Lectures on the sacred poetry of the Hebrews.

"A brief confutation of Bishop Hare's system of Hebrew metre": p. [499]-504.

Rhyme the leading principle of Latin versification,or A few plain arguments and examples illustrating our ignorance of the poetry of the Romans.

Mode of access: Internet.

The poets and poetry of the nineteenth century ...

I. George Crabbe to Samuel Taylor Coleridge.--II. Robert Southey to Percy Bysshe Shelley.--III. John Keats to Edward, lord Lytton.--IV. Frederick Tennyson to Arthur Hugh Clough.--V. Charles Kingsley to James Thomson.--VI. William Morris to Robert Buchanan.--VII. Robert Bridges and contemporary poets.--VIII. Joanna Baillie to Jean Ingelow.--IX. Christina G. Rossetti to Katharine Tynan.--X. Humour: George Crabbe to Edmund B.V. Christian.--XI. Sacred poets of the nineteenth century: James Montgomery to Anna Laetitia Waring.--XII. Edward Hayes Plumtre to Selwyn Image.

Specimens of Arabian poetry, from the earliest time to the extinction of the Khaliphat with some account of the authors [microform] /

Arabic and English.

A Yorkshire tyke : rustic tunes mainly in the Doric mode /

Mode of access: Internet.

Written on Running Water: Ovidian Poetics in the Roman Waterscape

Thesis (Ph.D.)--University of Washington, 2016-06

Eden in the age of the fifth sun: The narrative work of Homero Aridjis

Homero Aridjis (b. 1940) is a major Mexican poet, novelist, essayist and ecological activist whose prolific body of work, ranging over forty years and including more than eleven volumes of poetry and thirteen novels, has yet to be studied as a coherent literary corpus in the context of recent Latin American fiction. The purpose of this dissertation was to analyze the narrative works of this author as both illustrative of the changes that have occurred in Latin American fiction since the 1960s when it first burst onto the world scene, as well as to study the uniqueness of this particular author's view of literature as it relates to historical discourse, apocalypticism. and social commitment. ^ Research showed that in the case of the narrative style of Aridjis, major trends in the contemporary Latin American novel were present in such a profuse and model manner as to confirm this author's importance as a prime example of what is commonly known as “Post-Boom” fiction. However, beyond the mere presence of literary elements, this study showed that the author's unique approach to narrative style has altered and expanded the aesthetic and thematic possibilities of the contemporary novel. The area where this is most clearly seen is in his experimentation with the historical genre. By manipulating the referential techniques of what has lately come to be known as the “new historical novel,” Aridjis has written both a cycle of purely historical novels and a cycle of futuristic ones that attempt to transcend the temporal limits traditionally imposed by these narrative forms, fusing them into one constant questioning of the nature of love, hate and identity. In this manner, he has developed a “simultaneist” narrative approach where distinct historical and imagined periods, places, people, things, and texts coexist and interact, widening almost to delirium the interpretative possibilities of the work. ^ This unique view of time and narrative, together with the author's political activism and millenarian view of history, make the novels of Homero Aridjis an important element in understanding the continuing development and evolution of Latin American fiction at the turn of the century. ^

Blotto in the Lifeboat

Blotto in the Lifeboat is a book of poems that investigates natural processes and idiosyncrasies of human societies. Ranging from the absurd to the scientific in tone, the poems in Blotto in the Lifeboat situate themselves on the blurry-line between fact and imagination, employing a style that Thomas Lux describes as “imaginative realism.” The middle of three sections is comprised solely of the long poem, “A Compendium of the True and Wondrous,” which collages remarkable facts and anecdotes to highlight the strange realities of the world and the rapidity of change. The first and third sections contain shorter, narrative poems in which the surreal or comic is often employed. The language of the poems in BLOTTO IN THE LIFEBOAT reflects a similar desire to affix the fantastic to the familiar. Metaphors in the tradition of Elizabeth Bishop and Charles Simic rely on wild leaps of imagination to illuminate the real world.

Pioneers in the study of motion

From the multitudinous streets of Mexico City through the lonely highways of the United States, this collection of poetry charts strategies of representation across complex territories of culture and gender. These poems represent dialogues and negotiations with popular and poetic narratives of the Americas, as well as individual quests for identification against a backdrop of postmodern and postcolonial concerns. The effect is like that of a collage that elicits the reader's participation in order to produce individual signification. The figures alluded to in these pieces enact the struggle to situate the self within multiple registers of discourse and identity, as well as to establish a site from which to speak.

Contrary Voices: Heine, Holderlin, and Goethe in the music of Hanns Eisler

Contrary Voices examines composer Hanns Eisler’s settings of nineteenth-century poetry under changing political pressures from 1925 to 1962. The poets’ ideologically fraught reception histories, both under Nazism and in East Germany, led Eisler to intervene in this reception and voice dissent by radically fragmenting the texts. His musical settings both absorb and disturb the charisma of nineteenth-century sound materials, through formal parody, dissonance, and interruption. Eisler’s montage-like work foregrounds the difficult position of a modernist artist speaking both to and against political demands placed on art. Often the very charisma the composer seeks to expose for its power to sway the body politic exerts a force of its own. At the same time, his text-settings resist ideological rigidity in their polyphonic play. A dialogic approach to musical adaptation shows that, as Eisler seeks to resignify Heine’s problematic status in the Weimar Republic, Hölderlin’s appropriation under Nazism, and Goethe’s status as a nationalist symbol in the nascent German Democratic Republic, his music invests these poetic voices with surprising fragility and multivalence. It also destabilizes received gender tropes, in the masculine vulnerability of Eisler’s Heine choruses from 1925 and in the androgynous voices of his 1940s Hölderlin exile songs and later Goethe settings. Cross-reading the texts after hearing such musical treatment illuminates faultlines and complexities less obvious in text-only analysis. Ultimately Eisler’s music translates canonical material into a form as paradoxically faithful as it is violently fragmented.

'I am not an Honourable Lady': gender and language in the National Assembly for Wales

Women have been historically underrepresented in political institutions and it has been claimed that it is difficult for women to succeed in the masculinist cultures that exist in political contexts. The ‘new’ devolved institutions of the UK offer opportunities to investigate gender inequality in political contexts which have a greater proportion of women members; that have included women from their inception; and that have been designed with egalitarian issues to the fore. Here, ethnographic and discourse analytic data is used to assess a senior woman’s performance in the National Assembly for Wales; to explore politicians’ appraisal of this performance; and to analyse the breakdown of the debate floor in terms of ‘rule-breaking’ activities such as barracking. In this Community of Practice the individual’s performance draws upon communicative styles that are both stereotypically masculine (adversarial) and feminine (consensual), which can be viewed as an indication of the speaker’s competence. However, this is undermined by the speaker’s failure to adopt the correct linguistic practices for this CoP which leads to the breakdown of the formal debate discourse. Assembly Members appraise this failure negatively while also drawing upon stereotypical notions of gendered communicative norms and wider discourses of gender differentiation.

The magical transformation contest in the ancient storytelling tradition

El concurso de transformación mágica, esquema narrativo difundido en la tradición popular, se presenta en dos variantes principales: los hechiceros que compiten pueden metamorfosearse en varios seres o crear esos seres por medios mágicos. En cualquier caso el concursante ganador da a luz criaturas más fuertes que superan las de su oponente. La segunda variante fue preferida en el antiguo Cercano Oriente (Sumeria, Egipto, Israel). La primera se puede encontrar en algunos mitos griegos sobre cambiadores de forma (por ejemplo, Zeus y Némesis). El mismo esquema narrativo puede haber influido en un episodio de la Novela de Alejandro (1.36-38), en el que Darío envía regalos simbólicos a Alejandro y los dos monarcas enemigos ofrecen contrastantes explicaciones de ellos. Esta historia griega racionaliza el concurso de cuento de hadas, transfiriendo las fantásticas hazañas de creaciones milagrosas a un plano secundario pero realista de metáfora lingüística.

Sherman Alexie’s "The Toughest Indian in the World": Amalgamating the Oral and the Written Traditions

This article argues that The Toughest Indian in the World (2000) by Native-American author Sherman Alexie combines elements of his tribal (oral) tradition with others coming from the Western (literary) short-story form. Like other Native writers — such as Momaday, Silko or Vizenor — , Alexie is seen to bring into his short fiction characteristics of his people’s oral storytelling that make it much more dialogical and participatory. Among the author’s narrative techniques reminiscent of the oral tradition, aggregative repetitions of patterned thoughts and strategically-placed indeterminacies play a major role in encouraging his readers to engage in intellectual and emotional exchanges with the stories. Assisted by the ideas of theorists such as Ong (1988), Evers and Toelken (2001), and Teuton (2008), this article shows how Alexie’s short fiction is enriched and revitalized by the incorporation of oral elements. The essay also claims that new methods of analysis and assessment may be needed for this type of bicultural artistic forms. Despite the differences between the two modes of communication, Alexie succeeds in blending features and techniques from both traditions, thus creating a new hybrid short-story form that suitably conveys the trying experiences faced by his characters.

Consumerism in urban Russia in the 1880s and 90s: Exploring conceptions of time, space, and modernity through bicycle and watch advertisements

This paper discusses the urban consumer culture in Moscow and Petersburg during the 1880s and 1890s and uses the consumption of bicycles and watches as a lens through which to explore changing perceptions of time and space within the experience of modernity at the end of the nineteenth century. Specifically, I argue that the way in which consumers and merchants constructed a dialogue of meaning around particular objects; the way in which objects are consumed by a culture gives insight into the values, morals, and tenure of that culture. The paper preferences newspaper ads and photographs as the mouthpieces of merchants and consumers respectively as they constructed a dialogue in the language of consumerism, and explores the ways in which both parties sought to assign meaning to objects during the experience of modernity. I am particularly interested in the way consumers perform elements of cultural modernity in photographs and how these instances of performance relate to their negotiation of modernity. The paper takes as its focus large section of the urban Russian population, much of whom can traditionally be called “middle class” but whose diversity has led me to the adoption of the term “consumer community,” and whose makeup is described in detail. The paper contributes to the continuing scholarly discourse on the makeup of the middle class in Russia and the social boundaries of late tsarist society. It speaks to the the developing sensibilities and values of a generation struggling to define itself in a rapidly changing world, to the ways in which conceptualizations of public and private space, as well as feminine and masculine space were redefined, and to the developing visual culture of the Russian consumer society, largely predicated on the display of objects to signify socially desirable traits. Whereas other explorations of consumer culture and advertisements have portrayed the relationship between merchants and consumers as a one-sided monologue in which merchants convince consumers that certain objects have cultural value, I emphasis the dialogue between merchants and consumers, and their mutual negotiation of cultural meaning through objects.

From physics to metaphysics: philosophy and style in the critical writings of T. S. Eliot (1913-1935)

This thesis considers Eliot's critical writing from the late 1910s till the mid-1930s, in the light of his PhD thesis - Knowledge and Experience in the Philosophy of F. H. Bradley - and a range of unpublished material: T S. Eliot's Philosophical Essays and Notes (1913- 4) in the Hayward Bequest (King's College, Cambridge University); T. S. Eliot's Family Papers in the T. S. Eliot Collection at the Houghton Library (Harvard University); and items from the Harvard University Archives at the Pusey Library. 'Me thesis offers a comprehensive view of Eliot's critical development throughout this important period. It starts by considering The Sacred Wood's ambivalence towards the metaphysical philosophy of F. H. Bradley and Eliot's apparent adoption of a scientific method, under the influence of Bertrand Russell. It will be argued that Eliot uses rhetorical strategies which simultaneously subvert the method he is propounding, and which set the tone for an assessment of his criticism throughout the 1920s. His indecision, in this period, about the label 'Metaphysical' for some poets of the seventeenth century, reveals the persistence of the philosophical thought he apparently rejects in 1916, when he chooses not to pursue a career in philosophy in Harvard. This rhetorical tactic achieves its fulfilment in Dante (1929), where Eliot finds a model in the medieval allegorical method and 'philosophical' poetry. Allegory is also examined in connection with the evaluation of Eliot's critical writings themselves to determine, for instance, the figurative dimension of his early scientific vocabulary and uncover metaphysical residues he had explicitly disowned but would later embrace. Finally, it is suggested that, the hermeneutics of allegory are historical and it is used here to test the relationship between Eliot's early and later critical writings, that is the early physics and the later metaphysics.