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Journal articles on the topic 'Whitman, Walt, Whitman, Walt'

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Published: 4 June 2021

Last updated: 10 February 2022

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1

Winant, Johanna. "Walt Whitman’s Formalism." Poetics Today 41, no. 1 (March 1, 2020): 59–81. http://dx.doi.org/10.1215/03335372-7974086.

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In this article, the author argues that we should understand Walt Whitman’s catalog as a poetic form that is also a logical form — enumerative induction. Whitman’s catalogs — his characteristic technique of generating long lists — have long been recognized as central to his poetics. The list, or enumeration, is also the most basic form of inductive reasoning. By recognizing that Whitman reasons logically through his poetic form, not only is the common account of Whitman changed, but the concept of form must be revised in three crucial ways. First, form should not be defined in opposition to poetic content— this is a false definitional binary. Second, form and free verse are another false binary, as poems can be written in free verse and also have form, as Whitman’s poetry is and does. Third, form is not just a rubric with which critics interpret poems but the logic by which poems interpret the world.

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2

Halling, Anna-Lisa. "Pasciolla, Francesca. Walt Whitman in Fernando Pessoa. Critical, Cultural and Communications Press, 2016." Journal of Lusophone Studies 4, no. 2 (January 1, 2020): 302–4. http://dx.doi.org/10.21471/jls.v4i2.350.

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3

Arianto, Tomi. "NATIONAL ROMANTICISM IN WALT WHITMAN POEMS." Lire Journal (Journal of Linguistics and Literature) 2, no. 1 (August 25, 2018): 14–20. http://dx.doi.org/10.33019/lire.v2i1.18.

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Romanticism is often misunderstood as something genuine love and merely about romance. In fact, romanticism is an understanding of great ideas that also be delivered great ideas. The development of Romanticism delivered a new orientation that called National Romanticism by maintaining the freedom of individual, sovereignty, and independent of human rights. This study took data from three Walt Whitman poems; Patriotic, War Democracy, and Poem of America. Researcher was using the concept of interpretation to explore the meaning of poetry and the influence of romanticism in Whitman poetry. Researchers use Isaiah's theory in his book “the root of romanticism” to explore the influence of the romanticism idea on Whitman's poems. From the three samples of poetry, it is found that romanticism is very influential in Whitman poetry, especially the idea of romantic nationalism. Patriotic themes, nationalities and egalitarian concepts are reflected in Whitman's collection of "Leaves of grass" poems. Patriotic themes and nationalities are seen from the struggle for the right of individual freedom in opposing slavery and aristocratic government. The egalitarian concept is seen from the struggle to promote equality, as well as the democracy system that promotes people's sovereignty. The role of the idea of romanticism has evolved in American territory because it shares the same pattern and state of affairs as revolutions against noble, social, and political norms and rationalization of nature. Thus, the representation of romantic ideas originating from Western Europe of the 18th century has penetrated into the 19th century America which is reflected in the works that carried Whitman.

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4

Vasseur, Álvaro Armando. "Preface to the Sixth Edition of Walt Whitman: Poemas." PMLA/Publications of the Modern Language Association of America 123, no. 2 (March 2008): 438–51. http://dx.doi.org/10.1632/pmla.2008.123.2.438.

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Álvaro Armando Vasseur's 1912 selection and translation of Walt Whitman's poetry, titled simply Walt Whitman: Poemas, was an extremely influential text for hispanophone readers—the first substantial collection of Whitman poems in Spanish. Scholars have identified Vasseur's translation as instrumental in accelerating Latin American poetry's shedding of its modernista tendencies in favor of franker, often more explicitly socially and politically engaged verse. Republished frequently throughout the period of extraordinary historical and aesthetic change bounded by 1912 and 1951, Poemas played a crucial role in keeping both Whitman and Vasseur in the public eye. Of Vasseur's prefaces to the various editions of the work, that to the sixth edition is the longest and most elaborate declaration of his sense of Whitman's importance to international letters.

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5

Metzer, David. "Reclaiming Walt: Marc Blitzstein's Whitman Settings." Journal of the American Musicological Society 48, no. 2 (1995): 240–71. http://dx.doi.org/10.2307/3128815.

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Between 1925 and 1928, Marc Blitzstein composed nine songs to texts by Walt Whitman. These settings highlight homoerotic and corporeal thematics, which dominant views of the poet had either obscured or denied. Challenging such interpretations, Blitzstein advanced a reclaiming of Whitman by homosexual readers. Subtitled "songs for a coon shouter," four of these settings introduce African American elements, either through "coon song" gestures or through incorporation of jazz idioms. These appropriations were intended to enhance Whitman's eroticism. They also create tensions between the "primitive" and the "civilized," high and low art, and white and black bodies.

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6

Sobolievskyi, Y. "PHILOSOPHICAL POETRY OF THE AMERICAN TRANSCENDENTALIST WALT WHITMAN." Humanities Studies, no. 31 (2018): 117–24. http://dx.doi.org/10.17721/2521-6805.2018/31-11/11.

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The purpose of the article is to reveal the basic philosophical views of the American transcendentalist Walt Whitman. The author has made a historical and philosophical analysis of the basic philosophical views of the thinker, Walt Whitman's literary heritage was analyzed, and ideas typical of American transcendentalism were discovered. The author's interpretation of the basic philosophical views of Walt Whitman is offered. The results complement the idea of the history of American philosophy, namely the period of American transcendentalism, they can be used in educational programs, they can be useful to scientists, teachers, students, etc.

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7

HAW, RICHARD. "American History/American Memory: Reevaluating Walt Whitman's Relationship with the Brooklyn Bridge." Journal of American Studies 38, no. 1 (April 2004): 1–22. http://dx.doi.org/10.1017/s0021875804007881.

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No one did more to sanctify and enshrine the image of Abraham Lincoln than Walt Whitman. The poet never met the president, but he embraced his image and claimed him as his own. In his “Death of Abraham Lincoln” speech, delivered on numerous occasions during the last 20 years of his life, Whitman involved himself in the cultural work of national definition, of posterity and legacy. He helped bridge the gap between complex personal history and official public memory. In service to the larger, national idea of union, democracy and selfless Americanism, Whitman's Lincoln, when compared to, for example Herndon's Life of Lincoln (1889), razed the contours of ambiguity and established the exemplary image of the “Martyr Chief.” The connection is both apt and ironic. What Whitman did for Lincoln in the aftermath of his death, others would do for the poet. Since Whitman's death in 1892, the poet's life and ideas have often been radically simplified; on other occasions his words have been recontextualized and appropriated to support a variety of different causes, concerns and ideologies. A driving factor in this process has been that, like Lincoln, Whitman's name carries with it a certain legitimacy. To evoke the approval of Whitman is to learn of the authority of an ideal, more perfect, America. And where Lincoln's name is inseparable from the American Civil War, Whitman has become most strongly associated with the metropolitan idea of New York, and Brooklyn in particular.

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8

Venediktova, Tatiana. "“Je chante avec toi, Walt Whitman”." Literature of the Americas, no. 8 (June 2020): 469–77. http://dx.doi.org/10.22455/2541-7894-2020-8-469-477.

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9

Tessitore, John. "The ““Sky-Blue”” Variety: William James, Walt Whitman, and the Limits of Healthy-Mindedness." Nineteenth-Century Literature 62, no. 4 (March 1, 2008): 493–526. http://dx.doi.org/10.1525/ncl.2008.62.4.493.

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Although Neo-Pragmatist scholars have long considered Walt Whitman an intellectual and literary forebear to William James and the American Pragmatic tradition, James believed Whitman to be a far more problematic thinker than has been acknowledged. Haunting much of James's writings, and The Varieties of Religious Experience (1902) in particular, is a Whitman who is less a figure for emulation than an embodiment of a particular kind of metaphysical excess, at once unworldly and effeminate. In characterizing Whitman as a paragon of an untrustworthy ““healthy-mindedness”” and a ““queer”” idealism that he wished to excise from his own Transcendental inheritance, James developed a gendered critique of the ““sky-blue”” optimism he recognized as the peculiar legacy of the poet, a critique that took into account Whitman's roots in Hegelian and Emersonian thought as well as the well-publicized homoeroticism of his life and work. Ambivalent about the sexual and moral ““indifferentism”” that he believed accompanied Whitman's ““sky-blue”” acceptance of evil and death, James then traced Whitman's influence——both implicitly and explicitly——through the writings of the leading gay Whitmanites of his era, including the ““mystics”” John Addington Symonds and Edward Carpenter. Thus, in the war for the American soul——a war that James waged on the battlefields of metaphysics, religion, and gender identity as well as within his own person——the father of Pragmatism turned a ““feminine”” and ““unnatural”” Whitman into his chief foil and his main adversary; Whitman became the standard against which his own ““manly”” beliefs and methodologies, particularly with respect to religious experience, were defined.

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10

McGuiness, Dan, and David Wagoner. "Walt Whitman Bathing." Antioch Review 56, no. 1 (1998): 120. http://dx.doi.org/10.2307/4613645.

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11

Capper, Charles. "Walt Whitman Historicized." Reviews in American History 24, no. 2 (1996): 238–45. http://dx.doi.org/10.1353/rah.1996.0034.

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12

AHRENS, WILLIAM D. "Walt & Whitman." Nursing 32, no. 5 (May 2002): 43–44. http://dx.doi.org/10.1097/00152193-200205000-00053.

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13

Hayani, Khadija El Hayani. "Song of Myself : A Democratic Epic." International Journal of Innovative Science and Research Technology 5, no. 7 (July 25, 2020): 343–47. http://dx.doi.org/10.38124/ijisrt20jul394.

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Walt Whitman's 'Song of Myself' is one of the most important poems in the American literature, important for both its use of language and its vision of equality. Throughout the poem , Walt Whitman gives emphasis on equality of all men and women. To him all humans are equal and all professions are equally honorable.(Seery, 2011)). The poem, hence celebrates the theme of democracy and the oneness of mankind, specifically the American people. The purpose of this paper is not to provide a kind of background for Whitman’s poetic principles, but try to discuss his democratic leanings in “Song Of Myself “.Whitman envisioned democracy not just as a political system but as a way of experiencing the world. In the early nineteenth century, people still harbored many doubts about whether the United States could survive as a country and about whether democracy could thrive as a political system. To allay those fears and to praise democracy, Whitman tried to be democratic in both life and poetry. He imagined democracy as a way of interpersonal interaction and as a way for individuals to integrate their beliefs into their everyday lives. “Song of Myself” notes that democracy must include all individuals equally, or else it will fail.

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14

Rodríguez Guerrero-Strachan, Santiago. "The Aristocratic Poet: Juan Ramón Jiménez’s Reading of Walt Whitman." Complutense Journal of English Studies 27 (October 4, 2019): 317–30. http://dx.doi.org/10.5209/cjes.60771.

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The essay analyses Juan Ramón Jiménez’s reading of Walt Whitman as an aristocrat. For Jiménez, aristocracy is not a term associated with nobility. Instead, it is related to the intellectual effort that a poet – or any person – makes to improve himself, while at the same time maintaining ties with the folk. Jiménez wrote on Whitman in Alerta and El Modernismo. Apuntes de un curso and mentioned him in other essays and lectures. For Jiménez who used the American poet to foreground his own poetics, Whitman stood as one of the precursors of Spanish and Spanish American modernismo. Jiménez’s preference for the folk, led him to assert that he preferred Whitman’s brief poems to his big epic poetry which was then and continues to be the readers’ favourite.

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15

FOLLINI, TAMARA L. "Speaking Monuments: Henry James, Walt Whitman, and the Civil War Statues of Augustus Saint-Gaudens." Journal of American Studies 48, no. 1 (February 28, 2013): 25–49. http://dx.doi.org/10.1017/s0021875813000017.

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Although James's first published response to Whitman's poetry, an 1865 review of Drum-Taps, was dismissive, he expressed a profound affinity with the poet later in his career. This essay considers how his reading of two volumes of Whitman's correspondence in 1898, in particular The Wound Dresser letters, are crucial to James's reevaluation of Whitman and may be seen to be exerting pressure in The American Scene (1907). Through also examining a key event of the year previous, when James's Civil War memories were reignited by the dedication of the Robert Gould Shaw memorial in Boston, I suggest reasons for his changed relation to Whitman's aesthetic project. My argument focusses on how Whitman's epistolary and poetic treatment of the wounded body reformulated vital representational and emotional issues for James, and made Whitman an active presence for him during his 1904–5 American sojourn. James makes no explicit comment about Whitman when he details his journey in The American Scene, yet the poet's influence can be felt in the way James writes about recently erected Civil War monuments by Saint-Gaudens, in New York and Boston, and Whitman is also acknowledged by the stylistic memorial, in this work, that James builds for him.

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16

Frank, Jason. "Aesthetic Democracy: Walt Whitman and the Poetry of the People." Review of Politics 69, no. 3 (June 2007): 402–30. http://dx.doi.org/10.1017/s0034670507000745.

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This essay argues for Walt Whitman's significance to contemporary democratic theory, neither as a theorist of moral or aesthetic individualism nor as a theorist of communitarian nationalism, but as a theorist of the democratic sublime. Whitman's account of “aesthetic democracy” emphasizes the affective and autopoetic dimensions of political life. For Whitman, popular attachment to democracy requires an aesthetic component, and he aimed to enact the required reconfiguration of popular sensibility through a poetic depiction of the people as themselves a sublimely poetic, world-making power. Through his poetic translation of the vox populi, Whitman hoped to engender a robustly transformative democratic politics. He found the resources for political regeneration in the poetics of everyday citizenship, in the democratic potentials of ordinary life.

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17

Hirsch, Alexander Keller. "Witnessing and Waiting in Walt Whitman’s Democratic Arts of Attention." Humanities 10, no. 3 (June 25, 2021): 85. http://dx.doi.org/10.3390/h10030085.

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What is often overstated by democratic theorists enthralled by the poetic vision of Walt Whitman is the extent to which he excised the self in order to exalt a world where the sensed and the sensing collapse into reversibility. Throughout “Song of Myself,” I argue, Whitman experiments with an arts of attention—which he describes as “witnessing and waiting”—that adapts the self to the surplus vitality immanent to perceptual and sensual experience. I contrast this with democratic theories of “relational surrender” that stress self-sacrifice as the precondition for democratic sovereignty. In particular, I contrast Whitman’s poetics of touch with Elaine Scarry’s theory of beauty, which favors what she calls “opiated adjacency,” a vivid pleasure experienced in self-loss. By contrast, Whitman discloses a vision of democracy that emphasizes “cleaving things asunder,” a sense of intensified awareness that forms in spaces of proximity that are also spaces of separation.

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18

Manggong, Lestari. "Konsep Demokrasi Walt Whitman di Masa Kepresidenan Donald Trump1." Metahumaniora 7, no. 2 (September 3, 2017): 87. http://dx.doi.org/10.24198/metahumaniora.v7i2.18832.

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ABSTRAKSajak “Song of Myself” karya pujangga Amerika abad ke-19, Walt Whitman,mengupas konsep demokrasi yang menjadi salah satu pondasi prinsip kebebasanberpendapat di Amerika. Makalah ini membahas pembelajaran tentang konsep demokrasiyang dapat diperoleh dari sajak tersebut. Arah pembahasan menjadi spesifik ketikakonsep demokrasi dalam sajak tersebut dikaitkan dengan praktek demokrasi yang terjadidi Amerika sekarang, sejak Amerika berada dalam masa administrasi Presiden DonaldTrump. Dalam pembahasannya, makalah ini mengemukakan argumentasi bahwa dalamprakteknya, prinsip demokrasi yang mengedepankan kebebasan berpendapat bagi setiapindividu, secara dilematis mengantar Amerika pada masa kepresidenan Trump yang dinilaikontroversial. Selain “Song of Myslelf,” makalah ini juga membahas dan membandingkansajak Whitman yang lain, yaitu “For You O Democracy” untuk melihat lebih jauh lagi persepsiWhitman tentang demokrasi. Pembahasan dilakukan dengan melihat aspek pragmatis sajakWhitman dengan merujuk pada Mack (2002). Selain itu, pembahasan juga akan berfokuspada aspek xenofobia dalam karya Whitman dengan merujuk pada salah satu tulisan Price(2004). Simpulan dari pembahasan akan bermuara pada gagasan bahwa konsep utopissemacam demokrasi pun tidak sepenuhnya ideal. Karena, seperti yang terjadi di Amerikasekarang, prinsip demokrasi yang dipraktekkan membuat rakyatnya memasuki era yangbanyak menuai protes. Pada akhirnya, pembelajaran tentang konsep demokrasi ini secaraglobal juga dapat memberi sudut pandang yang lebih kritis mengenai konsep demokrasi.Kata kunci: pembelajaran sastra, Walt Whitman, demokrasi Amerika, Donald Trump,kajian pragmatis, xenofobia.ABSTRACT“Song of Myself,” by America’s nineteenth-century poet, Walt Whitman, describesthe concept of democracy which is one of foundations of the principle of freedom of speechin America. This essay discusses literature learning on the concept of democracy in thepoem. The discussion becomes specific when the concept of democracy in the poem is linkedwith the practice of democracy that occurs currently in America, ever since it is underPresident Trump’s administration. This essay argues that in its practice, the principle ofdemocracy that upholds freedom of speech to every individual, in a dillematic way bringsAmerica to today’s controversial administration by President Trump. Aside From “Songof Myslelf,” this essay also discusses and compares Whitman’s other poem, “For You ODemocracy,” to see further Whitman’s perception on democracy. The discussion will havea look at the pragmatic aspect of Whitman’s poem, by referring to Mack (2002), and it will1 Makalah ini telah dipresentasikan dalam Seminar Nasional HISKI: “Literasi, Sastra, dan Pembelajaran” yangdiselenggarakan di Fakultas Ilmu Budaya Universitas Halu Oleo Kendari, Sulawesi Tenggara, 29-30 April 2017.222 | METAHUMANIORA, Vol. 7, Nomor 2 September 2017: 221—233Lestari Manggongalso focus on the xenophobic aspect in the poem, by referring to Price (2004). This essayconcludes that even a utopian concept such as democracy is not entirely ideal, because thepractice of democracy today leads the American people to enter an era of protests. Thisessay proposes an idea that literature learning of the concept of democracy in the poemalso contributes to giving a more critical view on the concept of democracy.Keywords: literature learning, Walt Whitman, American democracy, Donald Trump,pragmatics studies, xenophobia.

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19

Manggong, Lestari. "Konsep Demokrasi Walt Whitman di Masa Kepresidenan Donald Trump1." Metahumaniora 7, no. 2 (September 3, 2017): 87. http://dx.doi.org/10.24198/mh.v7i2.18832.

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ABSTRAKSajak “Song of Myself” karya pujangga Amerika abad ke-19, Walt Whitman,mengupas konsep demokrasi yang menjadi salah satu pondasi prinsip kebebasanberpendapat di Amerika. Makalah ini membahas pembelajaran tentang konsep demokrasiyang dapat diperoleh dari sajak tersebut. Arah pembahasan menjadi spesifik ketikakonsep demokrasi dalam sajak tersebut dikaitkan dengan praktek demokrasi yang terjadidi Amerika sekarang, sejak Amerika berada dalam masa administrasi Presiden DonaldTrump. Dalam pembahasannya, makalah ini mengemukakan argumentasi bahwa dalamprakteknya, prinsip demokrasi yang mengedepankan kebebasan berpendapat bagi setiapindividu, secara dilematis mengantar Amerika pada masa kepresidenan Trump yang dinilaikontroversial. Selain “Song of Myslelf,” makalah ini juga membahas dan membandingkansajak Whitman yang lain, yaitu “For You O Democracy” untuk melihat lebih jauh lagi persepsiWhitman tentang demokrasi. Pembahasan dilakukan dengan melihat aspek pragmatis sajakWhitman dengan merujuk pada Mack (2002). Selain itu, pembahasan juga akan berfokuspada aspek xenofobia dalam karya Whitman dengan merujuk pada salah satu tulisan Price(2004). Simpulan dari pembahasan akan bermuara pada gagasan bahwa konsep utopissemacam demokrasi pun tidak sepenuhnya ideal. Karena, seperti yang terjadi di Amerikasekarang, prinsip demokrasi yang dipraktekkan membuat rakyatnya memasuki era yangbanyak menuai protes. Pada akhirnya, pembelajaran tentang konsep demokrasi ini secaraglobal juga dapat memberi sudut pandang yang lebih kritis mengenai konsep demokrasi.Kata kunci: pembelajaran sastra, Walt Whitman, demokrasi Amerika, Donald Trump,kajian pragmatis, xenofobia.ABSTRACT“Song of Myself,” by America’s nineteenth-century poet, Walt Whitman, describesthe concept of democracy which is one of foundations of the principle of freedom of speechin America. This essay discusses literature learning on the concept of democracy in thepoem. The discussion becomes specific when the concept of democracy in the poem is linkedwith the practice of democracy that occurs currently in America, ever since it is underPresident Trump’s administration. This essay argues that in its practice, the principle ofdemocracy that upholds freedom of speech to every individual, in a dillematic way bringsAmerica to today’s controversial administration by President Trump. Aside From “Songof Myslelf,” this essay also discusses and compares Whitman’s other poem, “For You ODemocracy,” to see further Whitman’s perception on democracy. The discussion will havea look at the pragmatic aspect of Whitman’s poem, by referring to Mack (2002), and it will1 Makalah ini telah dipresentasikan dalam Seminar Nasional HISKI: “Literasi, Sastra, dan Pembelajaran” yangdiselenggarakan di Fakultas Ilmu Budaya Universitas Halu Oleo Kendari, Sulawesi Tenggara, 29-30 April 2017.222 | METAHUMANIORA, Vol. 7, Nomor 2 September 2017: 221—233Lestari Manggongalso focus on the xenophobic aspect in the poem, by referring to Price (2004). This essayconcludes that even a utopian concept such as democracy is not entirely ideal, because thepractice of democracy today leads the American people to enter an era of protests. Thisessay proposes an idea that literature learning of the concept of democracy in the poemalso contributes to giving a more critical view on the concept of democracy.Keywords: literature learning, Walt Whitman, American democracy, Donald Trump,pragmatics studies, xenophobia.

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20

Coviello, Peter. "Whitman's Children." PMLA/Publications of the Modern Language Association of America 128, no. 1 (January 2013): 73–86. http://dx.doi.org/10.1632/pmla.2013.128.1.73.

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Looking at Walt Whitman's Civil War writings—especially his memoir Memoranda during the War and his letters of consolation—this essay argues that Whitman discovered in the war a way to enlarge the vision of sex and sexual possibility he had initiated in the “Calamus” poems of 1860. Taking as a point of departure the babies named Walt that were born after the war to soldiers for whom Whitman had cared, the essay describes the multiplicity of roles the poet inhabits in the war writing (mother, father, nurse, lover, confidant, scribe) and reads his acts of surrogacy as efforts to restore carnality, in its world-making force, to family and, in particular, to parenthood. Whitman's project of queer generation, the essay argues, usefully complicates recent scholarship on sex, time, and futurity.

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21

Davidson, Ryan J. "Transatlantic Intersections: The Role of Ralph Waldo Emerson in the Dissemination of Blakean Thought into the Poetry of Walt Whitman." Hawliyat 17 (July 11, 2018): 33–50. http://dx.doi.org/10.31377/haw.v17i0.66.

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Whitman quoted no one in his poetry, at least not directly, as Matt Miller convincingly mgues in Collage of Myself However, Whitman was not above making use of the work of other writers in his poetry. It is through Whitman's early reading in conjunction with his collage approach to composition that he came to create Leaves of Grass as something which appears wholly original, but which resonates with so many echoes. It is often argued that Ralph Waldo Emerson is one of the most important influences on Whitman 's Leaves of Grass. The extent and significance of Emerson 's influence has been a subject of inquiry' since the advent of Whitman scholarship. This text will focus on Emerson's essays and lectures as the main influences on Whitman which can be read as providing a mediating influence between Blake and Whitman.

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22

Szathmary, Louis. "The Culinary Walt Whitman." Walt Whitman Quarterly Review 3, no. 2 (October 1, 1985): 28–33. http://dx.doi.org/10.13008/2153-3695.1109.

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23

Li, Xilao. "Walt Whitman in China." Walt Whitman Quarterly Review 3, no. 4 (April 1, 1986): 1–8. http://dx.doi.org/10.13008/2153-3695.1115.

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24

Peltola, Niilo. "Walt Whitman in Finland." Walt Whitman Quarterly Review 8, no. 1 (July 1, 1990): 41–45. http://dx.doi.org/10.13008/2153-3695.1271.

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25

Paro, Maria Clara Bonetti. "Walt Whitman in Brazil." Walt Whitman Quarterly Review 11, no. 2 (October 1, 1993): 57–66. http://dx.doi.org/10.13008/2153-3695.1397.

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26

Sowder, Michael. "Walt Whitman, the Apostle." Walt Whitman Quarterly Review 16, no. 3-4 (January 1, 1999): 202–10. http://dx.doi.org/10.13008/2153-3695.1624.

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27

Moser, Barry. "Engraving of Walt Whitman." Walt Whitman Quarterly Review 20, no. 3-4 (January 1, 2003): 199. http://dx.doi.org/10.13008/2153-3695.1715.

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Robertson, M. "The Walt Whitman Archive." Journal of American History 99, no. 3 (December 1, 2012): 1019–20. http://dx.doi.org/10.1093/jahist/jas486.

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29

Cazé, Antoine. "Walt Whitman, poète commensurable." Études anglaises 70, no. 3 (2017): 297. http://dx.doi.org/10.3917/etan.703.0297.

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30

Athenot, Eric. "Walt Whitman, passant moderne." Caliban, no. 25 (December 1, 2009): 139–52. http://dx.doi.org/10.4000/caliban.1519.

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31

Neruda, Pablo, and Martín Espada. "Ode to Walt Whitman." Huntington Library Quarterly 73, no. 4 (December 2010): 553–57. http://dx.doi.org/10.1525/hlq.2010.73.4.553.

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32

Miller, Jon. ""Father Walt": Frances Willard and Walt Whitman." Walt Whitman Quarterly Review 28, no. 1-2 (October 1, 2010): 54–60. http://dx.doi.org/10.13008/2153-3695.1951.

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Collins, Sarah. "Nationalisms, Modernisms and Masculinities: Strategies of Displacement in Vaughan Williams’s Reading of Walt Whitman." Nineteenth-Century Music Review 14, no. 1 (November 8, 2016): 65–91. http://dx.doi.org/10.1017/s147940981600029x.

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At the time of his death in 1892, the paradigmatic American poet Walt Whitman was more widely celebrated in Britain than in his own country, having received the vocal support of the likes of Tennyson, William Michael Rossetti, John Addington Symonds, Swinburne (for a time) and Edward Carpenter. For these writers, Whitman’s political egalitarianism – expressed through notions of ‘manly love’ and comradeship – presented a powerful alternative to prevailing Victorian forms of political and social relations. Whitman also provided significant inspiration for British composers at the turn of the twentieth century, with settings by Holst, Delius, Grainger, Scott, Gurney, Bridge, Stanford, Wood, Vaughan Williams and others. Yet while Whitman’s transatlantic literary reception has come to be seen as a moment of crystallization in the formation of contemporary notions of homosexuality, his reception among British composers is viewed as having been highly circumscribed, focusing more on the democratic and mystical implications of Whitman’s poetry.This article suggests a different account of Vaughan Williams’s reading of Whitman, and explores the implications of this reading for our broader understanding of the relationship between several notions of nationalism, masculinity and modernism. This examination aims to complicate, inter alia, the narrative of rupture associated with the transition to modernism, by demonstrating how the continuity of intellectual concerns across aesthetic, national, and sexual spheres has been obscured by strategies of displacement.

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Rebrovick, Tripp. "A Queer Politics of Touching: Walt Whitman’s Theory of Comrades." Law, Culture and the Humanities 16, no. 2 (January 10, 2017): 313–31. http://dx.doi.org/10.1177/1743872116688181.

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This article explores the concept of political and legal regimes of touching by analyzing Walt Whitman’s poems that envision a new political order founded on comradeship – a distinct kind of friendship characterized by physical intimacy. Whitman’s “Calamus” poems, I argue, demonstrate that touching is a political act. This study resists treating Whitman anachronistically as a “homosexual” and argues that comradeship as he understands it represents a model of queerness that can challenge the recent anti-social turn in queer theory.

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Ness, William B. "“Bathed in War's Perfume”: Whitman and the Flag." Prospects 27 (October 2002): 247–70. http://dx.doi.org/10.1017/s0361233300001204.

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Beginning in 1871 and continuing through 1876 Walt Whitman's Leaves of Grass contained a small cluster of poems entitled “Bathed in War's Perfume” that had not appeared in any of the previous four editions and that would disappear from Whitman's final and definitive edition of Leaves in 1881. Taking the American flag as their focus, five of the seven poems in the group had emerged in Whitman's 1865–66 collection of war verse Drum-Taps and Sequel to Drum-Taps. This essay examines the issue of why Whitman created this cluster during the Reconstruction years only to disassemble it in 1881, and it also investigates the idea of the flag itself in Whitman's war and Reconstruction poetry. What did the flag mean to Whitman during those significant years of change in his own, and the nation's, life?

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Herzer-Wigglesworth, Manfred. "Der Streit um Walt Whitmans Homosexualität und Magnus Hirschfelds Zwischenstufenlehre." Zeitschrift für Sexualforschung 34, no. 02 (June 2021): 97–102. http://dx.doi.org/10.1055/a-1476-8845.

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ZusammenfassungVon 1905 bis 1922 führte Eduard Bertz, ein Mitarbeiter Magnus Hirschfelds, eine literarische Fehde gegen einige Verehrer Walt Whitmans, die den US-amerikanischen Dichter trotz der unverhohlen schwulen Bekenntnisse in seinem Werk für einen vollkommenen Frauenliebhaber hielten und alle davon abweichenden Ansichten als Herabwürdigung ihres Idols bekämpften. Bertz’ Beweisführung zu Whitmans Homosexualität wurde von Hirschfeld akzeptiert, obwohl sie, scheinbar auf dem Boden der Zwischenstufenlehre Hirschfelds stehend, Whitman als entarteten und pathologischen Jugendverführer brandmarkte. Die beiden Schriftsteller Gustav Landauer (1907) und Thomas Mann (1922) stimmten Hirschfelds Einschätzung zu, dass Homosexualität genauso gesund und normal wie Heterosexualität sei, und wandten sich strikt gegen konträre Mehrheitsmeinungen, nach denen Homosexualität per se Krankheit und Entartung sei.

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Conrad, Eric. "The Poet as Printer’s Fist: Walt Whitman’s Indicative Hand." Nineteenth-Century Literature 74, no. 1 (June 1, 2019): 54–86. http://dx.doi.org/10.1525/ncl.2019.74.1.54.

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Eric Conrad, “The Poet as Printer’s Fist: Walt Whitman’s Indicative Hand” (pp. 54–86) At the intersection of the professional author’s ascent in the United States and the growing centralization and sophistication of the advertising trade, a new anxiety surfaces in the world of nineteenth-century American publishing: how best to sell the literary text and, in turn, market its author. While a number of vocal literary figures perceived the encroachment of advertising, tainted by its ties to patent medicine fraud, as anathema to the genteel world of letters, Walt Whitman eagerly embraced its promotional potential. Nowhere is that affinity more pronounced than in the visual symbol Whitman used to represent his revolutionary poetics within the third edition of Leaves of Grass (1860): a butterfly perched on an outstretched index finger. Contemporaneous readers would have instantly recognized that curious pointing hand as a manicule or printer’s fist, an icon with deep ties to both manuscript culture and the world of commercial advertising. In this essay I track two trajectories—Whitman’s insistence that his poetry merely gestured toward a future, superior generation of poets and the 1860 edition’s relationship to developments in American book design and literary marketing—to demonstrate that Whitman’s butterfly icon does not simply brand his poetry with a recognizable symbol: by embracing the iconography of nineteenth-century promotion to point readers to their unrealized poetic future, it visually distills the central argument of Leaves of Grass. Understood within these contexts, Whitman’s pointing finger insists that Leaves of Grass is itself an advertisement, an audacious and ephemeral announcement for a so-called new breed of poets.

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Auxeméry. "Walt Whitman, démocrate et lettré." Po&sie 135, no. 1 (2011): 5. http://dx.doi.org/10.3917/poesi.135.0005.

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Nussbaum, Martha, Martin Rueff, and Tiphaine Samoyault. "Le Désir démocratique : Walt Whitman." Po&sie 135, no. 1 (2011): 12. http://dx.doi.org/10.3917/poesi.135.0012.

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Gardner, Thomas, and Ed Folsom. "Walt Whitman: The Centennial Essays." American Literature 67, no. 2 (June 1995): 386. http://dx.doi.org/10.2307/2927797.

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Lucotti, Claudia. "Reseña de Walt Whitman. Poemas." Anuario de Letras Modernas 4 (March 31, 1993): 243–47. http://dx.doi.org/10.22201/ffyl.01860526p.1990.4.973.

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Price, Kenneth M., and Joel Myerson. "Walt Whitman: A Descriptive Bibliography." South Central Review 13, no. 4 (1996): 55. http://dx.doi.org/10.2307/3189806.

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López García, Dámaso. "Walt Whitman: traduit de l’américain." TRANS. Revista de Traductología, no. 14 (October 4, 2017): 33. http://dx.doi.org/10.24310/trans.2010.v0i14.3172.

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Este artículo considera el contraste entre dos actitudes o perspectivas diferentes, la francesa y la española, en relación con la especificidad cultural estadounidense, a propósito de las traducciones al español de la obra del que cabe considerar como el poeta nacional de los ee. uu., Walt Whitman.

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Krieg, Joann P. "Walt Whitman and the Prostitutes." Literature and Medicine 14, no. 1 (1995): 36–52. http://dx.doi.org/10.1353/lm.1995.0005.

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DeGruson, Gene. "Walt Whitman Erratum: BAL 21415." Papers of the Bibliographical Society of America 85, no. 2 (June 1991): 180–81. http://dx.doi.org/10.1086/pbsa.85.2.24303024.

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Folsom, Ed. "Walt Whitman: A Current Bibliography." Walt Whitman Quarterly Review 31, no. 2-3 (April 3, 2014): 123–31. http://dx.doi.org/10.13008/0737-0679.2107.

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Folsom, Ed. "Walt Whitman: A Current Bibliography." Walt Whitman Quarterly Review 31, no. 4 (July 7, 2014): 169–81. http://dx.doi.org/10.13008/0737-0679.2124.

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Folsom, Ed. "Walt Whitman: A Current Bibliography." Walt Whitman Quarterly Review 32, no. 4 (August 13, 2015): 237–47. http://dx.doi.org/10.13008/0737-0679.2173.

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Folsom, Ed. "Walt Whitman: A Current Bibliography." Walt Whitman Quarterly Review 36, no. 2/3 (March 13, 2019): 202–22. http://dx.doi.org/10.13008/0737-0679.2323.

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Folsom, Ed. "Walt Whitman at 200: Introduction." Walt Whitman Quarterly Review 36, no. 4 (August 6, 2019): 227–31. http://dx.doi.org/10.13008/0737-0679.2333.

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