Misreading England: Poetry and Nationhood Since the Second World War

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Rodopi, 2002 - Всего страниц: 252
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In Misreading England: Poetry and Nationhood Since the Second World War, Raphaël Ingelbien examines how issues of nationhood have affected the works and the reception of several English and Irish poets – Philip Larkin, Ted Hughes, Geoffrey Hill and Seamus Heaney. This study explores the interactions between post-war English poets and the ways in which they transformed or misread earlier poetic visions of England – Romantic, Georgian, Modernist. It also traces often neglected but crucial links between their troubled poetics of Englishness and Seamus Heaney's poetry of Irish nationhood. This radically intertextual approach takes issue with influential accounts of post-war poetry that have drawn on postcolonialism. Instead of being made to reflect contemporary agendas, the poetics of nationhood are here considered in all their textual and ideological complexity, and restored to the historical, intellectual and literary contexts which postcolonial emphases on identity often play down or simplify. Whereas critics in post-devolution Britain increasingly use texts to debunk or promote specific versions of national identity, this study interrogates the very terms in which the debate has been conducted. Its metacritical analyses expose the contradictions of identity politics, and its intertextual readings help re-draw the map of post-war poetry in Britain and Ireland.

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Geoffrey Hill
Ted Hughes
Ted Hughess English Mythologies
A Map of Misreadings
Larkin and his Misreaders
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Стр. 61 - INELUCTABLE modality of the visible: at least that if no more, thought through my eyes. Signatures of all things I am here to read, seaspawn and seawrack, the nearing tide, that rusty boot.
Стр. 23 - A serious house on serious earth it is, In whose blent air all our compulsions meet, Are recognised, and robed as destinies. And that much never can be obsolete, Since someone will forever be surprising A hunger in himself to be more serious, And gravitating with it to this ground, Which, he once heard, was proper to grow wise in, If only that so many dead lie round.
Стр. 76 - Rebuffed the big wind. My heart in hiding Stirred for a bird,— the achieve of, the mastery of the thing! Brute beauty and valour and act, oh, air, pride, plume, here Buckle! AND the fire that breaks from thee then, a billion Times told lovelier, more dangerous, O my chevalier! No wonder of it: sheer plod makes plough down sillion Shine, and blue-bleak embers, ah my dear, Fall, gall themselves, and gash gold-vermilion. Pied Beauty Glory be to God for dappled things— For skies of couple-colour...
Стр. 50 - ... REQUIEM FOR THE PLANTAGENET KINGS For whom the possessed sea littered, on both shores, Ruinous arms; being fired, and for good, To sound the constitution of just wars, Men, in their eloquent fashion, understood. Relieved of soul, the dropping-back of dust, Their usage, pride, admitted within doors; At home, under caved chantries, set in trust, With well-dressed alabaster and proved spurs They lie; they lie; secure in the decay Of blood, blood-marks, crowns hacked and coveted, Before the scouring...
Стр. 66 - And immediately Rather than words comes the thought of high windows: The sun-comprehending glass, And beyond it, the deep blue air, that shows Nothing, and is nowhere, and is endless.
Стр. 61 - Mark this farther and remember. The end comes suddenly. Enter that antechamber of birth where the studious are assembled and note their faces. Nothing, as it seems, there of rash or violent. Quietude of custody rather, befitting their station in that house, the vigilant watch of shepherds and of angels about a crib in Bethlehem of Juda long ago.
Стр. 38 - On sand and scrub the dead men wriggle in their dowdy clothes. They are mimes who express silence and futile aims enacting this prone and motionless struggle at a queer angle to the scenery, crawling on the boards of the stage like walls, deaf to the one who opens his mouth and calls silently.

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The Politics of Englishness
Arthur Aughey
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