot be reconstructed by interrogating the boatmen: they will not tell how and why we were leaping from junk to junk" (Osip Mandelstam, "Talking about Dante", p. 66). 5. Like the Homeric depiction of Odysseus, the cinematic James Bond is a wandering man who is never at a loss", and, since James Joyce in perhaps the proto-postmodern English language text re-characterizes Odysseus as Jewish, through a twisted metaphoric logic, Bond can also be re-imagined as Jewish. 6. See Edward Mendelson, "New York Everyman" (book...

Lots of City Poets:A Review of Essays on the “Second Generation” New York School

Don't Ever Get Famous: Essays on New York Writing after the New York School (Champaign, IL: Dalkey, 2006), edited by Daniel Kane, is representative of the revival of interest in the early 1960s poets living and writing on the Lower East Side of New York in the wake of the New York School and leading into Language Poetry and the Black Arts Movement. Attention is primarily focused on the varied aesthetics and social contexts of a range of poets and publications such as African-American poets in Umbra, the Deep Image school, the "second generation" New York School poets in C, and the movement beyond the bounds of poetry into Happenings. The anthology is recommended for both those not familiar with this scene and those who are who would like specific reminiscences and critical reappraisals of individuals and groups.

A Study on Mutual Interpretation and Reception about the Other Side School of Four Major Poetic Theory Schools of QING(淸) Dynasty

A Study on Mutual Interpretation and Reception about the Other Side School of Four Major Poetic Theory Schools of QING(淸) Dynasty

Fragile Bridges: American←→Romanian Poetic Transactions

constructions. Written with more than half a century in advance, his poems are very close stylistically to the non-sequitur lines cultivated by the L=A=N=G=U=A=G=E school poets. A unique representantive of this Romanians·^ American stylistic crosspollination is Mugur continued on next page Page 4 Vnicriciin Hook ??·>??· Mugur continuedfrom previous page ABBTiCM