Collective Title Research Articles

Parler poeme: Henri Meschonnic dans sa voix

At his untimely death in April 2009 Henri Meschonnic left behind an impressive corpus of Jewish biblical translations, poetry, and linguistic, literary, and theoretical essays. Although there now exists a considerable bibliography of secondary material in French on Meschonnic, the present work by Marcella Leopizzi is the first to be entirely devoted to Meschonnic's poetic output of some fifteen volumes. The book is divided into two equal parts. The first presents a brief introduction to the poetry, largely paraphrasing Meschonnic's own theoretical pronouncements elsewhere and asserting what are perhaps the two central propositions of the whole study, namely that Meschonnic ‘“regarde” le langage, l’éthique, le politique, la politique, toute la société, à partir du poème' (p. 23), and that in his work ‘la pensée du rythme est une pensée politique’ (p. 30). Leopizzi then proceeds to illustrate these assertions first by offering a chronological overview of each collection of poetry (privileging generous extracts over actual analysis), and then by giving a much more satisfying synthesis of the formal properties and themes of Meschonnic's verse as a whole, from typographical specificities, rhythm, lexical continuity, neologisms, and non-grammatical constructions, to the autobiographical and historical referents such as the privileged amorous dialogue with his second wife Régine, his reflections on Auschwitz, the Algerian war, his visits to China and Japan, Apollinaire's grave, and the Jewish tradition. The second part of Leopizzi's book consists of the transcription of five interviews with Meschonnic conducted between October 2007 and September 2008. Despite providing insight into some of Meschonnic's more theoretical, linguistic positions, most of the interviews take the form of questions and answers concerning the signification of titles of various collections and individual references and lines in his poetry. By answering her questions, Leopizzi claims, Meschonnic has provided her with the ‘clé interprétative’ (p. 272) to understanding his poetry, but this raises serious methodological and theoretical questions about authorial intentionality and, indeed, about the reading of poetry in general, both of which Leopizzi simply ignores. Meschonnic himself was notoriously headstrong and never fought shy of polemic. His Célébration de la poésie (2001), in which he made disparaging remarks about almost every other contemporary French poet, drew indignant replies from poets such as Michel Deguy, Jean-Michel Maulpoix, and Jacques Roubaud. I mention this because throughout her book Leopizzi shows Meschonnic the generosity that many readers feel Meschonnic himself rarely showed other writers and thinkers. This generosity, however, is ultimately the book's major weakness, in that the author's unabashed deference towards her subject all too often prevents her from adopting any real critical distance. Her engagement with the poetry remains largely indebted to Meschonnic's own personal readings and interpretations. These reservations notwithstanding, Leopizzi does afford readers perhaps more familiar with Meschonnic's translations and essays, particularly his important Critique du rythme (1982), an invaluable opportunity to discover or revisit Meschonnic's verse and the poet's ambitious claim that ‘il faut penser le poème pour penser la société' (p. 316).

Globalizing Good and Evil in the Poetry of Jorge Urrutia and Jorge Riechmann

Globalizing Good and Evil in the Poetry of Jorge Urrutia and Jorge Riechmann Paul Cahill "Auschwitz," a poem included in León Felipe's ¡Oh, este viejo y roto violín! (1965), includes the following verse: "Éste es un lugar donde no se puede tocar el violín" (51, v. 40). Rather than a fleeting reference to the Holocaust, this poem is firmly embedded in the collection to which it belongs, as the allusion to the image of the broken violin in the collection's title indicates. The poem is dominated by an admonishment of three "poetas infernales"—Dante, Blake, and Rimbaud—that deems their work unfit to face the new circumstances engendered by the hellish conditions of Auschwitz. Although the speaker's critique seems to be limited to the three poets mentioned above, two brief references to the broken violin of the collection's title suggest at the very least the difficulty of future poetic expression: Aquí se rompen las cuerdas de todoslos violines del mundo[…]Yo también soy un gran violinista …y he tocado en el infierno muchas veces …Pero ahora, aquí …rompo mi violín … y me callo (51–52, vv. 41–42, 48–51) In particular, the poem questions the privileged position traditionally granted to the figure of the poet: [End Page 457] Hoycualquier habitante de la tierrasabe mucho más del infiernoque esos tres poetas juntos. (50, vv. 6–9) It also critiques the use of formally polished poetry to comment on the sort of suffering characteristic of Auschwitz: Ya sé que Dante toca muy bien el violín …¡Oh, el gran virtuoso! …Pero que no pretenda ahoracon sus tercetos maravillososy sus endecasílabos perfectos1asustar a este niño judíoque está ahí, desgajado de sus padres … (50, vv. 10–16) This general sort of critique of polished poetry is by no means unique in the post-war era; a brief review of the work of poets like Gabriel Celaya (1911–1991), Blas de Otero (1916–1979), José Hierro (1922–2002), or Eugenio de Nora (1923–) will yield many examples of similar critiques. What is unique, though, is the specific treatment of the Holocaust, while simultaneously situating its representation in the larger context of Western literary production. This study will examine the work of Jorge Urrutia (1945–) and Jorge Riechman (1962–), two Spanish poets whose work also discusses the Holocaust within larger contexts. The poems in question span a wide range of time, beginning with a poem published not long after Felipe's and ending with one published over four decades later. Felipe, Urrutia, and Riechmann, then, write poetry—both after and about Auschwitz, in the wake of Theodor Adorno's famous establishment of Auschwitz as a sort of line in the sand after which writing poetry is "barbaric" ("Cultural Criticism" 34). Although Adorno later revisited and amended his words regarding post-Auschwitz poetry in Negative Dialectics (1966), changing his focus from writing poetry to living, the critical-theoretical dye, so to speak, had already been cast (362–63). One of the effects of Adorno's statement, in conjunction with other writers and Holocaust scholars, has been the discursive imposition of the Holocaust as a unique event, the pinnacle of insurmountable and unrepeatable evil.2 [End Page 458] In her discussion of the teaching of the Holocaust, Doris L. Bergen warns of the risks of a focus that centers exclusively on its horrors, arguing that such a focus obscures the conditions leading to genocide: Students in courses on the Holocaust are often alarmingly eager to get to the gas chambers, to bypass the processes of persecution, isolation, expropriation, and experimentation that led up to and made possible Nazi efforts to annihilate the Jews of Europe. That rush to plunge straight into the deepest circle of hell maximizes the shock value and emphasizes the mystery and unknowability of the Holocaust, but playing up the unimaginable horror detracts from what is perhaps a more important goal of teaching in this area: helping students and ourselves recognize the familiarity of genocidal situations and behaviors. (39) Failing to examine the elements that contribute to genocide as a general phenomenon...

Contes et nouvelles de Maupassant: Pour une poétique du recueil (review)

Reviewed by: Contes et nouvelles de Maupassant: Pour une poétique du recueil Christopher Lloyd Grandadam, Emmanuèle . Contes et nouvelles de Maupassant: Pour une poétique du recueil. Publications des Universités de Rouen et du Havre, 2007. Pp. 473. ISBN 978-2-87775-434-7 Most 21st-century readers of Maupassant will almost certainly have first encountered the author through an anthology of his stories, edited and published long after his death. The titles and contents of such posthumous editions often bear little resemblance [End Page 337] to the fifteen volumes of stories which Maupassant collated and published during his lifetime, between 1881 and 1891. In her detailed and meticulous study, Emmanuèle Grandadam argues that these original editions deserve far greater respect and attention. Twentieth-century editors, such as René Dumesnil in his 1934–38 edition of Maupassant's complete works, misleadingly asserted that the writer selected and collated his stories for publication in book form in an arbitrary, opportunistic or even random fashion, thereby legitimizing their decision to replace the author's ordering of his stories with their own selection principles (which are usually either thematic or chronological). In fact, the only complete modern edition of the Contes et nouvelles which follows the order of publication established by Maupassant is that published by Laffont in the "Bouquins" series (1988). Some recent paperback editions also reproduce the contents of individual volumes faithfully. But few editors or critics have paused to consider the organizing principles and impact of Maupassant's original collections: "Le recueil est ainsi le grand absent de la critique" (52). The fact that only three out of fifteen volume titles refer explicitly to a range of stories (rather than simply adopting the title of the lead story) may further explain why many editors have failed to discern any unifying factor in the other twelve collections. Grandadam's aim is to demonstrate that it is possible to discover both æsthetic and thematic unity in all the collections. In some cases, this is readily apparent. Thus the stories in Monsieur Parent demonstrate that "Les liens affectifs et passionnels sont les réponses des héros au vide ontologique de leur vie" (85), while La Petite Roque explores "la mise en récit du désir amoureux, présenté comme force asociale," and both editions of Mademoiselle Fifi offer "une enquête sur le féminin" (173). Whereas Toine uncharacteristically stresses the comic and success, Le Horla is effectively its bleak negative. But she also reveals a large range of more subtle intratextual echoes, often created by the positioning of particular stories within the collection. Maupassant's correspondence in fact shows that he paid close attention to the organization and selection of his collections (chronology or proximity of composition were rarely determining factors, and one third of the stories were published only in the press and never made the transition into books). In other cases, reversals and contrasts are important structural features: for example, fantastic texts tend to be isolated from each other in a way that intensifies their effect, while the collective title Contes du jour et de la nuit has to be read ironically, since most of the tales are actually somber. All in all, this lucid and scholarly study makes a persuasive heuristic and hermeneutic case for exploring and respecting Maupassant's original compilations. It includes a useful tabular appendix, full bibliography, and index (although the reference to a story called "La Leçon de latin" [417] appears to be a typo for "La Question du latin"). [End Page 338] Christopher Lloyd Durham University, UK Copyright © 2009 University of Nebraska Press

<em>Music and Orientalism in the British Empire, 1780s-1940s: Portrayal of the East</em>, edited by Martin Clayton and Bennett Zon<br/><em>Representing Non-Western Music in Nineteenth-Century Britain</em>, by Bennett Zon

Reviewed by: Music and Orientalism in the British Empire, 1780s-1940s: Portrayal of the East, and: Representing Non-Western Music in Nineteenth-Century Britain Grant Olwage (bio) Music and Orientalism in the British Empire, 1780s-1940s: Portrayal of the East, edited by Martin Clayton and Bennett Zon; pp. xv + 347. Aldershot and Burlington: Ashgate, 2007, £57.00, $124.95. Representing Non-Western Music in Nineteenth-Century Britain, by Bennett Zon; pp. xviii + 344. Rochester and Woodbridge: University of Rochester Press, 2007, $75.00, £40.00. The books under review here have several thematic and theoretical concerns in common: they take as their main subject the transcultural encounter, variously played out in the fields of music, between Britain and its colonial lands during the long nineteenth century, with the Victorian period receiving the bulk of the page time. Both studies thus bring to bear on their specific geographic-temporal areas critical-theoretical agendas such as orientalism, race, and empire that have occupied humanistic and music studies for, respectively, roughly a quarter of a century and a decade. As the titles of both books make clear, the predominant position from which they speak is the metropolitan British representation of the non-West. There are a few exceptions to the direction of this gaze. In Music and Orientalism, the essays by Martin Clayton (on music histories), Lakshmi Subramanian (on music critics in colonial India and Indian elite identities), and Gregory Booth (on Hindi cinema's own orientalist tropes) proceed from the East—in these cases, India. Clayton's embryonic sketch, "Musical Renaissance and its Margins in England and India," for example, attempts what he calls a "relational view of music history" (73–74), revealing the mutual historiographical influences of English and Indian national music histories of the late-Victorian and Edwardian worlds. But too often the encounters that these books seek to detail read like one-way traffic. If one of postcolonial studies' most profound projects has been to decenter the West's narratives, then Music and Orientalism's essays, many of which present the potential for such readings, collectively fail to take up the challenge of doing so. In the better of Music and Orientalism's contributions, the destabilizing effects of the colonial musical encounter are indeed addressed; this is also the explicit theme of the final section on translation in Bennett Zon's Representing Non-Western Music. Nicholas Cook's chapter (in Music and Orientalism) on "Hindostannie Airs," voguish colonial transcriptions of subcontinental songs, interprets the practice not simply, as one might expect (and previous scholarship has done), as an exercise in orientalist representation but as British musicians' "empirical engagement with an alien culture" (17), an engagement that importantly disrupts the British musician's own style (and therefore "self"). Cook's nuanced, theory-savvy work should serve as a model, and as the book's first essay it sets high expectations. Unfortunately, many of the other essays, particularly in the sections "Interpreting Concert Music" and "The Orientalist Stage," are for the most part too literal in their interpretations and somewhat naive in their nod to cultural theory, with which scholarship tackling the weighty issues of race and power must by force engage. The essays dealing with British composers Edward Elgar and Granville Bantock and with orientalist music theatre and opera are, however, valuable as empirical studies on little-researched topics or for bringing their subjects within the interpretative ambit of the collection's concerns. As stated in the collection's title, its overriding concerns are musical orientalism [End Page 540] and its relationship to empire. Discussions of orientalism in many of the essays are typically, and always in the first instance, positioned vis-à-vis Edward Said's original formulations. Given the many subsequent debates and reworkings of Said, I found Music and Orientalism's constant referral to Said somewhat tired (though the tone is not always deferential; some of the essays critique what Cook calls the "received Saidian model" [15]). Other than Cook's arguing for a more empathetic scholarship of colonial cross-cultural encounter, and Philip Bohlman and Ruth Davis's "Jewish Music and the Journey to the East," which speaks (in a tentative manner) of the mobility of music...

Index to Printed Music: Collections & Series (IPM) (review)

Index to Printed Music: Collections & Series (IPM). Published by National Information Services Corporation (NISC). Databases licensed from James Adrian Music. http://biblioline.nisc.com/scripts/login .dll?NoIP (Accessed November-December 2007) [Requires an Internet connection and a Web browser; annual subscription pricing (2008 price): $925 for single concurrent user access; also available: 2-5 users, 6-10 users, unlimited users; access: IP filtering, URL referral or User ID/Password.] Finding specific compositions published in collected editions, monuments of music, historical sets, or other sets or series that contain multiple pieces has been a difficult task for decades. The first major resource to help with this undertaking was Anna Harriet Heyer's Historical Sets, Collected Editions, and Monuments of Music: A Guide to Their Contents (hereafter cited as Heyer), first edition published in 1957, 3rd and last in 1980. All three editions of this vital work were issued by American Library Association. Although collected editions, monuments, and like continued to come out after last edition of Heyer, most of them were not indexed in any centralized place; there was no good way to find individual pieces these newer publications contained. The works lists of The New Grove Dictionary of Music and Musicians (London: Macmillan, 1st ed., 1980; 2nd ed., 2001; online, 2001-; http://www.grovemusic.com) filled lacuna in part, particularly for collected works of major composers. Between first and second editions of New Grove came book Collected Editions, Historical Series & Sets & Monuments of Music: A Bibliography, by George R. Hill and Norris L. Stephens (Berkeley: Fallen Leaf Press, 1997; hereafter cited as Hill), which was a promising successor to Heyer but was of limited use in its printed form. According to its preface, this book is a list of important editions of historically significant and includes the most significant series and sets. A computerized index to Hill was envisioned from start. Index to Printed Music (IPM) is that long-awaited index. Indeed, it is not an index to be used in conjunction with book; rather it is book in searchable database form, considerably augmented by similar data for additional, more recent publications, and more detailed information about contents of publications listed in Hill. Many composers' collected sets are represented in Hill by a single listing for set without any detail on contents; it is not possible to determine from Hill which volume contains a given work. IPM indexes content of those collected sets, thereby enabling users to access them more easily. IPM also includes some more detailed indexing of works published as groups. For example, volume one of Sixteenth-century Madrigal ( Jessie Ann Owens, ed., New York: Garland, 1987-96) contains madrigals by Jachet de Berchem. Hill's book includes one listing under series title and one under Berchem's name with a collective title. In addition to these, IPM includes twenty-seven listings for individual madrigals with distinctive titles. This is clearly an improvement in access over printed version. A Product Factsheet on IPM is included within resource and is also available directly from NISC Web site (http://www .nisc.com/Frame/NISC_products-f.htm). Here resource is called only electronic title for finding individual pieces of music printed in standard scholarly editions. This statement is true. It is only such electronic resource. If one looks at reference resources in general, however, statement needs qualification; one cannot rely entirely on IPM to find scores in monuments and like. Perhaps resource's most important limitation is an unstated one on chronological boundaries of index. IPM begins where Hill's book began. Like book, it does not cover some older publications that are indexed in Heyer. …

The Delicate Dance of Reasoning and Togetherness

Reasoning Together: The Native Critics Collective, a new collection of essays by Native literary critics, is one of the most important theoretical works to emerge out of the study of Aboriginal litera ture. I do not know whether the collection's title deliberately recalls a dialogue between David Brumble and Karl Kroeber, also entitled ReasoningTogether, which first appeared in The Canadian Review of American Studies in 1981 and later in Smoothing the Ground: Essays on Native American Oral Literature, but comparing the two works shows us just how far this field has come. In 1981 Kroeber and Brumble, both non-Native, wrote authoritatively about how Indians feel about having their stories and belongings collected and displayed by white scholars. The of the title did not include Aboriginal people as part of the reasoning process, since Native people from the communities under discussion were nei ther quoted nor, apparently, consulted. Since then, Aboriginal peo ple have slowly begun to enter the academy and, more specifically, the ranks of literary critics. Particularly in the United States, there has developed an intellectual community of Aboriginal literary critics. Here in Canada, this community is significantly smaller, and so I read Reasoning Together with pride, pride at seeing so many Aboriginal people in my field working and writing together with such sophistication and dedication. In recent years there has been an emerging rhetoric within universities on the need to bring indigenous knowledge into the academy. However, too often the attempts to do this have been tokenistic, primarily symbolic, or

Bad Modernisms (review)

Reviewed by: Bad Modernisms Eric Hayot Bad Modernisms. Douglas Mao and Rebecca L. Walkowitz , eds. Durham, NC: Duke University Press, 2006. Pp. vii + 365. $89.95 (cloth); $24.95 (paper). There are many kinds of badness in the world, and they run from genuine wickedness to indeliberate stupidity, from hypocrisy to the secret goodness of the radical misbehaver (everyone's favorite mode: Jesse James, James Dean, James Joyce, Storm Jameson). At various moments modernism and its avatars have been accused of each of these, and of course, modernism being a complex and capacious object (more than ever these days), each of these accusations has rung the tinny bell of truth. You could tell a story about modernism's critical fortunes that begins with the perception of a profoundly "good" badness (the disobedient laughter of dada, the formal disintegrations of the avant-garde) and ends, after the critical revisions of the 1980s that tied modernism to advertising, to empire, and to patriarchy, with a more ordinary, disappointing one. By story's end, editors Douglas Mao and Rebecca L. Walkowitz write in the introduction to Bad Modernisms, modernism was seen as something "not at war against but rather continuous with tradition," "bad" in ways that rather precisely reversed the previous impressions of its goodness (6). For some people, being "continuous with tradition" is "good," but of course this is one of the problems with the words "bad" and "good" in the first place, and why they appear so often in scare quotes. From a serious perspective (that is, a "good" one) the words are too fuzzy to do much work with: their syllabic simplicity feels childish. It is possible that the "bad" in the collection's title, then, implicitly criticizes the binary, moralistic habits that corset our thinking. As we shall see, the essays in the book bear that feeling out. This collection of essays comes not to praise modernism's badness, thereby giving the dialectical piñata of the political aesthetic another desultory whack (in Christopher Bush's immortal phrase), but to suggest, in a variety of contexts ranging from the hypercanonical to the obscure, that a variety of modernism's "bad" habits or positions—either ones modernism itself denigrated, or ones denigrated in modernism—are absolutely caught up in what was "good" about it. Thus we learn from Sianne Ngai's essay on Josephine Baker and Marlene Dietrich that a mode of critical reading that attends mostly to plot elements in the film Blonde Venus—a mode, therefore, of total aformalistic "badness" whose lesson it was modernism's task to unteach—nonetheless opens up "unnoticed dimensions of the aesthetic object that suddenly rise to the foreground." This rising allows us to see old objects with fresh eyes and to recognize there, Ngai argues, "previously unsuspected examples of [modernist] making" that might return some of the lost suppleness of modernism's preferred aesthetic forms (173). Reading "badly," that is, makes visible aesthetic complexities that might otherwise have been missed. What results is an extension of modernism's very possibilities, one that depends on our ability to read more cleverly than we have until now those neglected "other" forms of literary and artistic production (including plot!) appearing alongside or even inside the modernist classics. Ngai's project is the model of the collection more generally: each essay leaves its reader with new objects or new tools for the field. If a singular "modernism" can be said to emerge from the book, it is one that exists more in the form of an imaginative challenge and less as a list of authors or set of formal features defining the limits of a special class. It is unfinished, and it invites interpretive labor. Hence Jesse Matz's essay, which begins by noting that no modernism "has gone bad worse than Impressionism" (300). The latter's beginnings in "subversive energy, all color and light" promised a revolution in critical vision. But by the end of the twentieth century, the story goes, impressionism was a desiccated, commercialized epitome of bourgeois culture, too busy authorizing "the total triumph of superficial form" and a "culture of distraction and fakery" to bother [End Page 364] with afternoon sunlight or...

Ishmael's Recovery: Injury, Illness, and Convalescence in Moby-Dick

1 [George] Bernard Shaw, Back to Methuselah: A Metabiological Pentateuch (New York: Brentano’s, 1921). Beginning in 1918, shaw wrote five linked plays under the collective title Back to Methuselah. They expound his philosophy of creative evolution—featureing a male scientist names Pygmalion—in an extended dramatic parable that progresses through time from the Garden of Eden to AD 31,920. 2 F. Scott Fitzgerald, The Great Gatsby (New York: Scribner’s, 1925), 82. 3 Letter from Emily Dickinson to Samuel Bowles, late November 1861. qtd. in Jay Leyda, The Years and Hours of Emily Dickinson. 2 vols. (New Haven: Yale University Press, 1960), vol. 2, 38. 4 “Hypos” can be understood here as an experience of both mind and body. Melville had used the term “hypos” previously in his seafaring novel Mardi, in which he described sailors undergoing withdrawal from tobacco during a long sea voyage. Deprived of their addictive “chaw” of tobacco, “the crew became absent, moody, and sadly tormented with the hypos. They were something like opium-smokers, suddenly cut off from their drug. They would sit on their chests, forlorn and moping . . .” (NN Mardi 339). The “hypos,” then, are associated with both psychological depression, or what we might call “the blues,” but also with the acute problem of physical dependency and the uncomfortable experience of withdrawal. For a helpful discussion of Melville’s allusions to Burton’s Anatomy of Melancholy (1621-1651. 4 vols. Ed. Thomas C. Faulkner et al. Oxford: Clarendon Press, 1989), see Nathalia Wright, “Melville and ‘Old Burton,’ with ‘Bartleby’ As an Anatomy of Melancholy.” Tennessee Studies in English 15 (1970): 1-13.

ERICA SHEEN and LORNA HUTSON (eds), Literature, Politics and Law in Renaissance England. Pp. viii + 242. Basingstoke, London, New York: Palgrave Macmillan, 2004. 45.00 (0 333 98399 8).

THE nine essays in this collection, all by participants at a 1998 conference on ‘Renaissance Law and Literature’, do not share a single outlook, procedure, or indeed basic impetus. The majority contain serious political-historical studies having legal dimensions. Several explore historical texts and contexts connected with controversies over specific legislation or legal trials. Thus David Colclough's and Michelle O’Callaghan's essays concern libel law, Marcus Nevitt's concerns opposition to tithes, and Sue Wiseman's and Alan Stewart's concern particular treason trials. These studies interpret writings of a mainly political, legal-theoretical, or polemical sort, and so may render the collection's title beginning ‘Literature’ somewhat misleading. On the other hand, as many of the essays are directed at historical matters connected with early modern sexual politics in one form or another, and as sexual politics has become a core issue in literary studies, literature students may not be surprised by this. In other essays links are made between legal texts and works of imaginative literature. For instance, Subha Muckherji examines manuscript materials relating to an adultery case heard in Cambridge in 1596 and then links social and cultural observations derived from these with a close reading of Thomas Heywood's 1603 play ‘A Woman Killed with Kindness’. Although this essay does not address specifically legal questions, certainly scholars may often use historical materials concerning legal matters in various profitable ways when contexualizing literature.

Tractarian Poetry: Introduction

In Practice of Everyday Life, Michel de Certeau defines belief, as object of believing (a dogma, a program, etc.) but as subject's investment in a proposition, act of saying it and considering it as true-in other words, a modality of assertion and not its (1) We might consider field of Tractarian poetics in light of such a statement, one in which catholic Anglicans sought to propose and enact their belief in manner they knew would have greatest impact: by writing poetry. While content was far from secondary, since Tractarian poetry was reliant on aesthetic expression and exegesis of doctrinal law, its form loudly announced belief-system in whose service it had been composed. This system was primarily outlined in a series of ninety pamphlets written between 1833 and 1841 and published under collective title Tracts for Times. (2) John Keble, John Henry Newman, Isaac Williams, J. A. Froude, and E. B. Pusey were amongst various contributors, many of them poets as well as intellectual clergy concerned with reviving use of traditional catholic doctrines within Church of England. Tractarians, or Movement, as group became known, sought to reintroduce to Anglican worship centrality of Eucharist, daily prayers, feasts and fasts, Apostolic succession, confession, sisterhoods, and also ritual as it was performed through use of candles, crucifixes, high altars, and incense. Moreover, movement placed a significant emphasis upon private devotion, personal holiness, and disciplined, restrained way in which such faith might be practiced and communicated. best, most oblique and sacred manner of expression available to believer, according to its adherents, was poetry. Poetry and religion had long been interconnected, but eighteenth century in particular had witnessed a surge of interest in their relations, notably through popularity of Methodist hymn and biblical paraphrase and also due to Robert Lowth's Oxford Lectures on Sacred Poetry of Hebrews (1753). Lowth argued that poetry proceeds from divine inspiration, able to communicate virtue and piety through its rhythm, modulation, and meter. The language of he claimed, is the effect of mental emotion, vehement and temperate alike and able to invoke passionate belief while disciplining experience such faith delivers: It is office of poetry to incite, to direct, to temper passions, and not to extinguish them, Lowth declared. (3) John Keble's own Oxford Lectures on Poetry (1832-41) echo Lowth's focus on emotional impact religious poetry can effect on believing reader, underlining supernatural, sacramental element within poetry as a spontaneous overflow of spiritual feeling. mode in which such an overflow aesthetically communicated beliefs of Oxford Movement was a subject with which Keble became preoccupied in his critical prose and volume of poetry, Christian Year (1827). That these preoccupations resulted in a movement we might now label Tractarian poetics is significant not only for immense popularity poetry written in this mode secured in Victorian period but also for equally profound distaste of later scholars for its lyrical Christian content. This distaste meant that G. B. Tennyson's Victorian Devotional Poetry: Tractarian Mode was a landmark publication for modern critics searching for a balanced, insightful commentary on Tractarian poetics when it appeared twenty-five years ago in 1981. (4) Certainly striking critical renaissance of recent scholarship addressing Victorian religion and poetry owes a considerable debt to Tennyson. recent flurry of work on women's poetry, poetic theory, affect, and belief has clearly been encouraged by his important book. Victorian studies has always recognized influence of Tractarianism on Tennyson, Arnold, Clough, Christina Rossetti, and Gerard Manley Hopkins, but few critics (the rare exceptions being Rodney Stenning Edgecombe and Margaret Johnson) have sought to unpack carefully extent to which Tractarian ideas of poetics addressed contemporary concerns. …

Hidden collections in archives and libraries

PurposeThe purpose of this paper is to synthesize different research projects and approaches to managing the “hidden collections” problem.Design/methodology/approachThe paper describes current research and practices.FindingsHidden collections are a problem for both libraries and archives. “Hidden collections” are materials that cannot be found in the online catalog or may be found there only under a collective title or un‐ or under‐processed primary sources. These materials transcend all formats of library and archival materials (print, microform, video, etc.) and can be found throughout the library in a variety of collections from government documents to area studies to music to the reference department. It is in the area of archival and special collections, however, that this problem has received the most attention and where the greatest challenges and opportunities for exposing these collections exist.Practical implicationsMany archives have backlogs and “hidden collections”. This article discusses some recent efforts to identify and expose these collections to enable better archival control and researcher access that may be applied in other settings.Originality/valueThis article identifies and highlights different approaches and potential solutions to the problem of hidden collections.

“That Bright New Light”: Schenker, Universal Edition, and the Origins of the Erläuterung Series, 1901–1910

AbstractIn 1912, Schenker began to reconceptualize four works already published, in press, or in preparation as a series parallel to his Neue musikalische Theorien und Phantasien, under the collective title Erläuterungsausgaben (elucidatory editions): his editions of C. P. E. Bach keyboard works with companion brochure, Ein Beitrag zur Ornamentik (1903; 2nd ed. 1908); J. S. Bach's Chromatic Fantasy and Fugue (1910); Beethoven's last five piano sonatas (1913–20); and his monograph on Beethoven's Ninth Symphony (1912). A close reading of the texts associated with the first two of these brings out the characteristics of Schenker's newly forged mode of musical discourse and helps us understand why Schenker prized it so highly.Inspection of Schenker's correspondence with J. G. Cotta and Universal Edition (also the latter's publication records and catalogues) and his diary makes possible a detailed history of the works concerned and of his unsuccessful attempt to establish the second series; it also reveals the central role he envisioned for himself in the future of Universal Edition and casts light on his complex interactions with Emil Hertzka, on relationships with his private patrons, and on his sense of exclusion from Viennese musical circles.

'In the Quicksands of Disintegrating Faiths': Dorothy Richardson and the Quakers

Quaker theology and practice appealed to artists, socialists, feminists and progressive thinkers in the period 1890–1914. The Quaker revival had an influence on the literary milieu in London from which modernism would emerge. Dorothy Richardson, after living in a Friends community, conceived and began to write the series of modernist novels under the collective title of Pilgrimage in 1912–15, at the same time as she wrote and published two books on the Quakers. The relationship between the writing of the novel and the simultaneous writing about the Quakers shows how Quaker ideas and practice provided a model for the independent woman writer and a framework for the reconciliation of individualism (derived from Nietzsche and Stirner) with collectivism (derived from Fabian socialism), a glimpsed reconciliation that would be broken, not least in modernist circles, by the First World War.

Waterborne (review)

Reviewed by: Waterborne Shaen Pogue Waterborne by Linda GregersonMariner, 2002, 66 pp., $13 Linda Gregerson is the author of two previously published collections of poetry, Fire in the Conservatory and The Woman Who Died in Her Sleep. However, it is Gregerson's third publication, a slim volume of verse titled Waterborne, that has been making waves since its 2002 publication. Waterborne successfully walks the dividing line between public and personal, political and impartial, historical and imagined. In each of Waterborne's finely wrought poems, some element of water appears. The poems broach a variety of complex issues—child abuse, obsessive-compulsive disorder, religious conversion and environmentalism, among others—occasionally alluding to passages from the Bible or from more recent canonical works in order to shed new light on old subjects. Gregerson's unique triplet-lines, described as "butterfly-shaped tercets" by UK-based Stride magazine and as "Gregerson's trademark three-line, sandwich-shaped stanzas" by Publisher's Weekly, reveal the poet's tendency to favor a more irregular structure. In fact, in the summer 2002 issue of Michigan Today, interviewer John Woodford quoted Gregerson as admitting, "I like a more syncopated syntax . . . a line that breaks and frays." With just the proper mix of "break" and "fray," Waterborne's opening [End Page 175] poem, "Eyes Like Leeks," quickly captures a reader's attention from its cadenced and intriguing first sentence: "It had almost nothing to do with sex./The boy/in his corset and farthingale, his head-/voice and his smooth-for-the-duration chin/was not/and never had been simply in our pay." However, it is Gregerson's stunning use of language, not style, that compels the reader, once invited, to continue reading. Poems slip seamlessly, nearly effortlessly, between formal language and a more relaxed dialogue based upon the rich, deliberate speech of Gregerson's childhood hometown. The latter sounds remarkably crisp and natural to the reader's ear, as if it were lifted directly from a life encounter. As well as extracting beauty from everyday language, Gregerson also renders ordinary subjects remarkable. A few lines from "Maculate" testify: "Oilcloth on the kitchen table, linoleum/under his chair, and both of them an ugly hiero-/glyphic/of yellow scorchmarks ringed with black./My father must be tired, to let the ash/between/his fingers and the still-lit butt-ends of his/days befoul the world around him so." Even the disturbing description of a fatal barn fire in "The Horses Run Back to Their Stalls" sounds sadly elegant under Gregerson's pen: "I'll never forget the morning after: ash/in the air all the way to town and the smell of those/poor animals,/who'd never harmed a soul." Like the "largely implicit" river of the collection's title poem, Gregerson's verse moves with both grace and urgency. Waterborne is beau-tiful, a captivating and compelling marriage of form and meaning. Copyright © 2004 The Curators of the University of Missouri

2003 Poets House Showcase: suggested titles

Describes Poetry in the Branches, a multi‐layered, replicable program model, devised by Poets House, New York, to foster the link between librarians, the public and the living tradition of poetry. Provides a comprehensive list of titles of contemporary poetry collections by single authors and anthologies.

Tourette's Syndrome: isn't that the foul mouth disease?

The myths and misconceptions about Tourette's Syndrome (TS), as illustrated by the collective title of these three parts of this article, have far‐reaching implications for the diagnosis and treatment of the disorder. The aims of the articles are to address and rectify misconceptions, to create an awareness and better understanding of the disorder, to stimulate discussion and, if possible, to pave the way for effective treatment. In order to realise these aims, the article is presented as follows. Part 1 focuses on the diagnosis of TS with specific reference to diagnostic criteria and the diverse manifestations of the disorder. Part 2 is a case study to illustrate the impact of a delayed diagnosis or misdiagnosis. Part 3 addresses problems related to the treatment of TS and proposes a multi‐modal strategy to alleviate the problems that persons with TS often experience.

Continental Divide: Mothers Against, and: Continental Divide: Daughters of the Revolution (review)

Continental Divide is the collective title for two new plays, Mothers Against and Daughters of the Revolution by English playwright David Edgar. Both plays were jointly commissioned and produced by the Oregon Shakespeare Festival and directed by Tony Taccone—the Berkeley Rep's artistic director who previously directed Edgar's Pentecost in1997. The two plays in Continental Divide share issues and characters but happily offer variety in focus and dramaturgy. Mothers Against is an intense chamber piece about Sheldon Vine (Bill Geisslinger)—Republican candidate for governor of an unspecified Pacific coast state—as he prepares for a debate. Daughters of the Revolution on the other hand is an expansive epic theatre play about the diaspora of 1960s student radicals and introduces Vine's Democratic opponent, Rebecca McKeene (a fine performance by Demetra Pittman in a minor role).

Traduzione e rielaborazione nelle letterature di Polonia Ucraina e Russia, XVI-XVIII secolo by Marcello Piacentini (review)

528 SEER, 8i, 3, 2003 Sorbian or Czech to supply their lexical needs. But, as Dr Pohontsch's statisticalanalysis shows, contributorsto the Lower Sorbian weekly were at first fairly impassive. Though they did borrow a little from Upper Sorbian, theywere only slightlyinhibitedin theiruse of Germanisms.Of the 858 Upper Sorbianborrowingsin thevocabulary,only 55 were introducedin I848- I9I5. After the FirstWorldWar there was a great surge:the number for the period I9I6-33 was 269. In 1947 Lower Sorbian was introduced to the school system,but many of the teachersin LowerSorbianschoolswere Upper Sorbs. Upper Sorbsalsocontributedto LowerSorbianpublications.Not surprisingly, this led to the greatest increase of all in the influence of Upper Sorbian: between I947 and 1959, 367 new borrowings appeared. Significantly,since the mid i970S therehas been a markeddecreasein both the adoption and use of Upper Sorbian borrowings, while Germanisms have been staging a comeback. HerfordCollege, Oxford GERALD STONE Piacentini, Marcello (ed.). Traduzionee rielaborazionenelle letterature di Polonia Ucraina e Russia, XVI-XJXIII secolo. Slavica. Collana di studi slavi, 3. Edizioni dell'Orso, Alessandria, 1999. 474 pp. Tables. Notes. Index. L7o,ooo. THIS collection of twenty-three papers, delivered at an international conference at Gargnano on Lake Garda, northern Italy in September i 996, illustrates how little the problems confronting translators and the solutions they have devised for them have changed over the centuries. Despite the internet, databases and modern translation theory, present-day translators resort to much the same techniques as their predecessors of the sixteenth to eighteenth centuries. As the collection's title indicates, 'target' languages include Church Slavonic, Russian, Ukrainian and Polish. Among the 'source' languages are Italian, Latin, French, English and the Greek of the Septuagint and the New Testament. Most of the contributions deal with translations of specific works; a few are more general; two explore aspects of translation theory. According to A. Borowski in the first of these papers (pp. 23-38), the Polish translators of the sixteenth and seventeenth centuries postulated three ways of translating. One is word for word, literal translation, which is recommended for translating 'spiritual books'. A second is to deploy to the full the translator's ownI concepts and inventiveness with the aim of producing something like a free adaptation. A third way arose in response to the enthusiastic interest which the sixteenth-century Polish translators from the Italian took in politics. They were well aware of the gulf which separated the Italian culture of the Cinquecento from the mentality of the contemporary Polish reader. So, for such a translator, 'translation did not mean [ ...] any literal transmission of images, ideas or patterns of culture ... .1 the perfect translator should not follow mechanically the original. His task was to remodel it according to native needs and in regard to customs' (pp. 36-37). This is a striking anticipation of modern localization theory. REVIEWS 529 In the second of these papers S. I. Nikolaev (pp. 2 I 5-25) points out that in Russia at the end of the seventeenth centurya theory of translationwas being devised for use with theological works:a theory for the translationof artistic compositionshad to wait untila concept of artisticliteraturehad been evolved (p. 2 I6). The translatorsof the Posol'skiziprikaz leftno recordof theirtheoretical views, but their practice shows that they had no scruplesabout treatingtheir originalsfreely.Nikolaev concludesthatroundthe turnof the centurya Polish poem to be translatedinto Russian had firstto be adapted to an appropriate Russianliterarygenre and that the form, styleand language of the translation would be determined by the characteristics of that genre. In this period, therefore,deviationsfrom the originalsshould not be regardedas distortions; they merely reflect the translation techniques of the time (pp. 222-23). H. Rothe (pp. 109-26) deals with the transmission from one culture to another of a particular literary genre, the spiritual song (dukhovnaia pesnia). He relates how the genre came into being at the end of the Middle Ages and how during the Reformation it spread from Germany and the Czech lands into Poland, where a powerful Protestant movement was stirring among the nobility and the urban populations. Established in Poland, it passed over into Belorussia and the Ukraine, and in i 649 it accompanied the first learned monks to be summoned from Kiev...

Jewish Identity and Poetic Form in ?By the Waters of Babylon?

The first prose-poems ever published in the English language appeared in the March 1887 issue of Century Illustrated, a popular American magazine. Their collective title, "By the Waters of Babylon," announced their common theme: the sorrows of Jewish exile. The subtitle, "Little Poems in Prose," drew attention to this unusual form by reminding readers of the precedent of Charles Baudelaire's groundbreaking 1869 collection, Petits poèmes en prose. A few months after the publication of "By the Waters of Babylon," its author died of cancer at the age of 38. Her name was Emma Lazarus. 1

CHARLOTTE ELIZABETH TONNA, PRE-MILLENARIANISM, AND THE FORMATION OF GENDER IDEOLOGY IN THE TEN HOURS CAMPAIGN

FINALLY PASSED IN 1847, the Ten Hours Bill restricted the number of hours worked by women and children in the factories to ten per day. Its enactment was the result of a lengthy political crusade whose chief parliamentary spokesman had been the Tory M.P., Lord Ashley. A decade later, in his two-volume History of the Factory Movement, Samuel Kydd (or “Alfred”) made a cursory, half-sentence reference to the “useful” contribution made to the campaign by Charlotte Elizabeth Tonna's Helen Fleetwood (295).Tonna's dates are 1790–1846. Appearing as a novel in 1841, Helen Fleetwood was first serialised between September 1839 and March 1841 in the Christian Lady's Magazine (edited by Tonna 1834 to 1846). Written to persuade her female readership of the urgent need for a Ten Hours Bill, the novel depicts the devastating spiritual and physical consequences of factory work on the eponymous heroine and her adopted family. While Kydd acknowledges Tonna's contribution, the brevity of his remark suggests that her status in the Ten Hours Movement was, at most, ancillary. Kydd seems unaware of the articles about the Ten Hours Bill that Tonna wrote in her magazine. Nor does he refer to her work of 1843, “The Forsaken Home,” which portrays the calamitous domestic consequences of the long hours worked by factory women.This is all the more surprising when one considers Kydd's friendship with the Movement's extra-parliamentary leader, Richard Oastler (Driver 518). “The Forsaken Home” is the second of four stories by Tonna, each published as a separate book under the collective title The Wrongs of Woman (1843–44). The stories were published in the following order: “Milliners and Dress-Makers” (1843); “The Forsaken Home” (1843); “The Little Pin-Headers” (1843); “The Lace-Runners” (1844). Although Tonna continues to be critically obscure, recent literary historians have registered the full range of her writing on the Ten Hours Movement.It is important to acknowledge the work of literary historians such as Fryckstedt, Kestner, Kovacevic, Kanner and (in particular) Neff, which first began the process of raising Tonna's critical profile. Nonetheless, they have perpetuated Kydd's perception of her minor role by persistently characterizing her as meekly following where Ashley led. Wanda Fraiken Neff, for example, depicts Tonna as his “faithful” supporter, someone who “reflected his views” (35, 68). Similarly, Joseph Kestner describes her as having merely “accepted Ashley's fervid word” (93).