Much of the social change that Davies witnessed—and helped to effect—was discussed, encouraged, and elicited through her personal correspondence. These letters, written to friends, allies, and potential supporters during the years of Davies’s greatest political and social activity, reveal the evolution of her skill and sophistication as an activist. They also show the development of women’s suffrage, education, and journalism movements from a group of loosely affiliated like-minded friends to an astute and organized political network of reformers. In these letters–most of which have never been published—we see Davies struggle to understand and theorize about the role of women, cajole and encourage potential supporters, explore complexities of various reform movements, and demonstrate her formidable attention to detail in inventing and constructing an imaginable new institution. Her intensely engaged life placed Davies at the very heart of the events that transformed her era.
Ann B. Murphy is Associate Professor of English at Assumption College. Deirdre Raftery, Lecturer in Education at University College Dublin, is the author of Emily Davies:Women and Learning in English Writing, 1600–1900.
Victorian Literature and Culture Series
Divided into five parts, this new companion surveys sevendecades of history before examining the keys phases in a Victorianlife, the leading professions and walks of life, the majorVictorian literary genres, and the way Victorians defined theirpersons, their homes, and their national identities. Importanttopics such as sexuality, denominational faith, social class, andglobal empire inform each chapter’s approach. Each chapterprovides a comprehensive bibliography of established and emergingscholarship.
This revised edition has been updated and corrected in the light of new scholarship and critical thinking since its first publication.
"I have been led into an exploration of the way the social form of Elizabethan holidays contributed to the dramatic form of festive comedy. To relate this drama to holiday has proved to be the most effective way to describe its character. And this historical interplay between social and artistic form has an interest of its own: we can see here, with more clarity of outline and detail than is usually possible, how art develops underlying configurations in the social life of a culture."--C. L. Barber, in the Introduction
This new edition includes a foreword by Stephen Greenblatt, who discusses Barber's influence on later scholars and the recent critical disagreements that Barber has inspired, showing that Shakespeare's Festive Comedy is as vital today as when it was originally published.
This edition is a revised translation by D. C. H. Rieu of the translation done by his father, E. V. Rieu, in the first Penguin Classic to be published. Contains a preface by D. C. H. Rieu and an introduction by Peter Jones. Also includes a map, explanatory footnotes, a combined glossary and index, as well as suggestions for further reading of acclaimed criticisms and references.
Adam Nicolson sees the Iliad and the Odyssey as the foundation myths of Greek—and our—consciousness, collapsing the passage of 4,000 years and making the distant past of the Mediterranean world as immediate to us as the events of our own time.
Why Homer Matters is a magical journey of discovery across wide stretches of the past, sewn together by the poems themselves and their metaphors of life and trouble. Homer's poems occupy, as Adam Nicolson writes "a third space" in the way we relate to the past: not as memory, which lasts no more than three generations, nor as the objective accounts of history, but as epic, invented after memory but before history, poetry which aims "to bind the wounds that time inflicts."
The Homeric poems are among the oldest stories we have, drawing on deep roots in the Eurasian steppes beyond the Black Sea, but emerging at a time around 2000 B.C. when the people who would become the Greeks came south and both clashed and fused with the more sophisticated inhabitants of the Eastern Mediterranean.
The poems, which ask the eternal questions about the individual and the community, honor and service, love and war, tell us how we became who we are.
Have you ever enjoyed a slam or two and thought, "I could do this," but felt apprehensive staring at that empty mic—or worse, you climbed up on stage and struggled?
Let Marc Kelly Smith, the founder of Slam Poetry, teach you everything you need to be a confident performer, from writing a powerful poem, to stage techniques, to going on tour (if that's where your muse leads you).
Take the Mic is filled with insider tips, backstage advice, and tons of examples of slam poems that wake up an audience. With this book, you'll also be able to link to the PoetrySpeaks.com community to listen to samples, meet poets, and unearth inspirations for your next performance.
The Ultimate Guide to Writing and Performing with Power
Take the Mic is an essential guide for lifting your poetry from the page to the stage. Marc Kelly Smith (So What!), grand founder of the Slam movement, serves as you personal coach, showing you how to craft stage-worthy verse and deliver a poetry performance that shakes the rafters and sparks thunderous applause. In Take the Mic, you discover how to...Pen poetry that's conducive to on-stage performance Overcome stage fright Practice powerful performance techniques Rehearse like a pro Shape a loose collection of poems into a killer set Connect with your audience — heart and soul Master the art of self-promotion Schedule your own slam poetry tour Transform your hobby into paying gigs Act professional to establish a solid reputation in the Slam community
Take the Mic is packed with practical exercises you can do alone or in class to hone your skills and transform your body, mind, voice, verse, and spirit into an engaging stage presence.
You'll also find a brief history of slam, the rules and regulations that govern official slam competitions, and a list of PSI (Poetry Slam, Inc.) Certified Slams, so no matter where you are, you always have a place to Take the Mic!
For Wallace Stevens, "Poetry is the scholar's art." Susan Howe—taking the poet-scholar-critics Charles Olson, H.D., and William Carlos Williams (among others) as her guides—embodies that art in her 1985 My Emily Dickinson (winner of the Before Columbus Foundation Book Award). Howe shows ways in which earlier scholarship had shortened Dickinson's intellectual reach by ignoring the use to which she put her wide reading. Giving close attention to the well-known poem, "My Life had stood—a Loaded Gun," Home tracks Dickens, Browning, Emily Brontë, Shakespeare, and Spenser, as well as local Connecticut River Valley histories, Puritan sermons, captivity narratives, and the popular culture of the day. "Dickinson's life was language and a lexicon her landscape. Forcing, abbreviating, pushing, padding, subtracting, riddling, interrogating, re-writing, she pulled text from text...."
A comprehensive and informative edition ideal for students and teachers seeking to explore the play in depth, whether in the classroom or on the stage.
Poetry For Dummies is a great guide to reading andwriting poems, not only for beginners, but for anyone interested inverse. From Homer to Basho, Chaucer to Rumi, Shelley toGinsberg, it introduces you to poetry’s greatestpractitioners. It arms you with the tools you need to understandand appreciate poetry in all its forms, and to explore your owntalent as a poet. Discover how to:Understand poetic language and formsInterpret poemsGet a handle on poetry through the agesFind poetry readings near youWrite your own poemsShop your work around to publishers
Don’t know the difference between an iamb and a trochee?Worry not, this friendly guide demystifies the jargon, and itcovers a lot more ground besides, including:Understanding subject, tone, narrative; and poeticlanguageMastering the three steps to interpretationFacing the challenges of older poetryExploring 5,000 years of verse, from Mesopotamia to the globalvillageWriting open-form poetryWorking with traditional forms of verseWriting exercises for aspiring poetsGetting published
From Sappho to Clark Coolidge, and just about everyone inbetween, Poetry For Dummies puts you in touch with thegreats of modern and ancient poetry. Need guidance on composing aghazal, a tanka, a sestina, or a psalm? This is the book foryou.
Shakespeare's sonnets are lyrical, haunting, beautiful and often breath-taking, representing one of the finest bodies of poetry ever penned. They demonstrate the writer's skill in capturing the full range of human emotions within a carefully prescribed form and creating something unique in every one. Some are familiar - Shall I compare thee to a summer's day? - others unexpected, but together they form an extraordinary meditation on the nature of love, lust, beauty and time.
"Poetry is a vocal, which is to say a bodily, art," Robert Pinsky declares in The Sounds of Poetry. "The medium of poetry is the human body: the column of air inside the chest, shaped into signifying sounds in the larynx and the mouth. In this sense, poetry is as physical or bodily an art as dancing."
As Poet Laureate, Pinsky is one of America's best spokesmen for poetry. In this fascinating book, he explains how poets use the "technology" of poetry--its sounds--to create works of art that are "performed" in us when we read them aloud.
He devotes brief, informative chapters to accent and duration, syntax and line, like and unlike sounds, blank and free verse. He cites examples from the work of fifty different poets--from Shakespeare, Donne, and Herbert to W. C. Williams, Frost, Elizabeth Bishop, C. K. Williams, Louise Glück, and Frank Bidart.
This ideal introductory volume belongs in the library of every poet and student of poetry.
"In his work a continent awakens to consciousness." So wrote the Swedish Academy in awarding the Nobel Prize to Pablo Neruda, the author of more than thirty-five books of poetry and one of Latin America's most revered writers, lionized during his lifetime as "the people's poet."
This selection of Neruda's poetry, the most comprehensive single volume available in English, presents nearly six hundred poems, scores of them in new and sometimes multiple translations, and many accompanied by the Spanish original. In his introduction, Ilan Stavans situates Neruda in his native milieu as well as in a contemporary English-language one, and a group of new translations by leading poets testifies to Neruda's enduring, vibrant legacy among English-speaking writers and readers today.
This anthology embraces a wide variety of compositions: it ranges from song-poems of the Pele and Hiiaka cycle and the pre-Christian Shark Hula for Ka-lani-opuu to postmissionary chants and gospel hymns. These later selections date from the reign of Ka-mehameha III (1825-1854) to that of Queen Liliu-o-ka-lani (1891-1893) and comprise the major portion of the book. They include, along with heroic chants celebrating nineteenth-century Hawaiian monarchs, a number of works composed by commoners for commoners, such as Bill the Ice Skater, Mr. Thurston's Water-Drinking Brigade, and The Song of the Chanter Kaehu. Kaehu was a distinguished leper-poet who ended his days at the settlement-hospital on Molokai.
Linda Gray Sexton tries multiple times to kill herself—even though as a daughter, sister, wife, and most importantly, a mother, she knows the pain her act would cause. But unlike her mother's story, Linda’s is ultimately one of triumph. Through the help of family, therapy, and medicine, she confronts deep-seated issues and curbs the haunting cycle of suicide she once seemed destined to inherit.
In all literate societies, however, speech in turn is interpreted by reference to the culturally dominant writing system. This puts in place a system of educational values which ensures that the more literate members of society maintain superiority over the less literate, and at the same time establishes a hierarchy among literate societies which favours the local product (alphabetic scripts in the Western Case).
Roy Harris shows that the theory of writing adopted in modern linguistics is deeply flawed. Reversing the orthodox priorities, the author argues that writing is a far more powerful mode of linguistic communication than speech could ever be. His book is a major contribution to current debates about human communication written and spoken.
In his introduction, James Fenton dicusses the early publication and critical reception of Lawrence's poems, his develpoments as a poet and his use of free verse. This edition also includes a chronology, further reading and appendices, including Lawrence's comments on the work of Walt Whitman.