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Journal articles on the topic 'Stevens, Wallace - poetry'

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Published: 4 June 2021

Last updated: 5 February 2022

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1

Kennedy, Victor. "Musical Metaphors in the Poetry of Wallace Stevens." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 1 (2016): 41–58. http://dx.doi.org/10.4312/elope.13.1.41-58.

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Wallace Stevens’s “The Man with the Blue Guitar” (1937) is widely recognized as one of the most important and influential poems of the 20th century. Inspired by Picasso’s painting The Old Guitarist, the poem in turn inspired Michael Tippett’s sonata for solo guitar, “The Blue Guitar” (Tippett 1983) and David Hockney’s The Blue Guitar: Etchings by David Hockney who was inspired by Wallace Stevens who was inspired by Pablo Picasso (Hockney and Stevens 1977). Central to “The Man with the Blue Guitar,” the metaphor of the musical instrument as a transformational symbol of the imagination is common

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2

Vendler, Helen. "Wallace Stevens: Hypotheses and Contradictions." Representations 81, no. 1 (2003): 99–117. http://dx.doi.org/10.1525/rep.2003.81.1.99.

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WALLACE STEVEN'S HYPOTHESES——his ifs and ors—— and his contradictions——his buts——play a visibly large role in his poetry. They represent speculation, on the one hand, and the obstruction of speculation, on the other. Speculation is a way to resist the inertial forward movement of the mind; hypothesis is a way to swerve away from present thinking, as is contradiction (see "Earthy Anecdote," Stevens's first manifesto of the need for change and the means to change). Although speculative and contradictory forms of thought are indispensable to Stevens through his middle period, in the later part of

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3

Leonard, J. S., and Robert Rehder. "The Poetry of Wallace Stevens." American Literature 60, no. 4 (1988): 693. http://dx.doi.org/10.2307/2926686.

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4

Kotin, Joshua. "Wallace Stevens's Point of View." PMLA/Publications of the Modern Language Association of America 130, no. 1 (2015): 54–68. http://dx.doi.org/10.1632/pmla.2015.130.1.54.

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“The earth, for us, is flat and bare. / … Poetry // Exceeding music must take the place / Of empty heaven and its hymns… Such claims saturate Wallace Stevens's work: poetry, Stevens affirms and reaffirms, is a potential source of value in a secular world. This essay tracks his attempts to realize this potential—to write a poem that would satisfy his metaphysical need. His work is relentlessly self-critical and experimental, and over his career he develops extravagant (and ultimately hermetic) responses to a stubborn philosophical problem. My aim is to reframe critical approaches to a central t

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5

Critchley, Simon. "Poetry as philosophy - on Wallace Stevens." European Journal of American Culture 24, no. 3 (2005): 179–90. http://dx.doi.org/10.1386/ejac.24.3.179/1.

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6

Hall, Joshua M. "Double Characters: James and Stevens on Poetry-Philosophy." Research in Phenomenology 44, no. 3 (2014): 405–20. http://dx.doi.org/10.1163/15691640-12341295.

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In this paper, I will explore how the work of Wallace Stevens constitutes a phenomenology that resonates strongly with that of William James. I will, first, explore two explicit references to James in the essays of Stevens that constitute a misrepresentation of a rather duplicitous quote from James’ personal letters. Second, I will consider Stevens’ little known lecture-turned-essay, “A Collect of Philosophy,” and the (conventional) poem, “Large Red Man Reading,” as texts that are both about a conception of poetryphilosophy as well as being performances of poetry-philosophy. Finally, I will co

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7

Pietrzak, Wit, and Karolina Marzec. "“Such beauty transforming the dark”: Wallace Stevens’s Project in Frank Ormsby’s “Fireflies”." Anglica. An International Journal of English Studies, no. 27/1 (September 17, 2018): 111–20. http://dx.doi.org/10.7311/0860-5734.27.1.08.

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Although Frank Ormsby’s poetry is associated with what Terry Eagleton has called tropes of irony and commitment, his 2009 collection Fireflies inclines, rather surprisingly, towards Wallace Stevens’s idea of imagination as a force impacting reality. Reading Ormsby’s volume against a selection of poems by Stevens unravels what appears to be a consistent affinity between the author of Harmonium and the Ulster-born poet. This affinity manifests itself, as the present paper aims to show, in the fact that in Fireflies, much like in Stevens, a form of perception of reality is delineated that is neve

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8

Gurgel, Diogo de França. "Resenha de Wallace Stevens: Poetry, Philosophy, and Figurative Language." Viso: Cadernos de estética aplicada 15, no. 28 (2021): 1–22. http://dx.doi.org/10.22409/1981-4062/v28i/405.

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9

Filreis, Alan, Charles Berger, and Wallace Stevens. "Forms of Farewell: The Late Poetry of Wallace Stevens." New England Quarterly 58, no. 4 (1985): 631. http://dx.doi.org/10.2307/365572.

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10

MacLeod, Glen, and Eleanor Cook. "Poetry, Word-Play, and Word-War in Wallace Stevens." American Literature 61, no. 3 (1989): 490. http://dx.doi.org/10.2307/2926851.

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11

Bell, Ian F. A., and Eleanor Cook. "Poetry, Word-Play, and Word-War in Wallace Stevens." Modern Language Review 85, no. 3 (1990): 715. http://dx.doi.org/10.2307/3732238.

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12

Hesla, David H., Charles Berger, and Michael North. "Forms of Farewell: The Late Poetry of Wallace Stevens." American Literature 58, no. 3 (1986): 470. http://dx.doi.org/10.2307/2925639.

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13

Austenfeld, Thomas. "Rituals of Reading in the Poetry of Wallace Stevens." South Atlantic Review 58, no. 1 (1993): 67. http://dx.doi.org/10.2307/3201101.

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14

Kronick, Joseph, Charles Berger, Albert Gelpi, and Rajeev S. Patke. "Forms of Farewell: The Late Poetry of Wallace Stevens." South Atlantic Review 53, no. 2 (1988): 167. http://dx.doi.org/10.2307/3199936.

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15

Lawder, Bruce. "Poetry and painting: Wallace Stevens and Pierre Tal-Coat." Word & Image 18, no. 1 (2002): 348–56. http://dx.doi.org/10.1080/02666286.2002.10404834.

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16

Hołda, Małgorzata. "The Poetic Bliss of the Re-described Reality: Wallace Stevens: Poetry, Philosophy, and the Figurative Language." Text Matters, no. 10 (November 24, 2020): 423–32. http://dx.doi.org/10.18778/2083-2931.10.23.

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The article addresses the issue of the intimate but troublesome liaison between philosophy and literature—referred to in scholarship as “the ancient quarrel between poets and philosophers.” Its aim is double-fold. First, it traces the interweaving paths of philosophical and literary discourse on the example of Wallace Stevens’s oeuvre. It demonstrates that this great American modernist advocates a clear distinction between poetry and philosophy on the one hand, but draws on and dramatizes philosophical ideas in his poems on the other. The vexing character of his poetic works exemplifies the co

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17

Andrews, Kimberly Quiogue. "Resisting the Intelligence Almost Successfully: Wallace Stevens's ‘Academic’ Style." Modernist Cultures 14, no. 1 (2019): 53–69. http://dx.doi.org/10.3366/mod.2019.0240.

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While the sweeping referentiality of T. S. Eliot or Ezra Pound might seem to form the clearest connection between modernist innovation and academic work, this essay argues that it is in fact Wallace Stevens's erudite irony that most precisely anticipates the current set of relations between innovative poetry and the discipline of literary criticism. Stevens's work can thus be analysed as an intellectual collaboration not with a particular scholar or discipline but with the development of discourses specifically concerned about the value of hermeneutics. In particular, his poetry looks towards

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18

Mayer, Mark. "Using the Rotted Names: Wallace Stevens’s Racial Ontology as Poetic Key." Twentieth-Century Literature 65, no. 3 (2019): 217–36. http://dx.doi.org/10.1215/0041462x-7852064.

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This essay takes up Adrienne Rich’s unexplained assertion that Wallace Stevens’s racial and racist language is a “key to the whole” of his poetry. Focusing mostly on Stevens’s 1941 diptych “The News and the Weather,” the essay begins an anthology of critical approaches to the racial Stevens, the language of which has been read as a device by which white protagonism defines itself in opposition to characteristics marked as “black,” as a “blackface” critique of white gentility, and as a melancholic attempt to locate the limits of the white imagination. Reviewing and critiquing such theses, the e

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19

Thompson, Erik Robb. "Modernist Ecology in the Poetry and Thought of Wallace Stevens." Journal of Modern British & American Language & Literature 36, no. 2 (2018): 77–102. http://dx.doi.org/10.21084/jmball.2018.05.36.2.77.

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20

Ferguson, Robert A., and Thomas C. Grey. "The Wallace Stevens Case: Law and the Practice of Poetry." American Literature 64, no. 2 (1992): 405. http://dx.doi.org/10.2307/2927870.

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21

Jarman, Mark, Frank Kermode, and Joan Richardson. "Solving for X: The Poetry and Prose of Wallace Stevens." Hudson Review 51, no. 1 (1998): 250. http://dx.doi.org/10.2307/3853168.

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22

Righelato, Pat, and Thomas C. Grey. "The Wallace Stevens Case: Law and the Practice of Poetry." Yearbook of English Studies 24 (1994): 335. http://dx.doi.org/10.2307/3507940.

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23

Cunning, Andrew. "‘A Table, A Cup, A Meowing Cat’: Marie Howe’s Theopoetics of the Ordinary." Literature and Theology 33, no. 3 (2019): 307–20. http://dx.doi.org/10.1093/litthe/frz027.

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Abstract This article connects the work of contemporary poet, Marie Howe (1950–) to a lineage of American writing dedicated to and founded on ‘the ordinary’. Beginning with Emerson and the transcendentalists, the argument is made that a largely Protestant tradition of American poetry and theology runs from Emerson and Whitman, through Elizabeth Bishop and Wallace Stevens, to Marilynne Robinson. Having established a distinctly American and specifically Protestant tradition of writing sourced from the mundane and the particular, it is shown how Marie Howe’s poetry is in dialogue with this lineag

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24

Bryson, J. S. "Notations of the Wild: Ecology in the Poetry of Wallace Stevens." American Literature 73, no. 2 (2001): 422–23. http://dx.doi.org/10.1215/00029831-73-2-422.

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25

Askins, J. "Notations of the Wild: Ecology in the Poetry of Wallace Stevens." Interdisciplinary Studies in Literature and Environment 5, no. 1 (1998): 160–61. http://dx.doi.org/10.1093/isle/5.1.160.

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26

McBride, Tom. "Things Merely Are: Philosophy in the Poetry of Wallace Stevens (review)." Philosophy and Literature 29, no. 2 (2005): 503–8. http://dx.doi.org/10.1353/phl.2005.0028.

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27

Lehman, Robert S. "Abstract Pleasures: Romanticism and Finitism in the Poetry of Wallace Stevens." Modern Philology 111, no. 2 (2013): 308–28. http://dx.doi.org/10.1086/673308.

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28

Allen, Graham. "Cook, E., Poetry, Word-Play, and Word-War in Wallace Stevens." Notes and Queries 39, no. 1 (1992): 136–37. http://dx.doi.org/10.1093/nq/39.1.136.

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29

Martínez Serrano, Leonor María. "The Audible Light of Words: Mark Strand on Poetry and the Self." ES Review. Spanish Journal of English Studies, no. 39 (December 14, 2018): 255–80. http://dx.doi.org/10.24197/ersjes.39.2018.255-280.

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The aim of this paper is to look at American poet Mark Strand’s thinking about what poetry is all about, as expressed in his poetry collections and prose works, especially in The Monument (1978), a book of “notes, observations, rants, and revelations” about literary immortality, but also a meditation on “the translation of a self, and the text as self, the self as book”; in The Continuous Life (1990), a collection of luminous pieces on various aspects of the literary enterprise, including reading, translation and the multitude of selves making up the self; and in The Weather of Words: Poetic I

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30

Deudney-Theron, E. "Metapoëtiese raakpunte in die poësie van Gerrit Kouwenaar en Breyten Breytenbach." Literator 12, no. 2 (1991): 49–58. http://dx.doi.org/10.4102/lit.v12i2.758.

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Prompted by the poem "brief in een fles voor breyten" in which a certain poetic relationship between the Dutch poet Gerrit Kouwenaar and the Afrikaans poet Breyten Breytenbach is implied, the author of this article traces the outlines of a meta-poetics common to both poets and through which their poetry has intertextual links with the poetics of among others Poe, Mallarme and Wallace Stevens. The following common denominators are found in Kouwenaars’s body of works and Breytenbach’s ("yk") and Lewendood: the proliferation of the subject, the ‘killing’ of life in language, the extended metaphor

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31

Sharpe, Tony. "Unbearable Lightness: Some Modern Instances in Auden, Stevens and Eliot." Romanticism 22, no. 3 (2016): 312–21. http://dx.doi.org/10.3366/rom.2016.0292.

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In this essay I examine the implicit paradox that, although in conventional consideration ‘light’ is good and ‘darkness’, by antithesis, bad, the antithesis itself implies interconnection and, especially in poetry, the evocation of light can equally imply the possibility of darkness. Further, I suggest that poets have found intermediate or qualified illumination to be a more productive resource than light unmoderated by shadow, whose erasure of uncertainty is potentially disabling. My principal examples are drawn from modern poetry, in W. H. Auden, Wallace Stevens and T. S. Eliot, preceded by

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32

Dickinson, Colby. "The Logic of the ‘as if’ and the (non)Existence of God: An Inquiry into the Nature of Belief in the Work of Jacques Derrida." Derrida Today 4, no. 1 (2011): 86–106. http://dx.doi.org/10.3366/drt.2011.0007.

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For Derrida, the ‘as if’, as a regulative principle directly appropriated and modified from its Kantian context, becomes the central lynchpin for understanding, not only Derrida's philosophical system as a whole, but also his numerous seemingly enigmatic references to his ‘jewishness’. Through an analysis of the function of the ‘as if’ within the history of thought, from Greek tragedy to the poetry of Wallace Stevens, I hope to show how Derrida can only appropriate his Judaic roots as an act of mourning that seeks to render the lost object as present, ‘as if’ it were incorporated by the subjec

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33

RODRÍGUEZ GUERRERO-STRACHAN, Santiago. "Bark Eeckhout and Lisa Goldfarb, eds. 2017. Poetry and Poetics after Wallace Stevens." Atlantis. Journal of the Spanish Association for Anglo-American Studies 40, no. 1 (2018): 225–29. http://dx.doi.org/10.28914/atlantis-2018-40.1.13.

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34

Sanua, David. "The Wallace Stevens Case: Law and the Practice of Poetry Thomas C. Grey." Cardozo Studies in Law and Literature 4, no. 1 (1992): 85–92. http://dx.doi.org/10.2307/743436.

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35

Finch, Zachary. "Poetry and Poetics after Wallace Stevens ed. by Bart Eeckhout and Lisa Goldfarb." Wallace Stevens Journal 41, no. 1 (2017): 139–44. http://dx.doi.org/10.1353/wsj.2017.0021.

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36

Sanua, David. ": The Wallace Stevens Case: Law and the Practice of Poetry . Thomas C. Grey." Cardozo Studies in Law and Literature 4, no. 1 (1992): 85–92. http://dx.doi.org/10.1525/lal.1992.4.1.02a00070.

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37

Costello, Bonnie. "Planets on Tables: Still Life and War in the Poetry of Wallace Stevens." Modernism/modernity 12, no. 3 (2005): 443–58. http://dx.doi.org/10.1353/mod.2005.0080.

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38

Friend, Robert. "Poverty and plenitude: The struggle for belief in the poetry of Wallace Stevens." Neophilologus 73, no. 4 (1989): 620–32. http://dx.doi.org/10.1007/bf00214605.

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39

Asciuto, Nicoletta. "Poetry and Poetics after Wallace Stevens. Edited by Bart Eeckhout and Lisa Goldfarb." English: Journal of the English Association 66, no. 255 (2017): 375–77. http://dx.doi.org/10.1093/english/efx030.

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40

MacLeod, Glen. "“The Tongue Is an Eye”: Poetry, the Visual Arts, and Wallace Stevens, and: Two American Poets: Wallace Stevens and William Carlos Williams, and: Two American Poets: Wallace Stevens and William Carlos Williams by Alan M. Klein." Wallace Stevens Journal 43, no. 2 (2019): 274–77. http://dx.doi.org/10.1353/wsj.2019.0033.

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41

Ziarek, Krzysztof. "Wallace Stevens: Poetry, Philosophy, and Figurative Language ed. by Kacper Bartczak and Jakub Mácha." Wallace Stevens Journal 44, no. 2 (2020): 292–94. http://dx.doi.org/10.1353/wsj.2020.0030.

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42

Sellars, Roy. "Waste and Welter: Derrida's Environment." Oxford Literary Review 32, no. 1 (2010): 37–49. http://dx.doi.org/10.3366/olr.2010.0004.

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At first sight, environmental issues do not seem to feature prominently, if at all, in the work of Jacques Derrida. This essay aims to take a closer look, and thereby to issue a challenge to the burgeoning discipline of eco-criticism. Instead of promoting the Beautiful Soul who is equipped to save the planet by virtue of reading poetry, I argue for the ethical primacy of waste and welter (to recycle a phrase from Wallace Stevens). Jonathan Bate's The Song of the Earth, a powerful but pious work of eco-criticism, ends with a test proposed to the reader; I take the test, which entails reading St

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43

Castiglione, Davide. "Difficult poetry processing: Reading times and the narrativity hypothesis." Language and Literature: International Journal of Stylistics 26, no. 2 (2017): 99–121. http://dx.doi.org/10.1177/0963947017704726.

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This study presents an experiment that uses reading times as a measure of the processing effort demanded by ‘difficult’ poems, where difficulty is defined as a text-driven response phenomenon associated with resistance to reading fluency. Reading times have been used before to explore the processing of literature, but seldom with the aim of shedding light on difficulty. There is then scope to redress this research gap, also in light of Shklovsky’s claim that the technique of art is ‘to increase the difficulty and length of perception’. In the current experiment, a group of participants read si

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44

Klausner, Lewis, and Guy Rotella. "Reading and Writing Nature: The Poetry of Robert Frost, Wallace Stevens, Marianne Moore, and Elizabeth Bishop." American Literature 63, no. 4 (1991): 766. http://dx.doi.org/10.2307/2926899.

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45

Gilbert, Roger, Guy Rotella, Robert Frost, Wallace Stevens, Marianne Moore, and Elizabeth Bishop. "Reading and Writing Nature: The Poetry of Robert Frost, Wallace Stevens, Marianne Moore, and Elizabeth Bishop." New England Quarterly 64, no. 3 (1991): 509. http://dx.doi.org/10.2307/366359.

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46

Levi, Melih. "Sounds and gestures of linguistic reference: the endurance of reality in the poetry of Wallace Stevens." Semiotica 2021, no. 240 (2021): 351–74. http://dx.doi.org/10.1515/sem-2021-0018.

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Abstract The article seeks a rapprochement between pragmatic and semantic theories of language by returning to a breaking point in the history of philosophy, the middle of the twentieth century, when these theoretical models began to evolve into distinct schools of thought. Philosophical accounts of this period explore various and intertwined dependencies between semantics and context; however, they only implicitly examine the potential of sounds and bodily gestures in bringing descriptive clarity to the modes and limits of such dependencies. The article first investigates the way W. V. Quine

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47

Solecki, Sam Z. "Michael Ondaatje's "Rat Jelly" and the poetics of ambivalence." Journal of English Studies 2 (May 29, 2000): 125. http://dx.doi.org/10.18172/jes.63.

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Michael Ondaatje's second collection of poems, Rat Jelly (1973), is a crucial transitional work that simultaneously consolidates the early promise and achievement of The Dainty Monsters (1967) and The Collected Works of Billy the Kid (1969), articulates Ondaatje's early poetics in a handful of ambitious, sometimes almost allegorical lyrics, and in two of its poems,'Letters and Other Worlds' and 'Burning Hills,' anticipates Ondaatje's turn in the late 1970s and early 1980s towards his Sri Lankan past as a central concern in his poetry and prose. Though the collection contains some of Ondaatje's

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48

Halliday, Sam. "Clocks, horses, trains: the aural space-time complex in the late-nineteenth and early-twentieth centuries." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 1, no. 1 (2011): 37–51. http://dx.doi.org/10.7146/se.v1i1.4126.

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This essay considers time’s relationship with space in the experience of sound, as depicted in a range of texts from 1875-1948. Though some of these texts view time and space as incommensurable―most notably, Henri Bergson’s Time and Free Will, whose criticism of “spatialised” time is a touchstone throughout the essay―the majority consider the two categories as cognate, and as pragmatically, if not ontologically inseparable. Each of the three objects named in the essay’s title appear as yielding knowledge, though of a kind dependent on what Bergson (in his early work at least) considers, parado

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49

William Tate. ""Something in Us Like the Catbird's Song": Wallace Stevens and Richard Wilbur on the Truth of Poetry." Logos: A Journal of Catholic Thought and Culture 13, no. 3 (2010): 105–23. http://dx.doi.org/10.1353/log.0.0079.

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50

Jenkins, Lee M. "Wallace Stevens, Poetry, and France: "Au pays de la métaphore." ed. by Juliette Utard, Bart Eeckhout, and Lisa Goldfarb." Wallace Stevens Journal 42, no. 2 (2018): 270–72. http://dx.doi.org/10.1353/wsj.2018.0031.

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