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Heine-Jahrbuch 2010: 49. Jahrgang
by Heinrich-Heine-Gesellschaft Heinrich-Heine-Institut Heinrich-Heine-Institut DüsseldorfDas Jahrbuch beinhaltet u.a. Einzelinterpretationen zu zwei späten Gedichten Heines, Analysen seiner journalistischen Arbeiten in Frankreich, Untersuchungen zu Heine-Übersetzungen und -Vertonungen sowie die Reden zur Verleihung der Ehrengabe der Heinrich-Heine-Gesellschaft 2009 an Herta Müller.
Humphrey Jennings (British Film-Makers)
by Keith BeattieHumphrey Jennings has been described as the only real poet that British cinema has produced. His documentary films are remarkable records of Britain at peace and war, and his range of representational approaches transcended accepted notions of wartime propaganda and revised the strict codes of British documentary film of the 1930s and 1940s. Poet, propagandist, surrealist and documentary filmmaker – Jennings' work embodies an outstanding mix of startling apprehension, personal expression and representational innovation. This book carefully examines and expertly explains the central components of Jennings' most significant films, and considers the relevance of his filmmaking to British cinema and contemporary experience. Films analysed include Spare Time, Words for Battle, Listen to Britain, Fires Were Started, The Silent Village, A Diary for Timothy and Family Portrait.
Humphrey Jennings (British Film-Makers)
by Keith BeattieHumphrey Jennings has been described as the only real poet that British cinema has produced. His documentary films are remarkable records of Britain at peace and war, and his range of representational approaches transcended accepted notions of wartime propaganda and revised the strict codes of British documentary film of the 1930s and 1940s. Poet, propagandist, surrealist and documentary filmmaker – Jennings' work embodies an outstanding mix of startling apprehension, personal expression and representational innovation. This book carefully examines and expertly explains the central components of Jennings' most significant films, and considers the relevance of his filmmaking to British cinema and contemporary experience. Films analysed include Spare Time, Words for Battle, Listen to Britain, Fires Were Started, The Silent Village, A Diary for Timothy and Family Portrait.
The Hymns of Zoroaster: A New Translation of the Most Ancient Sacred Texts of Iran
by M. L. WestA new translation of the foundation texts of the Zoroastrian religion, the Gathas (songs) composed by Zoraster himself, together with the Liturgy in seven chapters composed shortly after his death some 2600 years ago. After a substantial introduction to Zoroaster's religious thought, West presents the translations with facing page explanations of the meaning of each verse.
The Hymns of Zoroaster: A New Translation of the Most Ancient Sacred Texts of Iran
by M. L. WestZoroaster was one of the greatest and most radical religious reformers in the history of the world. The faith that he founded some 2600 years ago in a remote region of central Asia flourished to become the bedrock of a great empire as well as its official religion. Zoroastrianism is still practised today in parts of India and Iran and in smaller communities elsewhere, where its adherents are known as Parsis. It has the distinction of being one of the most ancient religions in the world: only Hinduism can lay claim to greater antiquity. The foundation texts of this venerable system of belief are the founder's own passionate poems, known as the Gathas ('Songs'), and a short ritual composed soon after his death, called the Liturgy in Seven Chapters. These hymns are the authentic utterances of a religious leader whose thought was way ahead of his time, and are among the most precious relics of human civilization. After so many millennia they continue to speak to us of an impressively austere theology and of an inspiring and easily understood moral code. Yet existing translations are few, divergent in their interpretations of the original Avestan language of Zoroaster, and frequently hard to access. M L West's new translation, based on the best modern scholarship, and augmented by a substantial introduction and notes, makes these powerfully resonant texts available to a wide audience in clear and accessible form.'A thoroughly worthwhile and refreshingly readable translation of the Older Avesta, M L West's book will be widely welcomed, by students and general readers alike.'- Almut Hintze, Zartoshty Reader in Zoroastrianism, School of Oriental and African Studies, London
In My Sky at Twilight: Poems of Eternal Love
by Gaby MorganThis swooningly gorgeous collection of poems celebrates love in all its guises from silent admiration through heart-stopping passion to tearful resignation. Whether you are star-crossed lovers, kindred spirits or smitten by the boy next door these exquisite verses speak of the universal experiences of the heart and prove that love transcends time itself. from In My Sky At Twilight In my sky at twilight you are like a cloud And your form and colour are the way I love them. You are mine, mine, woman with sweet lips And in your life my infinite dreams live. Pablo Neruda
Interior Night
by John StammersJohn Stammers has a poetic mind original enough to read the most mundane and familiar events as great portents and wonders, and an eye clear enough to uncover the surreal when it’s right under our noses. Stammers’ third collection is a vast map of an imaginative space that coincides with the known world, but radically changes the way we perceive it. Interior Night sees a restlessly eclectic mind engaged with the whole range of human creation, from our cultural icons to our cultural detritus. There are also dramatic monologues from the dark worlds of poverty and addiction, as well as typically unsettling run-ins with the shades of Rimbaud, Sterne and Keats. Stammers has focused all his celebrated daring and oblique strategie to produce a book of great emotional candour and seriousness.
Interior Night (PDF)
by John StammersJohn Stammers has a poetic mind original enough to read the most mundane and familiar events as great portents and wonders, and an eye clear enough to uncover the surreal when it’s right under our noses. Stammers’ third collection is a vast map of an imaginative space that coincides with the known world, but radically changes the way we perceive it. Interior Night sees a restlessly eclectic mind engaged with the whole range of human creation, from our cultural icons to our cultural detritus. There are also dramatic monologues from the dark worlds of poverty and addiction, as well as typically unsettling run-ins with the shades of Rimbaud, Sterne and Keats. Stammers has focused all his celebrated daring and oblique strategie to produce a book of great emotional candour and seriousness.
John Keats: A Literary Life (Literary Lives)
by R. WhiteAt the heart of this 'Literary Life' are fresh interpretations of Keats's most loved poems, alongside other neglected but rich poems. The readings are placed in the context of his letters to family and friends, his medical training, radical politics of the time, his love for Fanny Brawne, his coterie of literary figures and his tragic early death.
Kid (Faber Pocket Poetry Ser.)
by Simon ArmitageKid gives us one of the liveliest poetic voices to have emerged in the last ten years. Simon Armitage's inspired ear for the demotic and his ability to deal with subjects that many poets turn their backs on have marked him as a poet of originality and force.
Kleist-Jahrbuch 2010
by Heinrich-von-Kleist-Gesellschaft Heinrich-von-Kleist-Gesellschaft und des Kleist-MuseumsDas Jahrbuch dokumentiert die Verleihung des Kleist-Preises 2009 u. a. mit der Rede des Preisträgers Arnold Stadler. Es beinhaltet Beiträge zur Rezeptions- und Forschungsgeschichte sowie Abhandlungen zu Kleists Werken und Rezensionen wissenschaftlicher Neuerscheinungen zu Kleist.
Knowing Shakespeare: Senses, Embodiment and Cognition (Palgrave Shakespeare Studies)
by Lowell Gallagher and Shankar RamanA collection of essays on the ways the senses 'speak' on Shakespeare's stage. Drawing on historical phenomenology, science studies, gender studies and natural philosophy, the essays provide critical tools for understanding Shakespeare's investment in staging the senses.
Labors of Innocence in Early Modern England
by Joanna PicciottoIn seventeenth-century England, intellectuals of all kinds discovered their idealized self-image in the Adam who investigated, named, and commanded the creatures. Reinvented as the agent of innocent curiosity, Adam was central to the project of redefining contemplation as a productive and public labor. It was by identifying with creation’s original sovereign, Joanna Picciotto argues, that early modern scientists, poets, and pamphleteers claimed authority as both workers and “public persons.” Tracking an ethos of imitatio Adami across a wide range of disciplines and devotions, Picciotto reveals how practical efforts to restore paradise generated the modern concept of objectivity and a novel understanding of the author as an agent of estranged perception. Finally, she shows how the effort to restore Adam as a working collective transformed the corpus mysticum into a public. Offering new readings of key texts by writers such as Robert Hooke, John Locke, Andrew Marvell, Joseph Addison, and most of all John Milton, Labors of Innocence in Early Modern England advances a new account of the relationship between Protestantism, experimental science, the public sphere, and intellectual labor itself.
Langston Hughes and the South African Drum Generation: The Correspondence
by Shane Graham and John WaltersThis collection combines previously unpublished letters between African-American poet Langston Hughes and South-African writers of the 1950s and 1960s with scholarly commentary and criticism. The letters tell a fascinating story of the civil rights movement and apartheid and the struggle to overthrow it.
Last Looks, Last Books: Stevens, Plath, Lowell, Bishop, Merrill
by Helen VendlerIn Last Looks, Last Books, the eminent critic Helen Vendler examines the ways in which five great modern American poets, writing their final books, try to find a style that does justice to life and death alike. With traditional religious consolations no longer available to them, these poets must invent new ways to express the crisis of death, as well as the paradoxical coexistence of a declining body and an undiminished consciousness. In The Rock, Wallace Stevens writes simultaneous narratives of winter and spring; in Ariel, Sylvia Plath sustains melodrama in cool formality; and in Day by Day, Robert Lowell subtracts from plenitude. In Geography III, Elizabeth Bishop is both caught and freed, while James Merrill, in A Scattering of Salts, creates a series of self-portraits as he dies, representing himself by such things as a Christmas tree, human tissue on a laboratory slide, and the evening/morning star. The solution for one poet will not serve for another; each must invent a bridge from an old style to a new one. Casting a last look at life as they contemplate death, these modern writers enrich the resources of lyric poetry.
Last Looks, Last Books: Stevens, Plath, Lowell, Bishop, Merrill
by Helen VendlerIn Last Looks, Last Books, the eminent critic Helen Vendler examines the ways in which five great modern American poets, writing their final books, try to find a style that does justice to life and death alike. With traditional religious consolations no longer available to them, these poets must invent new ways to express the crisis of death, as well as the paradoxical coexistence of a declining body and an undiminished consciousness. In The Rock, Wallace Stevens writes simultaneous narratives of winter and spring; in Ariel, Sylvia Plath sustains melodrama in cool formality; and in Day by Day, Robert Lowell subtracts from plenitude. In Geography III, Elizabeth Bishop is both caught and freed, while James Merrill, in A Scattering of Salts, creates a series of self-portraits as he dies, representing himself by such things as a Christmas tree, human tissue on a laboratory slide, and the evening/morning star. The solution for one poet will not serve for another; each must invent a bridge from an old style to a new one. Casting a last look at life as they contemplate death, these modern writers enrich the resources of lyric poetry.
Learned Queen: The Image of Elizabeth I in Politics and Poetry (Queenship and Power)
by L. ShenkThe first book to examine Elizabeth I as a learned princess, Learned Queen examines Elizabeth's own demonstrations of erudition alongside literary works produced by such political luminaries as Sir Philip Sidney and Robert Devereux, earl of Essex.
Lessing-Handbuch: Leben – Werk – Wirkung
by Monika FickBedeutender Dichter und großer Geist der Aufklärung. Das Handbuch vermittelt einen Zugang zum Gesamtwerk Gotthold Ephraim Lessings und ergänzt mit einer Fülle von Interpretationen das aktuelle Lessingbild. Die 3. Auflage bietet zu jedem Werk und jeder Werkgruppe neue Forschungsreferate und Analysen auf aktuellem Stand. Neben neuen Einblicken in die Verflechtung von Lessings Werk mit den anthropologischen und religionsphilosophischen Fragestellungen der Aufklärung wird auch der Bezug zu zeitgeschichtlichen Ereignissen verdeutlicht.
Love Poems: An Anthology Of Love Poems
by Carol Ann DuffyWhether writing of longing or seduction, of passion, adultery, or simple, everyday acts of love, Carol Ann Duffy perfectly captures the truth of each experience. Love Poems contains some of her most popular poems and, always imaginative, heartfelt and direct, displays all the eloquence and skill that have made her one of the foremost poets of her time.
Love Poems by Pedro Salinas: My Voice Because of You and Letter Poems to Katherine
by Pedro SalinasWhen Pedro Salinas’s 1933 collection of love poems, La voz a ti debida, was introduced to American audiences in Willis Barnstone’s 1975 English translation, it was widely regarded as the greatest sequence of love poems written by a man or a woman, in any language, in the twentieth century. Now, seventy-five years after its publication, the reputation of the poems and its multifaceted writer remains untarnished. A portrait of their era, the poems, from a writer in exile from his native civil war–torn Spain, now reemerge in our time. In this new, facing-page bilingual edition, Barnstone has added thirty-six poems written in the form of letters from Salinas to his great love, Katherine Whitmore. Discovered years later, these poems were written during and after the composition of La voz and, though disguised as prose, have all the rhythms and sounds of lineated lyric poetry. Taken together, the poems and letters are a history, a dramatic monologue, and a crushing and inevitable ending to the story of a man consumed by his love and his art. Bolstered by an elegant foreword by Salinas’s contemporary, the poet Jorge Guillén, and a masterly afterword by the Salinas scholar, Enric Bou, that considers the poet and his legacy for twenty-first century world poetry, Love Poems by Pedro Salinas will be cause for celebration throughout the world of verse and beyond.
Male Subjectivity and Poetic Form in "New American" Poetry (Modern and Contemporary Poetry and Poetics)
by A. MossinFocusing in particular on pairings of writers within the larger grouping of poets, this book suggests how literary partnerships became pivotal to American poets in the wake of Donald Allen's 'New American Poetry' anthology.
Medicine Show (Phoenix Poets)
by Tom YuillIn Medicine Show, inner conflict is wonderfully realized in the clash of down-home plain speech and European high culture utterances. Freely translating and adapting Catullus (Latin), Villon (Middle French), Corbiere (French), Hikmet (Turkish), and Orpheus (Greek), and placing them alongside Jagger and Richards, skinheads, and psalms, Tom Yuill’s book mirrors an old-style hawking of wares, with all the charm and absurdity that results when high culture meets pop, when city meets small town, and when provincialism confronts urbanity. Here, the poems talk to one another, one poem nudging the cusps of many others, those poems touching still others' circumferences. Yuill, by invoking the Rolling Stones as muses and as background music, offers cover versions of Shakespeare, Keats, and Dylan Thomas, ultimately giving us a new kind of verse, funneled through the languages and rhythms of his masters' voices.
Medicine Show (Phoenix Poets)
by Tom YuillIn Medicine Show, inner conflict is wonderfully realized in the clash of down-home plain speech and European high culture utterances. Freely translating and adapting Catullus (Latin), Villon (Middle French), Corbiere (French), Hikmet (Turkish), and Orpheus (Greek), and placing them alongside Jagger and Richards, skinheads, and psalms, Tom Yuill’s book mirrors an old-style hawking of wares, with all the charm and absurdity that results when high culture meets pop, when city meets small town, and when provincialism confronts urbanity. Here, the poems talk to one another, one poem nudging the cusps of many others, those poems touching still others' circumferences. Yuill, by invoking the Rolling Stones as muses and as background music, offers cover versions of Shakespeare, Keats, and Dylan Thomas, ultimately giving us a new kind of verse, funneled through the languages and rhythms of his masters' voices.
Medicine Show (Phoenix Poets)
by Tom YuillIn Medicine Show, inner conflict is wonderfully realized in the clash of down-home plain speech and European high culture utterances. Freely translating and adapting Catullus (Latin), Villon (Middle French), Corbiere (French), Hikmet (Turkish), and Orpheus (Greek), and placing them alongside Jagger and Richards, skinheads, and psalms, Tom Yuill’s book mirrors an old-style hawking of wares, with all the charm and absurdity that results when high culture meets pop, when city meets small town, and when provincialism confronts urbanity. Here, the poems talk to one another, one poem nudging the cusps of many others, those poems touching still others' circumferences. Yuill, by invoking the Rolling Stones as muses and as background music, offers cover versions of Shakespeare, Keats, and Dylan Thomas, ultimately giving us a new kind of verse, funneled through the languages and rhythms of his masters' voices.
Medicine Show (Phoenix Poets)
by Tom YuillIn Medicine Show, inner conflict is wonderfully realized in the clash of down-home plain speech and European high culture utterances. Freely translating and adapting Catullus (Latin), Villon (Middle French), Corbiere (French), Hikmet (Turkish), and Orpheus (Greek), and placing them alongside Jagger and Richards, skinheads, and psalms, Tom Yuill’s book mirrors an old-style hawking of wares, with all the charm and absurdity that results when high culture meets pop, when city meets small town, and when provincialism confronts urbanity. Here, the poems talk to one another, one poem nudging the cusps of many others, those poems touching still others' circumferences. Yuill, by invoking the Rolling Stones as muses and as background music, offers cover versions of Shakespeare, Keats, and Dylan Thomas, ultimately giving us a new kind of verse, funneled through the languages and rhythms of his masters' voices.