The Albert A. Bieber collection of American plays, poetry and songsters; A most unusual gathering of early and modern American literature, covering a variety of themes...

Mode of access: Internet.

Revolutionary lyrics manuscript, [17--]

Satires written against the organizers of the American Revolution.

Identity as radical alterity : critiques of Eurocentrism, coloniality and subjectivity in contemporary Australian and Latin American poetry.

This article presents a comparative analysis of Australian and Latin American contemporary poetry which is informed by theories of Eurocentrism derived from contemporary Latin American critical thought.

American poetry magazine.

Description based on: Vol. 1, no. 5 (Sept. 1919); title from cover.

Colonel John Butler (Niagara)/St. Catharines District Branch of the United Empire Loyalists fonds

United Empire Loyalist is an honour given to American Loyalists who came to British North America and the British Colonies to show their loyalty to King George III after the British defeat in the American Revolution. The Loyalists settled in Quebec, Ontario, Nova Scotia and modern day New Brunswick. The Colonel John Butler (Niagara) Branch (formerly the St. Catharines and District Branch) has origins which date as far back as 1898. A branch was organized in Virgil by Captain John D. Servos, but was unsuccessful. In 1905 there was another attempt to form a branch, but the war of 1914-1918 resulted in this branch becoming inactive. In 1914, an Act of Parliament incorporated the United Empire Loyalists’ Association of Canada. The St. Catharines and District Branch was formed in 1921. This branch remained active, and in 1992 they changed their name to The Colonel John Butler (Niagara) Branch. The Loyalists also have a strong focus on genealogy. All descendants are eligible to use UE (which stands for Unity of the Empire) after their names. source: http://www.coljohnbutleruel.com

Nature, Poetry, and Liminality in the Poetry of Robert Frost

Explores how Frost examines and configures the divide between life’s imperfections and its rewards. I am particularly interested in how Frost positions both the non-human natural world and poetry itself as intermediary (or liminal) realms that might help us live simultaneously in the worlds of reality and the imagination, or truth and beauty, or heaven and earth.

Journal and letters of the late Samuel Curwen judge of admiralty, etc., a loyalist-refugee in England, during the American revolution ; to which are added, illustrative documents and other eminent men /

List of the inhabitants of Boston, who on the evacuation of the British in March, 1776, removed to Halifax with the army: p. 444a-444d.

Ecopoetics: The Language of Nature, The Nature of Language by Scott Knickerbocker (review)

Review of Ecopoetics: The Language of Nature, The Nature of Language by Scott Knickerbocker Boston: University of Massachusetts Press, 2012. Pp. x + 203.
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La divine comédie de Stan Brakhage : une lecture du film lyrique The Dante Quartet

Film abstrait peint à la main sur de la pellicule recyclée, The Dante Quartet de Stan Brakhage est une adaptation personnelle de La divine comédie de Dante. Agissant comme un palimpseste où chaque couche révèle des éléments caractéristiques de l’oeuvre du cinéaste ainsi que l’influence de certains poètes et artistes, The Dante Quartet reprend certaines caractéristiques de l’ekphrasis. Dans ce mémoire, je travaille avec l’hypothèse heuristique que The Dante Quartet est une ekphrasis, et plus précisément une ekphrasis inversée. Ce mémoire s’intéresse à ce qui reste du pré-texte après son passage d’un média à un autre. Compte tenu du laps temporel qui sépare ces deux œuvres, il est aussi question d’influences contemporaines au travail de Brakhage. Le cinéaste basant son travail sur les phénomènes de vision (et plus particulièrement sur les visions hypnagogiques dans le cas qui m’occupe), le point sera fait sur la pensée de Brakhage à ce sujet, pensée qu’il expose dans son livre-manifeste Metaphors on Vision.

Entre beats e bytes: a poesia experimental de Robert Creeley

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

What, no rhumba? Los recitales de Eusebia Cosme y las tensiones entre "raza" y "cultura" en torno a la definición de la "poesía negra" hispanoamericana en los años treinta y cuarenta

El presente artículo analiza, en líneas generales, el repertorio de las presentaciones de la recitadora cubana Eusebia Cosme entre 1934 y 1946, así como el diseño de los programas impresos de esas presentaciones. El propósito de este análisis es elucidar la importancia que ellas tuvieron en la constitución del canon de la moderna "poesía negra" hispanoamericana; investigar las motivaciones de los desplazamientos lexicales producidos en los atributos dados a esta poesía, e inquirir las razones de la persistencia, en el período, de las tensiones entre las categorías de "raza" y "cultura"

What, no rhumba? Los recitales de Eusebia Cosme y las tensiones entre "raza" y "cultura" en torno a la definición de la "poesía negra" hispanoamericana en los años treinta y cuarenta

El presente artículo analiza, en líneas generales, el repertorio de las presentaciones de la recitadora cubana Eusebia Cosme entre 1934 y 1946, así como el diseño de los programas impresos de esas presentaciones. El propósito de este análisis es elucidar la importancia que ellas tuvieron en la constitución del canon de la moderna "poesía negra" hispanoamericana; investigar las motivaciones de los desplazamientos lexicales producidos en los atributos dados a esta poesía, e inquirir las razones de la persistencia, en el período, de las tensiones entre las categorías de "raza" y "cultura"

What, no rhumba? Los recitales de Eusebia Cosme y las tensiones entre "raza" y "cultura" en torno a la definición de la "poesía negra" hispanoamericana en los años treinta y cuarenta

El presente artículo analiza, en líneas generales, el repertorio de las presentaciones de la recitadora cubana Eusebia Cosme entre 1934 y 1946, así como el diseño de los programas impresos de esas presentaciones. El propósito de este análisis es elucidar la importancia que ellas tuvieron en la constitución del canon de la moderna "poesía negra" hispanoamericana; investigar las motivaciones de los desplazamientos lexicales producidos en los atributos dados a esta poesía, e inquirir las razones de la persistencia, en el período, de las tensiones entre las categorías de "raza" y "cultura"

Letter from David Phips to Colonel Jonathan Snelling regarding escort of Governor Hutchinson to Harvard Commencement, 1773 July 12

David Phips wrote this letter to Colonel Jonathan Snelling from Cambridge on July 12, 1773, to inform him that Massachusetts Governor Thomas Hutchinson had requested the accompaniment of guards during his travels from Milton to Cambridge on July 21, 1773, to attend the Harvard College Commencement exercises. In the letter, Phips informs Snelling that he has issued warrants to the guards, instructing them to congregate at the Sign of the Grey Hound in Roxbury, Massachusetts at eight o'clock on the morning of the 21st. He explains that twelve other men will march, under the command of Sub-Brigadier Sumner, to the Governor's home in Milton to escort him to Roxbury, where the larger party will assemble. These heightened security measures were certainly prompted by political unrest, although this is not stated explicitly in the letter. Phips concludes by saying: "I shall order a dinner for us at Bradish's, where I hope to have the pleasure to dine with you."