2,634 research outputs found
Comentário acerca da tradução do poema “The Labyrinth” de Edwin Muir
No full textTradução de: André Setti.Sua poética caracteriza-se pelo léxico simples e por imagensfortes, por vezes até visionárias. O poema traduzido, “The Labyrinth”, publicado em “Selected Poems of Edwin Muir”, prefaciado e editado por T. S. Eliot, evoca, com grande beleza, a angústia e o encantamento de um homem face ao labirinto.
Free servitude : a study of the mythos in the poetry of Edwin Muir
No full textThe poetry of Edwin Muir has inspired a distinctive body of criticism. Realizing that his poetry is inexorably linked with his life, Roger Knight, Michael Phillips, Peter Butter and others have produced fine studies of his work against a biographical background. Margaret Anderson has contributed an important dissertation on the importance of dualism in the poems. R. P. Blackmur, J. R. Watson and Kathleen Raine have published articles that are central in informing any new Muir scholarship.This study intends to illuminate the source of Muir's inspiration, to show that his imagery is drawn from the mythos. A general review of Muir criticism supports the theory that the imaginative background he knew as the Fable, which underlies all temporal human behavior (labeled as the Story) is also the collective unconscious of Jung, the Spiritus Mundi of Yeats, the "inseeing" of Rilke, and the Mythos of Aristotle.The study reviews Muir criticism and the poetic technique of Muir, develops a special definition of "mythos" and goes on, through the explication of selected Muir poems, to show how his poetic and philosophical growth was influenced by his unique ability to gain access to the most powerful of Aristotle's four modes of Rhetoric. Finally, the study crystalizes Muir's overall aesthetic in the oxymoronic conclusion to his 1956 masterpiece, "The Horses," the term "free servitude."Muir felt that we can only function at our full potential when we use the power of our imagination to realize the essential duality of the human condition. We are, to an extent, free, and in a state of servitude. In Freudian terms, the superego enslaves us through guilt and our debt to the concept of civilization, while the id urges us on the ultimate freedom represented by the unchecked expression of violence and sex.The study concludes with an examination of Muir's final enigmatic symbol, found in the title of his last collection of poems: One Foot in Eden. Man, through the imaginative realization of his immortality, may plant one foot in Eden; the other foot remains trapped in the Labyrinth, Muir's symbol for the bewildering, impersonal complexity of our twentieth century beaurocractic wasteland. The transcendence of this entrapment gave Muir his purpose, in life and in art.Thesis (Ph. D.
Myth, Form and Intertextuality in Edwin Muir
No full textEdwin Muir has often embarrassed critics as a rara avis. He was overlooked by anthologists before 1950 and, although subsequent anthologies never failed to include him, he was still hard to place for many readers. Labelled as a “traditionalist” or a “craftsman”, his later work proves however that Muir was much more. Understanding his use of myth, form and intertextuality enables us to rethink the significance of his work in the twentieth-century context
EDWIN MUIR: THE WAR YEARS
No full textThis study of the writings of Edwin Muir during the period ofthe Second World War examines recurring themes in the prose and poetry, in an attempt to demonstrate that these years form a watershed in the literary development of the poet.Master of Arts (MA
Mito, forma e intertextualidad en Edwin Muir.
No full textEdwin Muir has often embarrassed critics as a rara avis. He was overlooked by anthologists before 1950 and,
although subsequent anthologies never failed to include him, he was still hard to place for many readers. Labelled
as a “traditionalist” or a “craftsman”, his later work proves however that Muir was much more. Understanding his
use of myth, form and intertextuality enables us to rethink the significance of his work in the twentieth-century
context.Edwin Muir a menudo ha avergonzado a los críticos como una rara avis. Los antólogos lo pasaron por alto antes de 1950 y, aunque las antologías posteriores nunca dejaron de incluirlo, todavía era difícil de ubicar para muchos lectores. Etiquetado como "tradicionalista" o "artesano", su trabajo posterior demuestra sin embargo que Muir fue mucho más. Comprender su uso del mito, la forma y la intertextualidad nos permite repensar el significado de su obra en el contexto del siglo XX
Edwin Muir: One Foot in Europe
No full textA central element of modernism was its cosmopolitanism and this relied on facilitators of cultural interchange and, in the case of literature, translators. Edwin Muir was a significant figure in alerting the Anglophone intellectual world to developments in continental Europe, particularly in literature in German. His own background in remote, rural Scotland was non-academic and his career is fascinating in that he read what he chose or what came his way, not what he was obliged to read to satisfy the demands of an institution. An early engagement with the works of Nietzsche, Hölderlin, Heine prepared him to read contemporary German literature including Rilke, Hofmannsthal, Kafka and Broch. With his wife Willa, Muir translated several works by Kafka and Brock which fed new ideas images and notions of form into the modernist consciousness. Muir\u27s essays and reviews promoted this larger consciousness. Although, in comparison with the wildly modernist work of his compatriot Hugh MacDiannid, Muir\u27s own poetry is only mildly modernist, he contributed in a unique way to making continental writing available to British and American authors and readers.Un elemento central del modernismo era su cosmopolitismo, que dependía de los facilitadores del intercambio cultural y, en el caso de la literatura, de los traductores. Edwin Muir fue una figura importante a la hora de alertar al mundo intelectual anglófono sobre la evolución de la Europa continental, en particular de la literatura en alemán. Su propia formación en la remota y rural Escocia no era académica y su carrera es fascinante en el sentido de que leía lo que elegía o lo que le salía al paso, no lo que se veía obligado a leer para satisfacer las exigencias de una institución. Sus primeros contactos con las obras de Nietzsche, Hölderlin y Heine le prepararon para leer literatura alemana contemporánea, como Rilke, Hofmannsthal, Kafka y Broch. Con su esposa Willa, Muir tradujo varias obras de Kafka y Brock, que aportaron nuevas ideas, imágenes y nociones de forma a la conciencia modernista. Los ensayos y reseñas de Muir promovieron esta conciencia más amplia. Aunque, en comparación con la obra salvajemente modernista de su compatriota Hugh MacDiannid, la propia poesía de Muir es sólo ligeramente modernista, contribuyó de manera singular a poner la escritura continental a disposición de los autores y lectores británicos y estadounidenses
Un libro diviso in due? Edwin e Willa Muir traduttori di Kafka
No full textFranz Kafka and his English translators Willa and Edwin Muir
Highland Journey: In the Spirit of Edwin Muir.
No full textThis book comprises a collection of 50 black and white photographs, together with biographical or descriptive details of subjects chosen during a ninety day journey in 2006, based on that taken by Edwin Muir, through the Scottish highlands. Contemporary activities, occupations, places and problems are illustrated
Twentieth-century poetry and science : science in the poetry of Hugh MacDiarmid, Judith Wright, Edwin Morgan, and Miroslav Holub
No full textThe aim of this thesis is to arrive at a characterisation of twentieth century poetry and science by means of a detailed study of the work of four poets who engaged extensively with science and whose writing lives spanned the greater part of the period. The study of science in the work of the four chosen poets, Hugh MacDiarmid (1892 – 1978), Judith Wright (1915 – 2000), Edwin Morgan (1920 – 2010), and Miroslav Holub (1923 – 1998), is preceded by a literature survey and an initial theoretical chapter. This initial part of the thesis outlines the interdisciplinary history of the academic subject of poetry and science, addressing, amongst other things, the challenges presented by the episodes known as the ‘two cultures’ and the ‘science wars’. Seeking to offer a perspective on poetry and science more aligned to scientific materialism than is typical in the interdiscipline, a systemic challenge to Thomas Kuhn’s The Structure of Scientific Revolutions (1962) is put forward in the first chapter. Additionally, the founding work of poetry and science, I. A. Richards’s Science and Poetry (1926), is assessed both in the context in which it was written, and from a contemporary viewpoint; and, as one way to understand science in poetry, a theory of the creative misreading of science is developed, loosely based on Harold Bloom’s The Anxiety of Influence (1973). The detailed study of science in poetry commences in Chapter II with Hugh MacDiarmid’s late work in English, dating from his period on the Shetland Island of Whalsay (1933 – 1941). The thesis in this chapter is that this work can be seen as a radical integration of poetry and science; this concept is considered in a variety of ways including through a computational model, originally suggested by Robert Crawford. The Australian poet Judith Wright, the subject of Chapter III, is less well known to poetry and science, but a detailed engagement with physics can be identified, including her use of four-dimensional imagery, which has considerable support from background evidence. Biology in her poetry is also studied in the light of recent work by John Holmes. In Chapter IV, science in the poetry of Edwin Morgan is discussed in terms of its origin and development, from the perspective of the mythologised science in his science fiction poetry, and from the ‘hard’ technological perspective of his computer poems. Morgan’s work is cast in relief by readings which are against the grain of some but not all of his published comments. The thesis rounds on its theme of materialism with the fifth and final chapter which studies the work of Miroslav Holub, a poet and practising scientist in communist-era Prague. Holub’s work, it is argued, represents a rare and important literary expression of scientific materialism. The focus on materialism in the thesis is not mechanistic, nor exclusive of the domain of the imagination; instead it frames the contrast between the original science and the transformed poetic version. The thesis is drawn together in a short conclusion
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