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Journal articles on the topic 'American poetry New England'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

Regan, Stephen. "North of Boston: Models of Identity, Subjectivity and Place in the Poems of Robert Frost." Articles, no. 51 (October 31, 2008): 0. http://dx.doi.org/10.7202/019262ar.

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Abstract Although the titles of Robert Frost’s collections of poetry, including North of Boston, appear to ground his work in a precise location and a known community, the poems themselves belie any secure sense of geography and any secure sense of attachment. Many of the poems were, in fact, composed in Buckinghamshire and Gloucestershire shortly before the outbreak of the First World War, and they reveal an acute awareness of British, as well as American, literary traditions and ideals. This essay looks at how Frost created the New England of his poems, subtly establishing lines of continuity with British and American Romanticism while simultaneously harbouring profound philosophical doubts about inherited models of poetic subjectivity and imagination. The place of poetry, for Frost, is seen to be a place in which the play of mind is, itself, the most pressing subject matter.

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2

van der Woude, Joanne. "Indians and Antiquity: Subversive Classicism in Early New England Poetry." New England Quarterly 90, no. 3 (September 2017): 418–41. http://dx.doi.org/10.1162/tneq_a_00626.

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Two exceptional colonial poems, Thomas Morton's version of the events around his Maypole at Merrymount and Benjamin Tompson's epics on King Philip's War, are heavily classical, especially in their descriptions of Native Americans. The essay examines the advantages that the use of classical comparisons have over the more common tropes of Biblical typology.

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3

Taylor, Ellen. "Ornithological Passions of American Poet Celia Thaxter." Ecozon@: European Journal of Literature, Culture and Environment 12, no. 1 (February 7, 2021): 138–52. http://dx.doi.org/10.37536/ecozona.2021.12.1.3831.

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American poet Celia Leighton Thaxter (1835 – 1894) was shaped by both environmental beauty and destruction she witnessed in her New England community. As a woman who spent much of her life on a small wind-swept island, she was educated by seasons and migrations that later informed her work. A brief education among Boston’s literary elite launched her creative career, where she focused on her local ecology. At that time, over-hunting and newly fashionable plumed hats and accessories had created a serious possibility of avian decimation. By creating awareness of humans’ culpability for birds’ endangerment, Thaxter’s work evoked public sympathy and contributed to social and political change. This essay applies ecofeminist and cultural analyses to Thaxter’s work written as part of the 19th century bird defense movement, by examining the emotional rhetoric employed and activism implied in her poems and prose about birds, specifically: “The Kittiwakes,” “The Wounded Curlew,” and “The Great Blue Heron: A Warning.” Little attention has been paid to Thaxter’s didactic poems which use birds as subjects to instruct children and adults about the fragility of birdlife and to warn of humans’ destructive behaviors. These works illustrate Thaxter’s ecological sensibility and her use of emotion and reason to communicate an ecological message. Her poetry and prose about birdlife fortified the budding Audubon Society and contributed to the birth of the environmental movement. We can learn from such poetic activism, from attention to nature turned commodity, and the dangers of depleting finite resources. In our global environmental crisis, we recognize the interwoven relationships between birds and humans. Perhaps poems can help stymie our current ecological trajectory.

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4

Su, Yujie. "Dark Energy in Robert Frost’s Poems." Theory and Practice in Language Studies 6, no. 7 (July 1, 2016): 1372. http://dx.doi.org/10.17507/tpls.0607.06.

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Robert Frost is regarded as one of the most distinguished American poets in the twentieth century. His work usually realistically describes the rural life in New England in the early twentieth century and conveys complex social and philosophical themes. But his personal life was plagued with grief and loss, which is also reflected in his poems, and the dark energy distinguishes Robert Frost’s poems, frequently conveyed in the use of lexical words like dark and its derivatives or synonyms, woods, snow, night, and so on. The present study starts with the survey of the lexical representations of dark energy used in Robert Frost’s poems, which are collected in The Oxford Book of American Poetry, and the other poems listed on the website which are not collected in the book but written by Robert Frost[1], aiming to gain more understanding of the great poet’s contemplation involving human and nature.

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5

Gwiazda, P. "Shifting Ground: Reinventing Landscape in Modern American Poetry; Abandoned New England: Landscape in the Works of Homer, Frost, Hopper, Wyeth, and Bishop." American Literature 76, no. 1 (March 1, 2004): 199–201. http://dx.doi.org/10.1215/00029831-76-1-199.

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6

Caldwell, Patricia. "Why Our First Poet Was a Woman: Bradstreet and the Birth of an American Poetic Voice." Prospects 13 (October 1988): 1–35. http://dx.doi.org/10.1017/s0361233300005226.

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Anne Bradstreet has come a long way since John Harvard Ellis hailed her over a century ago as “the earliest poet of her sex in America.” Today, more justly, we view Bradstreet simply as “the first authentic poetic artist in America's history” and even as “the founder of American literature.” At the same time, a more sensitive criticism is looking anew at Bradstreet's personal drama as a woman in the first years of the New England settlement: her life as a wife, as mother of eight children, as a frontier bluestocking (though still, in many critics' eyes, “restless in Puritan bonds”), and even as a feminist in the wilderness. Feminist critics in particular have revitalized our understanding of Bradstreet and her work by probing her subtle “subversion” of patriarchal traditions, both theological and poetical, and by placing her among contemporary 17th-Century women writers, making her no longer a phenomenon on the order of Doctor Johnson's dancing dog, but finally a participating voice in her age.

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7

Caldwell, Patricia. "Why Our First Poet Was a Woman: Bradstreet and the Birth of an American Poetic Voice." Prospects 13 (October 1988): 1–35. http://dx.doi.org/10.1017/s0361233300006670.

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Anne Bradstreet has come a long way since John Harvard Ellis hailed her over a century ago as “the earliest poet of her sex in America.” Today, more justly, we view Bradstreet simply as “the first authentic poetic artist in America's history” and even as “the founder of American literature.” At the same time, a more sensitive criticism is looking anew at Bradstreet's personal drama as a woman in the first years of the New England settlement: her life as a wife, as mother of eight children, as a frontier bluestocking (though still, in many critics' eyes, “restless in Puritan bonds”), and even as a feminist in the wilderness. Feminist critics in particular have revitalized our understanding of Bradstreet and her work by probing her subtle “subversion” of patriarchal traditions, both theological and poetical, and by placing her among contemporary 17th-Century women writers, making her no longer a phenomenon on the order of Doctor Johnson's dancing dog, but finally a participating voice in her age.

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8

Bakratcheva, Albena. "‘Higher Laws’ and ‘Divine Madness’: Transnational and Translocal Configurations of Quixotic In/Sanity in the American Renaissance." Review of International American Studies 13, no. 2 (December 31, 2020): 87–101. http://dx.doi.org/10.31261/rias.9827.

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The New England Transcendentalists deliberately chose a position which by definition did not belong to what was to them the common “prosaic mood” (Thoreau) of their time. Their choice was the result of representatively romantic discontent with their contemporary reality and, at the same time, through the vigorous drive of the Puritan spiritual leadership, it was essentially anachronistic. The sophisticated delight of identifying with such a doubly anomalous nonconformist ideal only intensified the need for counterbalancing the prosaic sanity of the real world with a wished-for poetic insanity, or “madness from the gods” (Emerson). Such “madness by romantic identification” whose “features have been fixed once and for all by Cervantes” (Foucault), naturally caused “Quixotic confusion” between reality and imagination and the substitution of the true with the fabulous. Though peculiarly intensified in the former Puritan context and in the context of ‘Americanness’ in which the nineteenth century New England intellectuals placed it, the problem was far from being merely a local, New England-centered, phenomenon. This paper argues that in their ‘in/sane’ Quixotic quest for perfection, which caused a series of personal failures, the New England Transcendentalists were remarkably faithful saunterers in a blessed place that, to them, was both America and, at the same time, the all-encompassing perennial—translocal and transnational—world, inviting them to establish what Emerson called “an original relation to the universe.”

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Bakratcheva, Albena. "‘Higher Laws’ and ‘Divine Madness’: Transnational and Translocal Configurations of Quixotic In/Sanity in the American Renaissance." Review of International American Studies 13, no. 2 (December 31, 2020): 87–101. http://dx.doi.org/10.31261/rias.9827.

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The New England Transcendentalists deliberately chose a position which by definition did not belong to what was to them the common “prosaic mood” (Thoreau) of their time. Their choice was the result of representatively romantic discontent with their contemporary reality and, at the same time, through the vigorous drive of the Puritan spiritual leadership, it was essentially anachronistic. The sophisticated delight of identifying with such a doubly anomalous nonconformist ideal only intensified the need for counterbalancing the prosaic sanity of the real world with a wished-for poetic insanity, or “madness from the gods” (Emerson). Such “madness by romantic identification” whose “features have been fixed once and for all by Cervantes” (Foucault), naturally caused “Quixotic confusion” between reality and imagination and the substitution of the true with the fabulous. Though peculiarly intensified in the former Puritan context and in the context of ‘Americanness’ in which the nineteenth century New England intellectuals placed it, the problem was far from being merely a local, New England-centered, phenomenon. This paper argues that in their ‘in/sane’ Quixotic quest for perfection, which caused a series of personal failures, the New England Transcendentalists were remarkably faithful saunterers in a blessed place that, to them, was both America and, at the same time, the all-encompassing perennial—translocal and transnational—world, inviting them to establish what Emerson called “an original relation to the universe.”

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10

Peiu, Anca. "The Frost in Faulkner: Walls and Borders of Modern Metaphor." Acta Universitatis Sapientiae, Philologica 10, no. 1 (October 1, 2018): 75–88. http://dx.doi.org/10.2478/ausp-2018-0005.

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AbstractMy paper discusses the dialogue between Robert Frost’s verse and William Faulkner’s works: from the first poems he published as a young writer, especially in his debut volume The Marble Faun (1924), to The Hamlet (1940), an acknowledged novel of maturity. Three world-famous poems: “Birches,” “Mending Wall,” “Nothing Gold Can Stay” will represent here Frost’s metaphorical counterpart. The allegorical borders thus crossed are those between Frost’s lyrical New England setting and the Old South of Faulkner’s Yoknapatawpha diegesis; between (conventional patterns of) Romanticism and Modernism – in both writers’ cases; between poetry and prose; between “live metaphor” and “emplotment” (applying Paul Ricoeur’s theory of “semantic innovation”); between (other conventional patterns of) regionalism and (actual) universality. Frost’s uniqueness among the American modern poets owes much of its vital energy to his mock-bucolic lyrical settings, with their dark dramatic suggestiveness. In my paper I hope to prove that Frost’s lesson was a decisive inspiration for Faulkner, himself an atypical modern writer. If Faulkner’s fiction is pervaded by poetry, this is so because he saw himself as a “poet among novelists.” Faulkner actually started his career under the spell of Frost’s verse – at least to the same extent to which he had once emulated the spirit of older and remoter poets, such as Keats or Swinburne.

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11

Stauffer, Andrew M. "Robert Browning and “The King is Cold”: A New Poem." Victorian Literature and Culture 26, no. 2 (1998): 465–73. http://dx.doi.org/10.1017/s1060150300002515.

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By February of 1858, the American abolitionist community had at least twice been exposed to a poem — attributed to Robert Browning — entitled “The King is Cold.” It appeared in January in the National Anti-Slavery Standard, a weekly newspaper published in New York City, and, one month later, it was reprinted in William Garrison's Boston paper, the Liberator. Yet aside from this brief record of publication, the poem has left no discernible traces, either before or since. The oddly one-sided (i.e., American) appearances of “The King is Cold” surely contributed to its being overlooked by generations of Browning scholars and editors, including such modern fugitive-hunters as Broughton, Honan, and Kelley. In fact, with a few notable exceptions, Browning scholarship has been reluctant to extend its efforts across the Atlantic. We still await an analysis of the poet's American transactions that would update the important research done by Louise Greer in the 1950s. For most of his life, Browning was much more popular in the United States than in England, and, as Greer puts it, “Browning must have known more Americans than any other English man of letters” (39). And, although their author never visited the United States, Browning's poems arrived by the 1840s, finding enthusiastic audiences that included such luminaries as Hawthorne, Lowell, Emerson, and Thomas Higginson. This Boston intellectual clique — transcendentalist, Unitarian, and abolitionist — recognized in Robert (and, more rapidly, in Elizabeth Barrett) the “brave translunary things that our first poets had” (Lowell qtd. in Greer 14). As the uncatalogued existence of “The King is Cold” suggests, the fruits of this special relationship remain incompletely gathered.

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12

St. Armand, Barton Levi. "Schoolroom Poets: Childhood, Performance, and the Place of American Poetry, 1865–1917. Angela Sorby. Hanover, NH, and London: University Press of New England, 2005. Pp. xlv+233." Modern Philology 104, no. 2 (November 2006): 277–80. http://dx.doi.org/10.1086/511727.

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13

Davis, Clark. "Very, Garrison, Thoreau." Nineteenth-Century Literature 74, no. 3 (December 1, 2019): 332–59. http://dx.doi.org/10.1525/ncl.2019.74.3.332.

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Clark Davis, “Very, Garrison, Thoreau: Variations on the Antebellum Passive” (pp. 332–359) This essay contends that the poetry of Jones Very, often considered predominately “mystical,” was deeply engaged in political debates of the era. Not only did Very often write poems with an avowedly public purpose, but his seemingly otherworldly, spiritual sonnets sometimes participated in antebellum political debates. The sonnet “The Hand and Foot” (1839), for instance, describes a mode of Christian passivity and quietism that echoes the contemporaneous call for passive “non-resistance” to slavery found in William Lloyd Garrison’s 1838 “Declaration of Sentiments,” the foundational statement of the New England Non-Resistance Society. Very’s poem also describes a mode of Christian behavior that is radically disruptive of social conformity, a kind of embodied “prayer” that may have influenced Henry David Thoreau’s more famous manifesto of passive resistance, “Resistance to Civil Government” (1849). Thoreau witnessed Very’s passive but disruptive behavior on more than one occasion in Concord, Massachusetts, well before his own unique dramatization of nonconformity in the mid 1840s. Comparing Very’s erasure of individual will to Thoreau’s more canny deployment of passivity can help us clarify antebellum modes of passive engagement as they evolved toward the eventual violence of John Brown’s raid and the American Civil War.

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Warner, Sylvia Townsend, and Laurel Harris. "Sylvia Townsend Warner's Letters to Genevieve Taggard." PMLA/Publications of the Modern Language Association of America 133, no. 1 (January 2018): 205–20. http://dx.doi.org/10.1632/pmla.2018.133.1.205.

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In september 1941, shortly before the united states entered world war ii, the british writer sylvia townsend warner wrote a note to the American poet Genevieve Taggard, thanking her for sending a poem. An epistolary relationship developed between the two writers, though Taggard also sent material gifts of spices, tea, rice, and seeds to alleviate the deprivations that Warner and her partner, Valentine Ackland, faced in war-battered England. Eighteen letters, all from Warner to Taggard, remain of this correspondence, which ended with Taggard's death in 1948. They are housed in Taggard's papers at the Manuscripts and Archives Division of the New York Public Library. Although Taggard's letters to Warner have been lost, Warner's letters to Taggard reveal a literary friendship that is at once partisan and poetic. These private letters, like the public “Letter from London” columns by Warner's fellow New Yorker contributor Mollie Panter-Downes, vividly portray the English home front to an American audience.

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15

Mukafi, Muhammad Hamdan. "Indonesian Literature and Its Identity in the Mood of the Age." Digital Press Social Sciences and Humanities 2 (2019): 00014. http://dx.doi.org/10.29037/digitalpress.42265.

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Globalization era is marked by information and technology advancement. It brings jungle of sign, obscuring definitive convention, or even creating a new definition, which is occurred in Indonesian literature. Colonialism history is a center convention which defines Indonesian literature, the literary genre is one of it. Reflecting a case of colonialism; England with its literary genre convention, that are a poem, fiction, and drama – are getting “resistance” from America, the continent that “occupied” by it, which had been opening free space to establish literary genres, such as sermon and speech are included. Therefore, in this case, innovation to Indonesian literary definition always a chance. Cross-media literature, in a blanket of information and technology advancement, had been born with hybridizing text, audio, and visual. Internet medium such as YouTube being its publication method. In 2011, Fahd Djibran and his colleagues gave birth to literary work named revolvere project – when the creation of audio-visual no longer arranged, but parting to literature. The born of revolvere project followed by many artists who answered to the mood of the age. Many new names come up like visual-poetry, visual-fiction, and more – putting them in one room known as Literary Reformer. It has its structure, interpreted in hybridative form, but opening to be studied in a different way when separated. This lead to a question of its legitimation in Indonesian literary world. So, Jane Stokes genre theory chose to examine its worthiness as Indonesian literature’s new creation room in genre classification. In this research, the theory of semiotics, the field of cultural production, and basic of taxonomy are implemented to observe its position to classify and struggle scheme in Indonesian literary world. Then, literary reformer denoted as Indonesian literature reflection, a success of mixing arts spices in one chalice, creating Indonesian literature new definitive identity.

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16

Regan, Stephen. "The Sonnet and its Travels." CounterText 3, no. 2 (August 2017): 162–75. http://dx.doi.org/10.3366/count.2017.0086.

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As well as being one of the oldest and best known of all poetic forms, the sonnet is also one of the most widely travelled. Critical studies of the sonnet in English have traced its historical development from its Italian predecessors, through its domestication in Elizabethan England, to its remarkable popularity among modern British, Irish, and American poets. There is still much to learn, however, about the geography of the sonnet. This essay looks at some of the ways in which the sonnet has been shaped in places distant from its familiar European cultural domain: in Roy Campbell's South Africa, Allen Curnow's New Zealand, and Derek Walcott's St Lucia. It claims that, paradoxically, the intense compression of the sonnet form generates a powerful preoccupation with worldwide vision. It also proposes that the shape and size of the sonnet makes it an especially attractive form for poet-translators, and that the circulation of translations, imitations, and versions of sonnets greatly enhances the geographical mobility of the form. The essay concludes that some of the most innovative experiments with the sonnet form, by writers such as Don Paterson and Paul Muldoon, have been those concerned with latitude, and with the crossing of cultural and geographical boundaries.

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17

Golding, Alan. ""The New American Poetry" Revisited, Again." Contemporary Literature 39, no. 2 (1998): 180. http://dx.doi.org/10.2307/1208984.

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18

Perloff, Marjorie. "Whose New American Poetry?: Anthologizing in the Nineties." diacritics 26, no. 3-4 (1996): 104–23. http://dx.doi.org/10.1353/dia.1996.0030.

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19

Lihong, Zhu, and Wang Feng. "The Zen Relationship between Chinese Poetry and American Poetry." International Journal of Multicultural and Multireligious Understanding 6, no. 4 (August 13, 2019): 92. http://dx.doi.org/10.18415/ijmmu.v6i4.952.

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Zen has become especially popular after 1950 and the Zen craze of East Asia not only has become a kind of belief but also a way of life in America. Many American writers introduce, advocate, and concentrate on their Zen, and even go to the East to learn Zen. They applied the ideology, content and allusions of Chinese Zen to their works, so they have a close relationship with Chinese Zen. This article aims to analyze the poems of Kenneth Rexroth, Anthony Piccione, Gary Snyder and James P. Lenfesty to explore the mysterious relationship between Chinese and American poetry. These poets imitate the quiet beauty, wild freedom or orthodox of Zen poetry. Furthermore, each of them forms their own writing characteristics, thus creating a new realm of American poetry.

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20

TYBJERG, KARIN. "J. LENNART BERGGREN and ALEXANDER JONES, Ptolemy'sGeography: An Annotated Translation of the Theoretical Chapters. Princeton and Oxford: Princeton University Press, 2000. Pp. xiii+192. ISBN 0-691-01042-0. £24.95, $39.50 (hardback)." British Journal for the History of Science 37, no. 2 (May 24, 2004): 193–96. http://dx.doi.org/10.1017/s0007087404215813.

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J. Lennart Berggren and Alexander Jones, Ptolemy's Geography: An Annotated Translation of the Theoretical Chapters. By Karin Tybjerg 194Natalia Lozovsky, ‘The Earth is Our Book’: Geographical Knowledge in the Latin West ca. 400–1000. By Evelyn Edson 196David Cantor (ed.), Reinventing Hippocrates. By Daniel Brownstein 197Peter Dear, Revolutionizing the Sciences: European Knowledge and Its Ambitions, 1500–1700. By John Henry 199Paolo Rossi, Logic and the Art of Memory: The Quest for a Universal Language. By John Henry 200Marie Boas Hall, Henry Oldenburg: Shaping the Royal Society. By Christoph Lüthy 201Richard L. Hills, James Watt, Volume 1: His Time in Scotland, 1736–1774. By David Philip Miller 203René Sigrist (ed.), H.-B. de Saussure (1740–1799): Un Regard sur la terre, Albert V. Carozzi and John K. Newman (eds.), Lectures on Physical Geography given in 1775 by Horace-Bénédict de Saussure at the Academy of Geneva/Cours de géographie physique donné en 1775 par Horace-Bénédict de Saussure à l'Académie de Genève and Horace-Bénédict de Saussure, Voyages dans les Alpes: Augmentés des Voyages en Valais, au Mont Cervin et autour du Mont Rose. By Martin Rudwick 206Anke te Heesen, The World in a Box: The Story of an Eighteenth-Century Picture Encyclopedia. By Richard Yeo 208David Boyd Haycock, William Stukeley: Science, Religion and Archaeology in Eighteenth-Century England. By Geoffrey Cantor 209Jessica Riskin, Science in the Age of Sensibility: The Sentimental Empiricists of the French Enlightenment. By Dorinda Outram 210Michel Chaouli, The Laboratory of Poetry: Chemistry and Poetics in the Work of Friedrich Schlegel. By David Knight 211George Levine, Dying to Know: Scientific Epistemology and Narrative in Victorian England. By Michael H. Whitworth 212Agustí Nieto-Galan, Colouring Textiles: A History of Natural Dyestuffs in Industrial Europe. By Ursula Klein 214Stuart McCook, States of Nature: Science, Agriculture, and Environment in the Spanish Caribbean, 1760–1940. By Piers J. Hale 215Paola Govoni, Un pubblico per la scienza: La divulgazione scientifica nell'Italia in formazione. By Pietro Corsi 216R. W. Home, A. M. Lucas, Sara Maroske, D. M. Sinkora and J. H. Voigt (eds.), Regardfully Yours: Selected Correspondence of Ferdinand von Mueller. Volume II: 1860–1875. By Jim Endersby 217Douglas R. Weiner, Models of Nature: Ecology, Conservation and Cultural Revolution in Soviet Russia. With a New Afterword. By Piers J. Hale 219Helge Kragh, Quantum Generations: A History of Physics in the Twentieth Century. By Steven French 220Antony Kamm and Malcolm Baird, John Logie Baird: A Life. By Sean Johnston 221Robin L. Chazdon and T. C. Whitmore (eds.), Foundations of Tropical Forest Biology: Classic Papers with Commentaries. By Joel B. Hagen 223Stephen Jay Gould, I Have Landed: Splashes and Reflections in Natural History. By Peter J. Bowler 223Henry Harris, Things Come to Life: Spontaneous Generation Revisited. By Rainer Brömer 224Hélène Gispert (ed.), ‘Par la Science, pour la patrie’: L'Association française pour l'avancement des sciences (1872–1914), un projet politique pour une société savante. By Cristina Chimisso 225Henry Le Chatelier, Science et industrie: Les Débuts du taylorisme en France. By Robert Fox 227Margit Szöllösi-Janze (ed.), Science in the Third Reich. By Jonathan Harwood 227Vadim J. Birstein, The Perversion of Knowledge; The true Story of Soviet Science. By C. A. J. Chilvers 229Guy Hartcup, The Effect of Science on the Second World War. By David Edgerton 230Lillian Hoddeson and Vicki Daitch, True Genius: The Life and Science of John Bardeen, the Only Winner of Two Nobel Prizes in Physics. By Arne Hessenbruch 230Stephen B. Johnson, The Secret of Apollo: Systems Management in American and European Space Programs, John M. Logsdon (ed.), Exploring the Unknown: Selected Documents in the History of the U.S. Civil Space Program. Volume V: Exploring the Cosmos and Douglas J. Mudgway, Uplink-Downlink: A History of the Deep Space Network 1957–1997. By Jon Agar 231Helen Ross and Cornelis Plug, The Mystery of the Moon Illusion: Exploring Size Perception. By Klaus Hentschel 233Matthew R. Edwards (ed.), Pushing Gravity: New Perspectives on Le Sage's Theory of Gravitation. By Friedrich Steinle 234Ernest B. Hook (ed.), Prematurity in Scientific Discovery: On Resistance and Neglect. By Alex Dolby 235John Waller, Fabulous Science: Fact and Fiction in the History of Scientific Discovery. By Alex Dolby 236Rosalind Williams, Retooling: A Historian Confronts Technological Change. By Keith Vernon 237Colin Divall and Andrew Scott, Making Histories in Transport Museums. By Anthony Coulls 238

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21

Quinby, Lee, and Ivy Schweitzer. "The Work of Self-Representation: Lyric Poetry in Colonial New England." Journal of American History 79, no. 4 (March 1993): 1577. http://dx.doi.org/10.2307/2080232.

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22

Rowe, Karen E., and Ivy Schweitzer. "The Work of Self-Representation: Lyric Poetry in Colonial New England." New England Quarterly 65, no. 4 (December 1992): 682. http://dx.doi.org/10.2307/365838.

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23

Thickstun, Margaret Olofson, and Ivy Schweitzer. "The Work of Self-Representation: Lyric Poetry in Colonial New England." American Literature 64, no. 4 (December 1992): 809. http://dx.doi.org/10.2307/2927641.

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24

Sweeting. "Conjecturing Future Winters: Poetry, Nostalgia, and Climate Change in New England." Environment, Space, Place 12, no. 2 (2020): 112. http://dx.doi.org/10.5749/envispacplac.12.2.0112.

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25

Killingsworth, M. Jimmie. "Fletcher, Angus. A New Theory for American Poetry [review]." Walt Whitman Quarterly Review 21, no. 3-4 (January 1, 2004): 177–79. http://dx.doi.org/10.13008/2153-3695.1730.

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26

Metzidakis, Stamos. "Introduction: New Anglo-American Approaches to French Prose Poetry." L'Esprit Créateur 39, no. 1 (1999): 3–4. http://dx.doi.org/10.1353/esp.2010.0436.

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27

Meehan, Sean Ross. "Review: American Metempsychosis: Emerson, Whitman, and the New Poetry." Nineteenth-Century Literature 68, no. 4 (March 1, 2014): 550–52. http://dx.doi.org/10.1525/ncl.2014.68.4.550.

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28

Buell, Lawrence. "The New England Renaissance and American Literary Ethnocentrism." Prospects 10 (October 1985): 409–22. http://dx.doi.org/10.1017/s0361233300004166.

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Just as patriot orators invoked the spirit of Puritanism in their remonstrances against British tyranny, just as the nineteenth-century cult of Pilgrimism taught all America to look back upon the Pilgrim fathers as everyone's fathers, so modern American intellectual history has proclaimed the Puritan origins of the American way. The result has been a scholarly upsurge, during the past half-century, of “Puritan legacy” studies, of which Perry Miller was the prime mover and Sacvan Bercovitch is the leading contemporary theorist. So far as the interpretation of literary history is concerned, these studies have given a new authority and depth to the old New England-centered map of American literary tradition first drawn up by the Yankee-oriented genteel intellectual establishment of the late nineteenth century that presided over the literary institutions whose prestige had been built upon the reputation of the perpetrators of the antebellum New England Renaissance. The old-fashioned interpretation of American literary history and the new-fashioned interpretation of American civil religion as a nationalized version of Puritan ideology have combined to create a strong presumption, at least for specialists in New England Romantic literature, that theirs was the key formative moment in American literary history as a whole.

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29

Teed, Paul E., and Stephanie Kermes. "Creating an American Identity: New England, 1789-1825." Journal of American History 96, no. 1 (June 1, 2009): 196. http://dx.doi.org/10.2307/27694764.

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30

Rasula, Jed. "The Empire's New Clothes: Anthologizing American Poetry in the 1990s." American Literary History 7, no. 2 (1995): 261–83. http://dx.doi.org/10.1093/alh/7.2.261.

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ROSS, MARGARET, SANDRA LIM, SASHA DEBEVEC-MCKENNEY, DANIEL POPPICK, SARAH TRUDGEON, ANAÏS DUPLAN, and ROBYN SCHIFF. "Where Lyric Meets Narrative: A new direction in American poetry." Yale Review 107, no. 4 (October 2019): 112–17. http://dx.doi.org/10.1111/yrev.13561.

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ROSS, MARGARET, SANDRA LIM, SASHA DEBEVEC-MCKENNEY, DANIEL POPPICK, SARAH TRUDGEON, ANAÏS DUPLAN, and ROBYN SCHIFF. "Where Lyric Meets Narrative: A new direction in American poetry." Yale Review 107, no. 4 (2019): 112–17. http://dx.doi.org/10.1353/tyr.2019.0150.

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33

Wood, Joseph S. "The New England Village as an American Vernacular Form." Perspectives in Vernacular Architecture 2 (1986): 54. http://dx.doi.org/10.2307/3514316.

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34

Young, Terence, and Thomas J. Campanella. "Republic of Shade: New England and the American Elm." Environmental History 9, no. 4 (October 2004): 741. http://dx.doi.org/10.2307/3986272.

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35

Shoemaker, Nancy. "Mr. Tashtego: Native American Whalemen in Antebellum New England." Journal of the Early Republic 33, no. 1 (2013): 109–32. http://dx.doi.org/10.1353/jer.2013.0017.

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36

Wickman, Thomas. "American Passage: The Communications Frontier in Early New England." Journal of Historical Geography 53 (July 2016): 117–18. http://dx.doi.org/10.1016/j.jhg.2015.10.012.

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37

Lewis, Jessica. ""Poetry Experienced": Lucy Larcom's Poetic Dwelling in A New England Girlhood." Legacy 18, no. 2 (2001): 182–92. http://dx.doi.org/10.1353/leg.2001.0027.

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38

Choi, Mi-Jeong. "A Study of Korean American Women’s Poetry in New York Area." Korean Literature and Arts 27 (September 30, 2018): 273–321. http://dx.doi.org/10.21208/kla.2018.09.27.273.

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Douglass, Paul, and Lynn Keller. "Re-Making It New: Contemporary American Poetry and the Modernist Tradition." Modern Language Review 85, no. 1 (January 1990): 172. http://dx.doi.org/10.2307/3732834.

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Altieri, Charles. "What Theory Can Learn from New Directions in Contemporary American Poetry." New Literary History 43, no. 1 (2012): 65–87. http://dx.doi.org/10.1353/nlh.2012.0003.

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Popescu-Sandu, Oana. "Translingualism as Dialogism in Romanian-American Poetry." Journal of World Literature 3, no. 1 (February 16, 2018): 50–71. http://dx.doi.org/10.1163/24056480-00301005.

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Abstract This essay examines how translingual poetry by immigrant Romanian writers who live in or travel to the United States requires a transnational community framing rather than a national one and raises new questions about cultural and linguistic identity formation that reflect on both national and world literature issues. This analysis of the Romanian-American contemporary poets Mihaela Moscaliuc, Andrei Guruianu, Claudia Serea, and Aura Maru uses literary and rhetorical translingual theory to show that the “national literature” framing is no longer sufficient to address works created between two languages in a globalized world—Romanian and English, in this case. Born between two cultures and languages, their poetry does not belong entirely to either. In its turn, the national framing—both the Romanian and the American one—can become more porous and inclusive if read through a sociolinguistic “regime of mobility” (Blommaert) lens that gives a more powerful voice to migrant writers.

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Stubbs, Tara. "‘Its native surroundings’: Marianne Moore, England, and the idea of the ‘characteristic American’." Modernist Cultures 11, no. 1 (March 2016): 48–64. http://dx.doi.org/10.3366/mod.2016.0125.

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Marianne Moore claimed that she was ‘Irish by descent, possibly Scotch also, but purely Celtic’. Critics have gone so far as to claim Moore as an Irish-American poet. In so doing they have glossed over the English side of her family background (as did Moore herself). This is perhaps unsurprising, considering that it was Moore's father, from whom she was estranged throughout her life, who was of English ancestry. Nevertheless, this ancestry lurks in the background of her imagination. This article argues that Moore's poetry and prose often map ‘Englishness’ onto ‘Americanness’. Here she is both the American tourist and the American settler, engaging with a colonial legacy upon which Englishness has been heavily imprinted. By considering the ways in which English and American cultures converge and diverge within Moore's writings – particularly in relation to the arguments she rehearses in her essay ‘Henry James as a Characteristic American’ (1934) – this article shows how Moore's ‘English’ background cannot be regarded as incidental to her writing.

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Cothren, Michael W. "Stained Glass before 1700 in American Collections: New England and New York." Speculum 62, no. 4 (October 1987): 993–94. http://dx.doi.org/10.2307/2851827.

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44

Garrett, Paul Michael. "New England and New Labour: Retracing American Templates for theChange For ChildrenProgramme?" Journal of Comparative Social Welfare 23, no. 1 (April 2007): 31–47. http://dx.doi.org/10.1080/17486830601111591.

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Alkahtib, Wafa Yousef. "Homesickness and Displacement in Arab American Poetry." Modern Applied Science 13, no. 3 (February 28, 2019): 165. http://dx.doi.org/10.5539/mas.v13n3p165.

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The aim of this study is to address the nostalgic elements found in the Writings of the Arab American poet Naomi Shihab Nye. Nye is an American Palestinian poet whose works are mainly concerned with revealing her father’s homesickness and detailing his lomging for his homeland and childhood memories. The study makes an attempt to prove that the overwhelming nostalgia bonds the person with his lost homeland, and prevents him from forgetting his past; therefore’ these feelings stand as a barrier between him and his new world. Displacement and homesickness are the main elements that increased the nostalgia of the immigrants for their homelands. To emphasize this, the current paper analysed some of Nye's poems which handle the sever nostalgia that Nye's father started suffering since the early beginning of his arrival to San Antonio, Texas in the United States of America. Besides, the study argues that the nostalgic feeling for the homeland has been transmitted from father to son/ daughter, although the later doesn't have any memories in his/ her ex- homeland. Thus, Nye herself started feeling the nostalgia for a past she has never lived and to a homeland she has never seen.

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Augustyn Jr., Frederick J. "The American Switzerland: New England as a Toy-Making Center." Journal of Popular Culture 36, no. 1 (August 2002): 1–13. http://dx.doi.org/10.1111/1540-5931.00027.

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Zboray, Ronald J., and Mary Saracino Zboray. "The mysteries of new England: Eugene Sue's American “imitators,” 1844." Nineteenth-Century Contexts 22, no. 3 (January 2000): 457–92. http://dx.doi.org/10.1080/08905490008583520.

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Eden, Jason, and Naomi Eden. "Views of Older Native American Adults in Colonial New England." Journal of Cross-Cultural Gerontology 25, no. 3 (September 2010): 285–98. http://dx.doi.org/10.1007/s10823-010-9125-7.

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49

Barnsley, Sarah. "Making it New: Sappho, Mary Barnard and American Modernism." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 5 (May 1, 2013): 71. http://dx.doi.org/10.12681/syn.17432.

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Contrary to the pessimism of American editors in the 1950s who told Mary Barnard that "Sappho would never sell," Barnard‘s Sappho: A New Translation (1958) is now in its fifty-fifth year of continuous print by the University of California Press. Expressing the bare, lyrical intensity of Sappho‘s poetry without recourse to excessive linguistic ornament or narrative padding, Barnard‘s translation is widely regarded as the best in modern idiom, with leading translation studies scholar Yopie Prins asserting that "Barnard‘s Sappho is often read as if it is Sappho." This essay will examine how Barnard managed this remarkable achievement, linking Sappho to the American modernist project to "make it new," to quote Ezra Pound. New archival material is used to show how Barnard declared herself "A Would-Be Sappho" as early as 1930. The essay begins with the reasons why Sappho was appealing to those with modernist sensibilities, reading the development of Imagists Pound, H.D. and Richard Aldington against the backdrop of the public excitement that surrounded the major excavations of Sappho‘s corpus at the turn of the century. The essay then zooms-in on the ways in which Sappho was a vital element in the formulation of Barnard‘s identity as a late modernist writer, particularly examining her appropriation of the imagery from Sappho‘s fragments as Barnard developed her "spare but musical" late Imagist style in her poems of the 1930s and 1940s. If Barnard‘s deep absorption of Sappho in her emergent years enabled her to find a means of producing American free verse in the modernist tradition, then there was an intriguing reciprocation: it was this very "Sapphic modernism," I contend, that enabled Barnard to find a means of translating Sappho to be read "as if it is Sappho." The essay concludes with a new interpretation of the significance of Barnard‘s appropriation of Sappho in her own poetry, noting how, peculiarly, Barnard drew out of her Sappho connection a thoroughly American idiom to pit against European literary autonomy, on a par with William Carlos Williams‘s own attempts to produce a thoroughly American verse. In making Sappho new for modern Americans, Barnard was, I find, making a new language for modern American poetry.

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50

Orchid Tierney. "Back to the Future of Poetry? A Review of The New American Poetry: Fifty Years Later." Journal of Modern Literature 40, no. 1 (2016): 164. http://dx.doi.org/10.2979/jmodelite.40.1.09.

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