T.S. Eliot The Makin.. - Global Public Library
... If there was increasing agreement over time that Eliot had reason to call
The Waste Land a personal poem, critics were left with the even more baffling question: what is the nature of this personal dimension? The British
poet Stephen Spender published his Penguin Modern Masters volume T. S.
Eliot in ...
Coversheet for Thesis in Sussex Research Online
... Recent scholarship in modernist studies has elaborated the ways in which many of
these historical factors register in the literature of the pre-war period. Morag Shiach’s
Modernism, Labour and Selfhood in British Literature and Culture, 1900–1930 places
special emphasis on syndicalism and the powerf ...
Dramatic discourse in poetry - IOE EPrints
... the text just within his 'inward ear', but he has to 'embody' them, 'inhabit'
them within a 'physical space of representation', letting them inter-act with
other readers' embodiments. In so doing, the reader becomes an Acting Reader.
The contribution this thesis offers to research on Discourse Analy ...
Preparing for the End
... result in an original reading of the chosen text, provide new insight into the
medieval society from which the text originates, and help to develop modern
interpretive practices. The freshness that is sought after is a result of the new
perspective that a contemporary thinker can bring to a work, bu ...
Poetry and Drama 1
... progress was removed. It was a glorious epoch of English history. All the time
the message of the ancient Greek and Latin classics was flowing freely into
the century which, coupled with the blessings of peace and prosperity and the
enlightened era of literary activity, flourished particularly in th ...
Vardhaman Mahaveer Open University, Kota - Name
... Loss of Belief—From 1900 until the First World War, poetry in England wavered
between two worlds not sure of its path. Much of Georgian poetry can be characterized as
poetry with an immediate popular appeal, an attempt to revitalizing the failing romantic tradition
without infusing into this process ...
Vardhaman Mahaveer Open University, Kota
... and rhythm in life. In short, the symbols act as characters in Whitman’s poem. They embody various
fundamental issues of human existence. Whitman’s use of symbols is central to the drama of becomingness.
They explore and explain a vision of life.
Whitman’s boldest innovation is his language experime ...
Full page fax print - Dr. Virambhai R. Godhaniya College, Porbandar
... Plato says that imitation is three degrees removed from the truth. Stories that are untrue have no value,
as no untrue story should be told in the City. He states that nothing can be learned from imitative
poetry. Plato's commentary on poetry in Republic is overwhelmingly negative. In Books II and I ...
A Companion to Twent.. - Global Public Library
... Dome: Writing and Addiction from the Romantics (1994) and Memory and Memorials, 1798–1914:
Literary and Cultural Perspectives (2000). He is currently working on Irish Poetry in the Union,
1801–1921 and editing the Cambridge Companion to Irish Poetry, 1939–1999. He is editor of
the Tennyson Research ...
... in every student the desire to read the best books, and to know literature itself rather than what has been written about literature. The
second is to interpret literature both personally and historically, that
is, to show how a great book generally reflects not only the author’s
life and thought bu ...
Convention and Innovation: Wintry Landscapes in Pastoral Elegy1
... peacefully with thousands of gods and myths born out of every article of nature. Their
guileless perceptions readily arrested a pathos and tactile picture of the surrounding
landscape. The following poem composed by Kakinomoto Hitomaro employs an image of
the withered field with a strong polytheisti ...
Lidia Vianu - Contemporary Literature Press
... of their King Arthur, how he was mortally wounded and transported to the fairyland of
Avalon to be healed of his wounds, and how he would one day return to save his people.
These Celtic stories of King Arthur were a long time afterwards revived by a Latin
Chronicler named Geoffrey of Monmouth (cf. § ...
Cosmopolitan Erotics in John Ashbery`s The Tennis Court Oath
... John Ashbery’s poetry to regard The Tennis Court Oath as detached from
any proper literary or cultural context in which to situate it properly. This
feature of the book has, however, never been emphasized as one which it
should be noted for. On the contrary, it may be fair to say that a certain
... East African life style. This is because in my view when we talk of East African Drama
and Poetry, we are referring to all those poetic and dramatic forms and expressions that
East Africans have created and enjoyed their performance or rendition since their
existence. Long before the coming of the w ...
CHARACTERISTICS AND INTERTEXTUALITY OF MAYA
... Poems as an object of art has its value to delivers its message indirectly and beautiful, like a
glimmering or absurd picture in a white canvas. No one really know what its true meanings or being
riddled by many puzzles of words. This magnificent of art has its own form, foundation, form, shape and
... Born of Punjabi Hindu and Sardar parents Punjabi (P) is my mother tongue. Originally
was not planning to compile an article on P but Ma said being a Punjabi you must do so,
would enable you to discover your roots.
This article is verbatim from The History and Culture of Indian People published by th ...
Euthyphro, by PlatoTranslated by Benjamin Jowett
... Just as there the lines and their meaning are to you one thing, not two, so
in poetry the meaning and the sounds are one: there is, if I may put it so,
a resonant meaning, or a meaning resonance. If you read the line, ʺThe
sun is warm, the sky is clear,ʺ you do not experience separately the image ...
... directors, a position which he held until his death.
In 1927 he became a British subject remaining in
England where his entire life was devoted to
7) He wrote several plays, but his best work is a
group of four long poems entitled Four Quartets,
written between 1935 and 1941, which led t ...
... 2- Write a short note on about the features of the new classical age?
Literature in that period was called Neo-classical Literature. People believed that all issues should
be discussed by reason. The 18th century writers believed that ancient (old) works of Greece and
Rome were the best works, there ...
Poetry Safari exemplar
... five, compare with the work of John Donne and use questions which are about
the nature of poetry itself.
How did we do it?
We browsed books about poetry: James Fenton’s Introduction to Poetry, Ruth
Padel’s The Poem and The Journey, The Making of a Poem, ed Eavan Boland, The
Oxford Poetry Handbook, D ...
Word Choice and Order Visual Imagery and Figures of Speech
... When asked about the composition of “This Is Just to Say,” Williams
claimed that it was an actual note that he left for his wife after eating
some plums: “It actually took place just as it . . . says here. And my
wife being out, I left a note for her just that way. . . .” Critics have
often underst ...
Raman Mundair is a British poet, writer, artist and playwright. She was born in Ludhiana, India and came to live in the UK at the age of five. She is the author of two volumes of poetry, 'A Choreographer's Cartography' and 'Lovers, Liars, Conjurers and Thieves' – both published by Peepal Tree Press – and 'The Algebra of Freedom' (a play) published by Aurora Metro Press. She edited 'Incoming – Some Shetland Voices' – published by Shetland Heritage Publications.Mundair was educated at the School of Oriental and African Studies, University of London and has performed readings of her work at numerous diverse venues in the UK and abroad. Raman's work has been widely anthologised and received excellent reviews in publications including The Independent, The Herald, World Literature Today and Discovering ScottishIn 2013 and 2014 Raman was a Leverhulme Artist in Residence for Shetland Museum and Archives and one of seven writers from Shetland and Orkney, participating in the University of Edinburgh’s ‘Writing the North’ project.Raman was chosen as one of two British writers to participate in the Word Express, Literature Across Frontiers project. Word Express took 20 young writers from 12 European countries by train through South-East Europe to Turkey, where they took part in readings and literary events in every country they passed through and then took part in the Istanbul Tanpinar Literature Festival and the Istanbul Book Fair).In 2008 Mundair was nominated for the prestigious Rolex Mentor and Protégé Arts Initiative. In 2008 Mundair won a Robert Louis Stevenson Award and became a Robert Louis Stevenson Fellow at the Hotel Chevillon in Grez-sur-Loing, France. In this same year she was invited to become Scottish Poetry Library Poet Partner for East Dumbarton.In 2007 she was awarded the highly sought after Arts Council England International Fellowship at the India International Centre in Delhi and in 2006 Mundair was runner up in the Penguin Decibel Prize for Short Fiction.Raman has been Writer in Residence in Stockholm, New Delhi, Glasgow and the Shetland Islands and has represented The British Council as a writer, workshop facilitator and performer internationally. She is a sought after facilitator of creative writing workshops and her client list ranges from schools and universities to the British Council and Amnesty International. Raman is a member of Scottish PEN.As a playwright Raman was awarded a mentorship with the Playwrights Studio Scotland in 2005.In 2007 her play ‘The Algebra of Freedom’ was produced to great acclaim by 7:84 Theatre Company and in 2006 she collaborated with the National Theatre Scotland and Òran Mòr – A Play, A Pie, A Pint on 'Side Effects', a one-act play, which went on to tour Glasgow, Edinburgh and Dublin.Raman was one of the 24 writers chosen by the Royal Court Theatre and the BBC in 2008 for their 24 Degrees project which nurtures and develops work by the 'next generation of promising new writers in Britain.’As an artist she makes work that represents text and narrative in a visual form. She has collaborated with artist Pernille Spence, filmmaker, Lotta Petronella and new media artist Sean Clark. Her work has been exhibited at Shetland Museum and Archive, the Gallery of Modern Art Glasgow, City Art Gallery, Leicester and the Kevin Kavanagh Gallery, Dublin.In 2011, as part of her Leafing the Green writer's residency, she was commissioned by Aberdeen City Council to create the Secrets of the Green – an interactive poetry plaque installation on the Green in Aberdeen city centre.In 2008 Raman was invited to read at the Scottish Government EU office in Brussels and gave the ‘reply to the lads’ speech at their official Burn’s Supper. She was identified by a national literary survey of Scottish writing as being an exciting, new rising literary voice (Discovering Scottish Literature – A Contemporary Overview, 2008).The Independent newspaper wrote in a review of her work ""Raman Mundair is a rare breed: a poet whose writing works on the page and the stage. Her readings reveal the secret music of the poem… Mundair is literature at its best: thoughtful, provocative and sharp.""Raman Mundair’s poetry can be contextualised as part of the pioneering contemporary Black British poetry scene that includes Patience Agbabi and Dorothea Smartt, both of whom read at the Barbican Centre (London) launch of Mundair's first collection of poems 'Lovers, Liars, Conjurers and Thieves' in 2003.Mundair writes across genres: poetry, prose and plays. Her writing is iconoclastic, challenging and political in nature but rendered with a keen sense of poetics. She has described herself as an ‘outsider writer’ and that she has come to appreciate her various states of ‘unbelonging’ as they allow her to transcend the limits of boundaries and choose to ‘belong’ anywhere.Mundair’s poetry has tackled varied themes including the deaths of Stephen Lawrence and Ricky Reel, the Iraq war, domestic violence, sexuality, gender, migration, immigration and the idea of ‘hidden histories’: where she imagines Queen Victoria’s relationship with her Sikh man servant, India maid servants in British India and Indian soldiers in the trenches during World War One. Equally she writes sensitively about intimacy, loss and the small, quiet but significant moments in life.Mundair’s poetry is multi-lingual and although the primary language is English, she uses Punjabi, Hindi, Urdu and Shetland dialect to create an inter-textual narrative within the poems – something that she refers to as ‘windows into worlds within worlds within worlds’. Her work also flirts with traditional form and structural constraints. Mundair writes poetry that she says is designed to work on the page as well as to be performed on the stage.Mundair’s work for theatre is often philosophical and political, engaging and questioning. Recurring themes include loss, faith, loyalty, redemption and compassion.