196 research outputs found
Thomas Kinsella
No full textAs the author of verse ranging from the personal and psychological to the satirical and political, Thomas Kinsella is one of Ireland's most distinguished poets and critics. He has been labeled an enigma: while his early work is rooted entirely in an international literary tradition, his later poetry, influenced by Jungian philosophy and Irish myth, has been called ponderous, obscure, and abstract. In Thomas Kinsella, author Donatella Abbate Badin emphasizes the continuity in Kinsella's early and later poetry, focusing on the interdependence of his works. She argues that when the poet's themes and images are explored carefully, they constitute an organic whole. Deeply grounded in both the present and the mythical Irish experience, Kinsella's poems are reflections of the life of the poet himself
Rapture: South Branch Mortlock River, Doodenanning, Canto of the Dry River Empyrean (30), Rapture 6: The Crescent of Little Beach
No full textAustralian-born John Kinsella is the author of more than thirty books of poetry, fiction and nonfiction, and editor of the international literary journal Salt. His volume of poems The New Arcadia appeared from Norton in 2005
Sound-worlds of justice: a response to John Kinsella
No full textA response to the chapter contributed to this book by Australian author John Kinsella, explaining the complex features of Kinsella's philosophical and stylistic indebtedness to both Dante Alighieri and musical works inspired by Dante Alighieri. This chapter's secondary function is to elucidate the specific musical works to which Kinsella's chapter refers, placing them in the context of nineteenth and twentieth century musical dramatisations of Dante. The chapter discusses the approaches to Dante demonstrated by the composers Gioacchino Rossini, Peter Maxwell Davies, Franz Liszt, Giacomo Puccini and Pyotr Ilyich Tchaikovsky, and proposes Richard Wagner as the composer whose work most closely matches an ideal musical adaptation of Dante, despite his never having attempted such an adaptation. The musical discussion serves to illustrate the highly individual, musically-inspired literary compositional technique of John Kinsella
Representations of Women in the Poetry of Thomas Kinsella
No full textabstract: This dissertation addresses the representation of women in the poetry of the Irish poet Thomas Kinsella. Using a variety of theoretical approaches, including historical criticism, French feminist theory and Jungian psychoanalytical theory, I argue that although women are an integral part of Kinsella's ongoing aesthetic project of self-interrogation, their role in his poetry is deeply problematic from a feminist perspective. For purposes of my discussion I have divided my analysis into three categories of female representation: the realistically based figure of the poet's wife Eleanor, often referred to as the Beloved; female archetypes and anima as formulated by the psychologist C.G. Jung; and the poetic trope of the feminized Muse. My contention is that while the underlying effect of the early love and marriage poems is to constrain the female subject by reinforcing stereotypical gender positions, Kinsella's aesthetic representation of this relationship undergoes a transformation as his poetry matures. With regard to Kinsella's mid-career work from the 1970s and the 1980s I argue that the poet's aesthetic integration of Jungian archetypes into his poetry of psychic exploration fundamentally influences his representation of women, whether real or archetypal. These works represent a substantial advance in the complexity of Kinsella's poetry; however, the imaginative power of these poems is ultimately undermined by the very ideas that inspire them - Jungian archetypal thought - since women are represented exclusively as facilitators and symbols on this male-centered journey of self-discovery. Further complicating the gender dynamics in Kinsella's poetry is the presence of the female Muse. This figure, which becomes of increasing importance to the poet, transforms from an aestheticized image of the Beloved, to a sinister snake-like apparition, and finally into a disembodied voice that is a projection of the poet and his alter-ego. Ultimately, Kinsella's Muse is an aesthetic construction, the site of inquiry into the difficulties inherent in the creative process, and a metaphor for the creative process itself. Through his innovative deployment of the trope of the Muse, Kinsella continues to advance the aesthetics of contemporary Irish poetry.Dissertation/ThesisPh.D. English 201
A Study of translated Chicklit novel entitled "Shopaholic Ties The Knot" by Sophie Kinsella
No full textThis thesis is about the translation of one translated popular fiction novel entitled "Shopaholic Ties the Knot" by Sophie Kinsella. In this novel, the writer would like to analyze the errors which caused the message of the original text are unable to be sent to the Target Language text. The writer would like to know whether those errors caused the problems in transferring message to the reader of the Target Language, so the reader could not get the same message as the original message. There are three causes found in the novel which caused errors in translating the sentences, so, there are changes in delivering the message to the Target Language text. The writer uses the theory from Zuchridin Suryawinata and Sugeng Hariyanto to support her main theory. This study is descriptive one and the writer collects the data from the original novel, "Shopaholic Ties the Knot" English version and the Indonesian translation, with the same author. In this thesis the writer gives the suggestions based on the Communicative Translation theory. The writer uses the Communicative Translation theory by Peter Newmark. She wants to know whether the translated chicklit novel entitled "Shopaholic Ties the Knot" by Sophie Kinsella has a good quality of translation based on the Communicative Translation theory. The findings of the analysis reveal that the message of the translated chicklit novel entitled "Shopaholic Ties the Knot" by Sophie Kinsella has already been transferred well. Although there are some errors found in the novel, they do not influence the story. At last, the writer concludes that the translated novel has been already translated well
Which to Become? Encountering Fungi in Australian Poetry
No full textAs a largely unexplored group of organisms, fungi are ecologically complex members of the Australian biota. Fungi represent non-human alterity and interstitiality-neither animal not plant, beautiful yet evanescent, slimy and lethal, and eliding scientific categorisations. Donna Haraway\u27s notion of companion species and Anna Tsing\u27s arts of inclusion remind us that sensory entanglements are intrinsic to human-fungi relations. Drawing conceptually from Haraway and Tsing, this paper will examine examples of poetry from John Shaw Neilson, Jan Owen, Douglas Stewart, Geoffrey Dutton, Caroline Caddy, Michael Dransfield, Philip Hodgins, Jaime Grant and John Kinsella that represent sensory involvements with fungi based in smell, sound, taste and touch. For Stewart, the crimson fungus is archetypal of danger, ontologically ambivalent and warranting physical distance. For Caddy and Dransfield, fungi are nutriment around which social and personal events transpire, whereas for Kinsella, fungi express concisely-as part of an ecological milieu-nature\u27s dynamic alterity
Which to Become? Encountering Fungi in Australian Poetry
No full textAs a largely unexplored group of organisms, fungi are ecologically complex members of the Australian biota. Fungi represent non-human alterity and interstitiality-neither animal not plant, beautiful yet evanescent, slimy and lethal, and eliding scientific categorisations. Donna Haraway's notion of 'companion species' and Anna Tsing's 'arts of inclusion' remind us that sensory entanglements are intrinsic to human-fungi relations. Drawing conceptually from Haraway and Tsing, this paper will examine examples of poetry from John Shaw Neilson, Jan Owen, Douglas Stewart, Geoffrey Dutton, Caroline Caddy, Michael Dransfield, Philip Hodgins, Jaime Grant and John Kinsella that represent sensory involvements with fungi based in smell, sound, taste and touch. For Stewart, the crimson fungus is archetypal of danger, ontologically ambivalent and warranting physical distance. For Caddy and Dransfield, fungi are nutriment around which social and personal events transpire, whereas for Kinsella, fungi express concisely-as part of an ecological milieu-nature's dynamic alterity
Conceptual Profile of the Author in the Era of Post-feminism
No full textБлагодарности: выражаю благодарность научному руководителю, кандидату филологических наук, доценту Института гуманитарных наук БФУ им. И. Канта Н. А. Куракиной за помощь в подготовке работы.Acknowledgments: I express my gratitude to the supervisor, Candidate of Philological Sciences, Associate Professor of Institute for the Humanities (Immanuel Kant Baltic Federal University) N. A. Kurakina for her help in preparing these theses.Основная цель исследования заключается в анализе особенностей поэтики романов британской писательницы М. Уикхем, известной как С. Кинселла, и в моделировании концептуального профиля автора, творящего в эпоху постфеминизма. Детальное исследование позволяет выявить отразившуюся в произведениях личную парадигму автора.The main aim of the study is to analyze the peculiarities of the works of the British writer M. Wickham, known as S. Kinsella, and to build up the “conceptual profile” of the author, who is creating in the era of post-feminism. A detailed study allows us to identify the author’s personal paradigm manifested in her works
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