Chicana poetics: genre and style in Gloria Anzaldúa and Lorna Dee Cervantes

This thesis conducts a formal study of the poetry of Gloria Anzaldúa and Lorna Dee Cervantes, placing their work in dialogue with genre and style. These two Chicana poets are exemplary of politicised experimentation with poetics, underpinned by a keen awareness of the rich history of form, genre and style. In the work of each poet, two poetic modes are examined: one traditional, and one experimental. Anzaldúa’s uses of the dramatic monologue as a border genre, and her construction of [auto]poetics, stemming from her multi-genre, autobiographical approach to writing, are considered. Cervantes’s complex approach to the construction of docupoetics that achieves a depth of field in terms of merging a multidimensional approach to aesthetics with highly politicised transnational content, as well as her engagement with the longstanding poetic of elegy via various formal points of entry, is investigated. These poetic modes are primarily explored via close readings, supported by a multidisciplinary framework that includes Anzaldúa’s feminist theories of identity and writing, abjection theory, postcolonialism, and transnationalism. Overall, these four key areas demonstrate the ways in which aesthetics is a crucial consideration in the exploration of the broader issues of content and context in Chicana poetry.

Na marbhnaí do Shéamas Óg Mac Coitir (1689-1720)

Go príomha, is tráchtas é seo a dhéanann staidéar ar ghné de litríocht iar-chlasaiceach na Gaeilge. Baineann sé go háirithe leis an sraith chaointe nó marbhnaí i bhfoirm véarsaíochta a cumadh do Shéamas Óg Mac Coitir (1689-1720), duine uasal Caitliceach ó Charraig Tuathail, Co. Chorcaí, nuair a ciontaíodh é in éigniú Elizabeth Squibb, bean de Chumann na gCarad; nuair a cuireadh pionós an bháis air; agus nuair a crochadh é i gCathair Chorcaí an 7 Bealtaine, 1720. Ó thaobh na staire de, scrúdaítear Clann Choitir mar shampla de theaghlach nár cheil a ndílseacht do chúis pholaitiúil na Stíobhartach agus a sheas an fód go cróga faoi mar a bhí a ngreim polaitiúil á dhaingniú ag an gCinsealacht Phrotastúnach ó dheireadh an 17ú haois amach. Tagraítear do sheicteachas na sochaí comhaimseartha agus don teannas idir an pobal Caitliceach agus an pobal Protastúnach ag an am. Déantar scagadh ar an véarsaíocht mar fhoinse luachmhar do dhearcadh míshásta an mhóraimh Chaitlicigh ar struchtúr polaitiúil chontae Chorcaí (agus na hÉireann) i dtosach an 18ú haois. Is feiniméan liteartha an dlús véarsaíochta seo a bhaineann go háirithe le traidisiún liteartha Chorcaí. Tá na dánta curtha in eagar agus aistriúchán go Béarla curtha ar fáil: is é seo croí an tráchtais. Tá an t-eagrán bunaithe ar scrúdú cuimsitheach ar thraidisiún na lsí; pléitear modheolaíocht na heagarthóireachta. Déantar iarracht ar na dánta a shuíomh sa traidisiún casta liteartha sa tráchtaireacht tosaigh; sa chuid eile den bhfearas scoláiriúil, scrúdaítear ceisteanna a bhaineann le cúrsaí teanga, foclóra, meadarachta agus stíle. Tá innéacsanna agus liosta foinsí le fáil i ndeireadh an tráchtais.

FROM THE AETHIOPICA TO THE RENAISSANCE: RECOVERING A STAGE TRADITION OF POSITIVE REPRESENTATION OF AFRICANS IN EARLY MODERN ENGLAND

This dissertation looks at the connection between Heliodorus's fifth-century prose romance, An Aethiopian History, certain Renaissance texts, and how these texts helped influence an alternate representation of Africans in the early modern world. Through their portrayals of Africans, early modern English playwrights frequently give the impression that Africans, especially black Africans, were people without accomplishments, without culture. Previously, however, this was not the case. Africans were depicted with dignity, as a tradition existed for this kind of representation--and Renaissance Europe had long been acquainted with the achievements of Africans, dating back to antiquity. As the source of several lost plays, the Aethiopica is instrumental in dramatizing Africans favorably, especially on the early modern stage, and helped shape a stage tradition that runs alongside the stereotyping of Africans. This Heliodoran tradition can be seen in works of Greene, Heywood, Jonson, Shakespeare, and others in the motifs of crosscultural and transracial romance, male and female chastity, racial metamorphosis, lost or abandoned babies, wandering heroes, and bold heroines. In Jonson's Masque of Blackness and Masque of Beauty, I establish a connection between these two masques and Heliodorus's Aethiopica and argue for a Heliodoran stage tradition implicit in both masques through the conceit of blanching. In The English Moore, I explore how Richard Brome uses the Heliodoran and Jonsonian materials to create a negative quality of blackness that participates in the dramatic tradition of the degenerate African on the English Renaissance stage. With Othello, I contend that it is a drama that can be seen in the Heliodoran tradition by stressing certain motifs found in the play that derives from the Aethiopica. Reading Othello this way provides us with a more layered and historicized interpretation of Shakespeare's protagonists. Othello's nationality and faith make his exalted position in Venice and the Venetian army credible and logical. His nobility and heroic status become more sharply defined, giving us a fuller understanding of the emphasis he places on chastity--both for himself and for Desdemona. Instead of a traditional, compliant, and submissive Desdemona, a courageous, resourceful, witty, and pure heroine emerges--one who lives by the dictates of her conscience than by the constraints of societal norms. Recovering the tradition of positive portrayal of Africans that originated from the Aethiopica necessitated an examination of eleven plays that I contend helped to frame the dramatic tradition under investigation. Six of these plays are continental dramas, and five are English. Although three of the English plays are lost and the other two are seventeenth-century dramas, their titles and names of their protagonists, like those of the six extant continental plays, share the names of Heliodorus's hero and heroine, making an exploration of the continental plays imperative to facilitate their use as paradigms in reconstructing the three lost English plays. These continental dramas show that plays whose titles derive from the Aethiopica itself or reflect the names of its major characters follow Heliodorus's text closely, enabling an investigation of the Heliodoran tradition on the early modern English stage. Recovering the Heliodoran tradition adds to the exploration of racial politics and the understanding of the dramatic tradition that constrained and enabled Renaissance playwrights' representation of race and gender.

L'histoire assassinee: Manfredo Tafuri and the present

Italian historian Manfredo Tafuri develops his ‘historical project’ in architecture during the 1960’s and 1970’s in three seminal books, which reach the English speaking specialist audience with a certain delay. Histories and Theories of Architecture (1968), which prepares the ground for the redefinition of a critical and independent history of architecture is first translated in English in 1979. Architecture and Utopia (Progetto e utopia, 1973) is translated in 1976, and becomes a point of reference for architectural histories and for the definition of architectural theories, mainly in the United States. The Sphere and the Labyrinth (1980), translated in 1987, is the text which formally defines and presents the ‘historical project’. Tafuri’s dense and highly politicized prose is often subjected in the English versions to numerous simplifications and reductive interpretations. Yet, the time lag and the space between languages that these translations occupy are inhabited by polemical and fertile reactions to the texts from the world of architectural design. Symptomatic of all, Aldo Rossi’s L’architecture assassinée, a rebuke in drawing to some of Tafuri’s remarks in Architecture and Utopia that seemed to suggest -but the interpretation is arguable– the ‘death’ of architecture as project (progetto). Tafuri’s texts instigate a dialogue between architectural history and practice, particularly relevant at a time in the development of the discipline when history was being redefined in its critical role as a ‘project’ –thus appropriating the active and propositional role traditionally assigned to architectural design–, while architectural design –still coping with the legacy of Modernism and with changed production systems- often found itself relegated to the paper of exhibitions, competitions and theoretical projects. This paper explores the relationship between architectural history and design in Tafuri’s work, focusing on recent reconsideration and interpretations of his work. It argues that, beyond instrumental simplifications, Tafuri’s ‘project’ remains active and essential in architecture’s critical culture today.

Tennyson among the novelists

Until now, the study of literary allusion has focused on allusions made by poets to other poets. In Tennyson Among the Novelists, John Morton presents the first book-length account of the presence of a poet’s work in works of prose fiction. As well as shedding new light on the poems of Tennyson and their reception history, Morton covers a wide variety of novelists including Thomas Hardy, James Joyce, Evelyn Waugh, and Andrew O’Hagan, offering a fresh look at their approach to writing. Morton shows how Tennyson’s poetry, despite its frequent depreciation by critics, has survived as a vivifying presence in the novel from the Victorian period to the present day.

Andrew Marvell's Latin Poetry: From Text to Context (356pp.)

David Norbrook, Review of English Studies 56 (Sept. 2005), 675-6.
‘We have waited a long time for a study of Marvell’s Latin poetry; fortunately, Estelle Haan’s monograph generously makes good the loss ... One of her most intriguing suggestions … is that Marvell may have presented paired poems like ‘Ros’ and ‘On a Drop of Dew’, and the poems to the obligingly named Dr Witty, to his student Maria Fairfax as his own patterns for the pedagogical practice of double translation. Perhaps the most original parts of the book, however, move beyond the familiar canon to cover the generic range of the Latin verse. Haan offers a very full contextualization of the early Horatian Ode to Charles I in seventeenth-century exercises in parodia. In a rewarding reading of the poem to Dr Ingelo she shows how Marvell deploys the language of Ovid’s Tristia to present Sweden as a place of shivering exile, only to subvert this model with a neo-Virgilian celebration of Christina as a virtuous, city-building Dido. She draws extensively on historical as well as literary sources to offer very detailed contextualizations of the poem to Maniban and ‘Scaevola Scotto-Britannus’... This monograph opens up many new ways into the Latin verse, not least because it is rounded off with new texts and prose translations of the Latin poems. These make a substantial contribution in their own right. They are the best and most accurate translations to date (those in Smith’s edition having some lapses); they avoid poeticisms but bring out the structure of the poems' wordplay very clearly. This book brings us a lot closer to seeing Marvell whole.'

Defensio Prima and the Latin Poets

This chapter, in a prize-winning volume, examines ways in which Milton’s recourse to Latin poetry in Defensio Prima serves a much deeper purpose than that of merely illustrating or lending authority to his argument. Rather, it is argued, the defence engages with a variety of Latin intertexts (Plautus, Terence, Horace, Petronius), which in turn give birth to a range of dramatis personae, with whom Salmasius is ironically and somewhat kaleidoscopically equated. This methodology lends particular force to Milton’s rhetoric of invective whilst hopefully laying to rest the fallacy that his Latin prose writings were writing during a period of ‘poetic inactivity.’ For this is a prose work that is poetically as well as politically aware.

Vuelta a lo que resultó un comienzo: de géneros literarios y política en “Simbiosis”, de Rodolfo Walsh

“Simbiosis”, aparecido originalmente en 1956, constituye la instancia inicial de la serie de cuentos policiales de Rodolfo Walsh que, extendida hasta 1962, protagonizan Daniel Hernández y el comisario Laurenzi. Pero “Simbiosis” representa, además, un momento de rupturas en la trayectoria de Walsh, rupturas observables a la luz de su obra previa, y que contribuyen a definir la singular posición que el escritor procura adoptar en el campo literario de la época. En la nacionalización del género policial que propone, el cuento a la vez recupera y cuestiona el canon clásico del género, al adoptar motivos de la literatura fantástica cuya operatividad como explicaciones de un delito se asocia a su origen en el saber popular, saber al cual Laurenzi accede como comisario de pueblo. Correlativamente, la equívoca resolución del crimen, debatida entre dos matrices de género, una racional y otra sobrenatural, así como el interrogante sobre la culpabilidad que deja abierto el relato, son resonancias significativas de su contexto histórico, desatendidas aún por la crítica: se trata, en particular, de los debates sobre culpables e inocentes políticos que inició en 1955 el derrocamiento militar del gobierno peronista.

Joaquim Mir y la tienda de juguetes: microhistoria de un retrato

¿Puede un retrato pictórico suscitar un ejercicio de microhistoria? Nuestra investigación tratará de aportar una respuesta positiva a esta cuestión, analizando para ello uno de los pocos retratos del pintor postimpresionista Joaquim Mir Trinxet, fechado en 1926. El protagonista representado no es otro que el suegro del pintor, Antoni Estalella i Trinxet, un insigne personaje de Vilanova y la Geltrú (Barcelona) que vivió entre dos siglos. La obra está ambientada en la tienda de juguetes de la familia, convirtiéndose así en una de las escasas pinturas que han captado el interior de una juguetería en la España anterior a la Guerra Civil. Gracias a los trabajos de archivo realizados, este artículo reúne diversos documentos inéditos que permiten reconstruir no sólo la vida del retratado, que llegó a ser corresponsal de Francisco Pi y Margall, sino también el ambiente social, artístico y comercial de Vilanova, en un período que abarca desde la década de 1870 a la primera mitad del siglo XX, en plena “Edad de Oro” de la industria juguetera. Es esta una propuesta de metodología historiográfica cuyo recorrido comienza en el oficio arcaico de la tonelería para desembocar al fin en los albores del comercio moderno de juguetes.

Ying Chen and the ‘‘Non-Lieu’’

The French-language prose works of Ying Chen re-examine the idea of absolute cultural cores of being and belonging which has traditionally been associated with Chinese overseas literature. Her concept of identity, constantly in the process of becoming, can be understood through the various ways in which her own, and her characters', ‘between-world’ consciousness is expressed, namely through the portrayal of migration, the metaphors of shores and bridges, the themes of attachment and detachment, and the discussion of physical displacement and inner exile. The author's theories on literary language, too, focus on in-between spaces, such as that between the real and the probable.

Epistolarum Familiarium Liber Unus in The Complete Works of John Milton: Volume XI (672pp.)

This edition of Milton’s Epistolarum Familiarium Liber Unus and of his Uncollected Letters, will appear as 672 pp. of The Complete Works of John Milton Volume XI, eds. Gordon Campbell and Edward Jones (Oxford University Press, forthcoming 2016). A diplomatic Latin text and a new facing English translation are complemented by a detailed Introduction and commentary that situate Milton’s Latin letters in relation to the classical, pedagogical and essentially humanist contexts at the heart of their composition. Now the art of epistolography advocated and exemplified by Cicero and Quintilian and embraced by Renaissance pedagogical manuals is read through a humanist filter whereby, via the precedent (and very title) of Epistolae Familiares, the Miltonic Liber is shown to engage with a neo-Latin re-invention of the classical epistola that had come to birth in quattrocento Italy in the letters of Petrarch and his contemporaries. At the same time the Epistolae are seen as offering fresh insight into Milton’s views on education, philology, his relations with Italian literati, his blindness, the poetic dimension of his Latin prose, and especially his verbal ingenuity as the ‘words’ of Latin ‘Letters’ become a self-conscious showcasing of etymological punning on the ‘letters’ of Latin ‘words’. The edition also announces several new discoveries, most notably its uncovering and collation of a manuscript of Henry Oldenburg’s transcription (in his Liber Epistolaris held in Royal Society, London) of Milton’s Ep. Fam. 25 (to Richard Jones). Oldenburg’s transcription (from the original sent to his pupil Jones) is an important find, given the loss of all but two of the manuscripts of Milton’s original Latin letters included in the 1674 volume. The edition also presents new evidence in regard to Milton’s relationships with the Italian philologist Benedetto Buonmattei, the Greek humanist Leonard Philaras, the radical pastor Jean Labadie (and the French church of London), and the elusive Peter Heimbach.

Crowd Control? Depictions of the Many in Anglo-Saxon Literature, with Particular Reference to the Old English Legend of the Seven Sleepers

This article argues for the distinctiveness of the presentation of crowds in the Old English version of the Legend of the Seven Sleepers . In traditional Old English poetry, crowds are mostly conspicuous by their absence, since the social groupings portrayed are typically those ofthe lord's retinue and the fellowship of the hall. In writings deriving from Latin traditions (in Anglo-Latin, Old English prose and strands of Old English poetry) such as historiography andhagiography, crowds are presented in highly conventional terms based on literary models. The crowd scenes in the Legend of the Seven Sleepers , on the other hand, have an immediacy and urgency that seem based on real-life experience of Anglo-Saxon England rather than simply imitative of the work's Latin (ultimately Greek) source or of other literary models. Drawing upon crowd theory and historical studies, the article demonstrates that the crowds in this text are presented in “domesticated” Anglo-Saxon terms and may be seen as reflective of growing urbanization in late Anglo-Saxon England. “Real” crowds are glimpsed elsewhere in Anglo-Saxon literature but in the Legend of the Seven Sleepers they are particularly foregrounded; this text also presents the literature's liveliest picture of town life more generally.

The Senses of Muriel Rukeyser’s The Book of the Dead

When Muriel Rukeyser travelled to Gauley Bridge in 1936 to report on the industrial disaster that had led to the deaths of over 700 miners, her findings led her to write what is arguably her masterpiece – the 1938 poem series The Book of the Dead. Of all Rukeyser's writings, this hybrid work of documentary techniques and metaphors, of testimony and elegy, has attracted the most critical attention. However, analyses of the series have tended to focus on the ways in which the poet adopted and adapted documentary methods in order to offer a leftist ideological critique on capitalist-born social injustice. The purpose of this article is not to negate such readings, but to offer alongside them insight into a more ethical-philosophical approach that I believe guided Rukeyser's entire career. Via an examination of the ways in which Rukeyser employs the human senses to articulate the complexities of human political, metaphysical and social relations, this article explores the influence of the Zionist Martin Buber on the poet. Rukeyser acknowledged Buber's writings in her later work, but I contend here that they played a large part in the formation of her poetics, especially in connection with her documentary aesthetic. Whilst several critics have noted, albeit often superficially, the Marxist flavour of Rukeyser's poetry in The Book of the Dead, I argue for the influence of Buber over Marx in terms or responsibility, community and dialogue. Both Rukeyser's and Buber's methods of expressing and promoting these ethical necessities rely on a synaesthetic response to the world. Where Buber advances a dialogue between the self and alterity through transcendent personal encounter, Rukeyser locates such encounter in the poem, arguing for an exchange that leads to creation, and to personal and interpersonal growth.

Titanic Reflections

Five short prose pieces originally performed as interludes in Philip Hammond's Requiem for the Lost Souls of the Titanic, April 2012