Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
306
result(s) for
"Cummings, E. E. 1894-1962."
Sort by:
Beleaguered Poets and Leftist Critics
Different as they were as poets, Wallace Stevens, E. E. Cummings, Robert Frost, and Williams Carlos Williams grappled with the highly charged literary politics of the 1930s in comparable ways. As other writers moved sharply to the Left, and as leftist critics promulgated a proletarian aesthetics, these modernist poets keenly felt the pressure of the times and politicized literary scene. All four poets saw their reputations critically challenged in these years and felt compelled to respond to the new politics, literary and national, in distinct ways, ranging from rejection to involvement. Beleaguered Poets and Leftist Critics closely examines the dynamics of these responses: what these four poets wrote—in letters, essays, lectures, fiction (for Williams), and most importantly, in their poems; what they believed politically and aesthetically; how critics, particularly leftist critics, reviewed their work; how these poets reacted to that criticism and to the broader milieu of leftism. Each poet’s response and its subsequent impact on his poetic output is a unique case study of the conflicting demands of art and politics in a time of great social change.
eBook
Enormous smallness
\"Enormous Smallness is a nonfiction picture book about the poet E. E. Cummings. Here E.E.'s life is presented in a way that will make children curious about him and will lead them to play with words and ask plenty of questions as well. Lively and informative, the book also presents some of Cummings's most wonderful poems, integrating them seamlessly into the story to give the reader the music of his voice and a spirited, sensitive introduction to his poetry.\"--Amazon.com.
Book
Vital Modernism: E. E. Cummings's Still Life, the Quotidian, and Visceral Poetics
Among his intermedial enterprises, E. E. Cummings engaged with the genre of still life. Instead of displaying inanimate matters in a traditional manner, the poet-painter transfigured the physically motionless façade of everyday objects into a dynamic and visceral experience of (self-)vitalizing. His aesthetic representation of the quotidian conflates the material and the immaterial as a modernist craft of art-making that recreates a vibrating entanglement of the thingy form, its surroundings, and one's attentive and meditative continuum. Through his verbal-visual experiments, Cummings overrides the distinction between the static and the motile, interiority and exteriority, and art and life, by foregrounding the intrinsic spirit of still life as an evolving desire to be encoded and reconfigured in varying senses and structures. His visceral poetics of reinstating liveness/liveliness from stillness thus provides the reader-viewers with an active way of dialoguing with the corporeal, affective, and imaginary realities that surround them.
Journal Article
E.E. Cummings : a life
A major reassessment of the life and work of the novelist, painter, and playwright considered to be one of America's preeminent twentieth-century poets. Cummings was and remains controversial--called \"a master\" or \"hideous.\" In Susan Cheever's rich biography we see his idyllic childhood years in Cambridge, Massachusetts, with his sternly religious father and his loving, attentive mother. We see Cummings--slight, agile, playful, a product of a nineteenth-century New England childhood; his love of nature; his sense of fun, laughter, mimicry; his desire from the get-go to stand conventional wisdom on its head. At Harvard, he earned two degrees, discovered alcohol, fast cars, and burlesque, and raged against the school's exclusionary upper-class rule. He grew into a dark young man and set out on a lifelong course of rebellion against conventional authority. Headstrong and cavalier, he volunteered as an ambulance driver in World War I, working alongside Hemingway and Joyce. He permanently fled to Greenwich Village to be among other modernist poets of the day, and we see the development of both the poet and his work against the backdrop of modernism. Cheever's book gives us the evolution of an artist whose writing was at the forefront of what was new and daring and bold in an America in transition.--From publisher description.
Book
Modernist travel writing : intellectuals abroad
Annotation As the study of travel writing has grown in recent years, scholars have largely ignored the literature of modernist writers.Modernist Travel Writing: Intellectuals Abroad,by David Farley, addresses this gap by examining the ways in which a number of writers employed the techniques and stylistic innovations of modernism in their travel narratives to variously engage the political, social, and cultural milieu of the years between the world wars.Modernist Travel Writingargues that the travel book is a crucial genre for understanding the development of modernism in the years between the wars, despite the established view that travel writing during the interwar period was largely an escapist genreone in which writers hearkened back to the realism of nineteenth-century literature in order to avoid interwar anxiety. Farley analyzes works that exist on the margins of modernism, generically and geographically, works that have yet to receive the critical attention they deserve, partly due to their classification as travel narratives and partly because of their complex modernist styles.The book begins by examining the ways that travel and the emergent travel regulations in the wake of the First World War helped shape Ezra PoundsCantos. From there, it goes on to examine E. E. Cummingss frustrated attempts to navigate the unworld of Soviet Russia in his bookEimi,Wyndham Lewiss satiric journey through colonial Morocco inFilibusters in Barbary,and Rebecca Wests urgent efforts to make sense of the fractious Balkan states inBlack Lamb and Grey Falcon.These modernist writers traveled to countries that experienced most directly the tumult of revolution, the effects of empire, and the upheaval of war during the years between World War I and World War II. Farleys study focuses on the question of what constitutes evidence for Pound, Lewis, Cummings, and West as they establish their authority as eyewitnesses, translate what they see for an audience back home, and attempt to make sense of a transformed and transforming modern world.Modernist Travel Writingmakes an original contribution to the study of literary modernism while taking a distinctive look at a unique subset within the growing field of travel writing studies. David Farleys work will be of interest to students and teachers in both of these fields as well as to early-twentieth-century literary historians and general enthusiasts of modernist studies.
BOOK
Wittgenstein’s Conception of Translation in His Later Philosophy of Language as an Approach to Cummings’s Untranslatable Concrete Poetry
E.E. Cummings’s concrete poetry raises the canonical problem of poetic untranslatability. It is commonly accepted that a poem is constituted as a unity of form and content, and any change in the form of a poem results in the loss of the poetic value and, eventually, translation failure. Two basic approaches have been proposed regarding the untranslatability of Cummings’s concrete poetry: mimicry and equivalence of effect. However, the former is impractical, and the latter is an indirect one. This paper proposes employing Wittgenstein’s conception of translation in his later philosophy of language to solve the question of the untranslatability of Cummings’s concrete poetry. By analysing three of Cummings’s concrete poems ‘r-p-o-p-h-e-s-s-a-g-r’, ‘mOOn Over tOwns mOOn’, and ‘Buffalo Bill’s’, this study suggests that poetry is translatable in the sense that the same language-game in the source text (ST) can be played in the target text (TT) by reconstruction or invention.
Journal Article
Staging modern American life : popular culture in the experimental theatre of Millay, Cummings, and Dos Passos
\"The theatrical works of Millay, Cummings, and Dos Passos, which have largely been marginalized in discussions of theater history and literary scholarship, offer a hybrid theater that integrates the popular with the formal, the mainstream with the experimental. Fahy examines the integration of and challenges to popular culture found in their works and offers new readings with an eye to American cultural studies and the impact of mass entertainment on modern life\"-- Provided by publisher.
Book
