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THE PROTESTANT IMAGERY IN THEODORE ROETHKE¿S EARLY POETRY
Get PDFL’oggetto di questa tesi di letteratura anglo-americana e storia delle idee è l’influsso esercitato dalla spiritualità protestante sulla sensibilità, la visione del mondo e l’immaginario di Theodore Roethke, così come si manifestano nelle sue prime poesie inedite e nella sua produzione degli anni trenta e quaranta raccolta in Open House (1941), The Lost Son and Other Poems (1948) e Praise to the End! (1951). Lo scopo della tesi è dimostrare che, nonostante l’apparente discontinuità formale e contenutistica tra il primo volume di Roethke e i suoi due volumi successivi, le tre raccolte presentano un fondamentale punto di contatto: sono ricche di temi, motivi e simboli religiosi e fortemente influenzate da nozioni filosofiche che Roethke ha ereditato dalla tradizione filosofico-letteraria protestante ed elaborato in accordo alla sua sensibilità personale e allo spirito della sua epoca. Più precisamente, nella sua poesia degli anni trenta e quaranta Roethke recupera l’originario significato filosofico ed esistenziale di temi, motivi e simboli preesistenti e nel contempo li arricchiesce attraverso la nuova consapevolezza derivante dalle scoperte della psicoanalisi e dalle riflessioni dell’esistenzialismo protestante.
I tre capitoli della tesi mettono in luce la complessità del rapporto tra la prima produzione di Roethke e la tradizione filosofico-letteraria protestante, soffermandosi sulle sue affinità con particolari rami di tale tradizione. Il primo capitolo prende in esame le prime poesie inedite di Roethke e le sue poesie degli anni trenta raccolte in Open House in relazione a due opposti, ma imparentati, orientamenti teologici: l’ortodossia calvinista, dominata dal sentimento della condizione caduta e della colpa umane, e le eresie protestanti che hanno recuperato le aspirazioni mistiche all’origine della spiritualità riformata, asserendo implicitamente la natura divina dell’anima umana. Tali aspirazioni mistiche sono state ereditate da Lutero attraverso i discepoli di Meister Eckhart, la cui visione del rapporto tra essere umano e Dio si avvicinava molto a quella espressa dalla poesia di Emily Dickinson, una delle principali fonti di ispirazione di Roethke negli anni trenta.
Il secondo capitolo, sulle poesie della serra raccolte nella prima sezione di The Lost Son and Other Poems, esplora la loro affinità filosofica con la teologia calvinista della natura del diciassettesimo e del diciottesimo secolo. Si sofferma inoltre sull’uso che vi si fa di metafore e simboli di origine biblica: la metafora di Dio come giardiniere e le piante come simboli escatologici di resurrezione e rigenerazione, precedentemente impiegati nella poesia lirica protestante del diciassettesimo secolo – specialmente quella di Henry Vaughan –, nelle poesie di William Blake che traggono ispirazione dai libri di emblemi del sedicesimo e diciassettesimo secolo e nelle poesie di Emily Dickinson che risentono dell’influsso della tipologia naturale di Jonathan Edwards.
Infine il terzo capitolo, concernente i poemetti narrativi raccolti in The Lost Son and Other Poems e Praise to the End!, si concentra sulla lotta spirituale compiuta dal loro protagonista per superare la propria alienazione da Dio, lotta culminante nel paradossale rovesciamento della disperazione in fede – o rigenerazione – al cuore dello schema di salvezza descritto da Lutero, Søren Kierkegaard e Karl Barth. Tale processo è principalmente analizzato attraverso gli echi del Libro di Giobbe, dei Salmi, dei Cantici, dei Vangeli e i simboli biblici di disperazione e rigenerazione attraverso cui gli stati psichici e spirituali esperiti dal protagonista vengono evocati: la fossa, le acque profonde, l’ira di Dio, la rosa di Sharon, il battesimo.
La compresenza nella poesia di Roethke degli anni trenta e quaranta di concezioni e sentimenti così variegati è resa possibile dalle loro comuni premesse filosofiche, ampiamente analizzate da Søren Kierkegaard e Paul Tillich nel diciannovesimo e nel ventesimo secolo. La prima produzione di Roethke può essere compresa più facilmente alla luce delle riflessioni di questi eredi e interpreti esistenzialisti della tradizione protestante, che hanno trattato con il linguaggio della filosofia le stesse esperienze e gli stessi sentimenti al cuore della sua poesia.The subject of this dissertation in American Literature and the History of ideas is the influence of Protestant spirituality on Theodore Roethke’s sensibility, worldview, and imagination in his early unpublished poems and his work from the thirties and the forties, collected in Open House (1941), The Lost Son and Other Poems (1948), and Praise to the End! (1951). The dissertation aims to demonstrate that, in spite of the apparent breaking point between Roethke’s first volume and the subsequent two, the three collections share a fundamental feature: they are rich with religious themes, motifs, and symbols and informed by philosophical notions that Roethke inherited from the literary-philosophical Protestant tradition and elaborated according to his personal sensibility and the spirit of his age. More precisely, in his early poetry Roethke recovers the original existential and psychological meaning of such pre-existing themes, motifs, and symbols but also enriches them thanks to a new awareness deriving from the discoveries of psychoanalysis and the reflections of Protestant existentialist philosophy.
The three chapters of which this dissertation is comprised bring to light the complexity of the relationship between Roethke’s early poetry and the literary-philosophical Protestant tradition by focusing on its points of contact with particular branches of such tradition. Chapter one deals with Roethke’s early unpublished poems and his poems from the thirties collected in Open House in relation to two opposite – albeit related – theological orientations: Calvinist Orthodoxy, dominated by the feeling of human fallenness and guilt, and the Protestant heresies that reclaimed the mystical aspirations at the origin of reformed spirituality, which implicitly asserted the divine nature of the human soul. Such mystical aspirations were inherited by Luther from the disciples of Meister Eckhart, whose view of the relationship between man and God was very similar to that expressed in the poetry Emily Dickinson, one of Roethke’s fundamental sources of inspiration in the thirties.
The second chapter, which focuses on the Greenhouse Poems collected in the first section of The Lost Son and Other Poems, explores the poems’ philosophical kinship with seventeenth- and eighteenth-century Calvinist Theology of Nature, as well as their treatment of Biblical metaphors and symbols: the metaphor of God as a gardener and plants as eschatological symbols of resurrection and regeneration, previously used in seventeenth-century Protestant lyric poetry – especially that of Henry Vaughan –, William Blake’s poems which draw inspiration from sixteenth- and seventeenth-century emblem books, and Emily Dickinson’s poems which are influenced by Jonathan Edwards’ natural typology.
Lastly, the third chapter, which deals with the long narrative poems collected in The Lost Son and Other Poems and Praise to the End!, is centered on the protagonist’s spiritual struggle to overcome his estrangement from God, culminating in the paradoxical reversal from desperation to faith – or regeneration – at the core of the Protestant scheme of salvation described by Luther, Søren Kierkegaard, and Karl Barth. This process is analyzed predominantly through the echoes of Scripture in Job, the Psalms, the Song of Songs and the Gospels, as well as the Biblical symbols of desperation and regeneration through which the psychic and spiritual states experienced by the protagonist are evoked; namely, the pit, the deep waters, the wrath of God, the Rose of Sharon, and the Baptism.
The coexistence of all these variegated beliefs and feelings in Roethke’s early poetry is made possible by their common philosophical premises, widely analyzed by Søren Kierkegaard and Paul Tillich in the nineteenth and twentieth century. Roethke’s early poetry can be more easily understood in light of the reflections of these existentialist heirs and interpreters of the Protestant tradition, who used the language of philosophy to describe the very experiences and feelings at the core of his poetry
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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