Academic literature on the topic 'Williams, William Carlos, 1883-1963 – Influence'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Williams, William Carlos, 1883-1963 – Influence.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Williams, William Carlos, 1883-1963 – Influence"
Carter, Richard. "William Carlos Williams (1883–1963): physician-writer and “godfather of avant garde poetry”." Annals of Thoracic Surgery 67, no. 5 (May 1999): 1512–17. http://dx.doi.org/10.1016/s0003-4975(99)00293-3.
Full textBorges, Regilson Maciel, and José Carlos Rothen. "Abordagens de avaliação educacional: a constituição do campo teórico no cenário internacional (Educational evaluation approaches: constitution of the theoretical field in the international scenario)." Revista Eletrônica de Educação 13, no. 2 (May 10, 2019): 749. http://dx.doi.org/10.14244/198271992481.
Full textDissertations / Theses on the topic "Williams, William Carlos, 1883-1963 – Influence"
Aublet, Anna. "L'oracle en son jardin : William Carlos Williams et Allen Ginsberg." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100083/document.
Full textThe tensions analyzed by Leo Marx in his 1964 essay The Machine in the Garden: Technology and the pastoral ideal in America, between the American Arcadia as a land of original purity and the trope of industrial threat is ghostly present throughout the works of both poets at stake in this dissertation: William Carlos Williams (1883-1963) and Allen Ginsberg (1926-1997). In this research I intend to analyze the processes by which the poets manage to claim ownership of their land in spite of the lurking mechanic apocalypse. Writing, each in his own time, both poets endeavor to reclaim the original historical and spatial meaning of their continent, by devising an autochthonous language that would provide a new “point of view” and a new “point of voice”, as means to prophesy a collective future for the nation from their personal “local” anchorage in their natal New Jersey. Striving to “make a start out of particulars” they intend to escape the vastness of the continent by focusing on the minute details surrounding them in their own garden state. The correspondence between the two poets also questions the periodization of literary movements, too often conceived as a series of breaks and schisms. The Garden State, metamorphic space covered with the remnants of industrialization provides us with a way to break free from the shackles of such categorization : from modernism to the Beat Generation
Clavilier, Marion. "Ut Saltatio Poesis : Le mouvement dansant de la poésie moderne chez Valentin Parnakh (1891-1951), William Carlos Williams (1883-1963) et Dominique Fourcade (1938)." Thesis, Université Clermont Auvergne (2017-2020), 2019. http://theses.bu.uca.fr/nondiff/2019CLFAL016_CLAVILIER.pdf.
Full textThe perspective of this thesis on modern poetry is to probe the dancing movement of the text and to identify semiotic criteria to account for theoretical implications of an apparently more surprising metaphor than that of "literary musicality". Since the three authors can not be assessed solely on the literary plane since they collaborated with choreographers, or were even practioners of the art of dancer-choreographer, the historical perspective is used, in order to understand the common character of their relationship with modern dance. It is ultimately the election of dance as an art-source for writing, which unites the three writers. Absorbing the lessons of choreographic modernity, poetic writing enriches the structures of language with a corporeal and gestural quality. Similarly, the mode of poetic composition becomes close to dance, arranging the componentents of sentence and line, as if they were kinemes. Beyond the dissemination of choreographic currents, the contemporary is conceived in the thesis as a continuation of the modern. In poetry, dance achieves a synthesis of the other arts and the real, and displays the program of poetics to which the writer aspires. The second part of the thesis focuses on the modes of presence of dance through the poetic text considered as a polysemiotic object. The achievements of modern dance are literarily remodeled and transferred to the poem. The poet, having witnessed the dance pieces, seeks to recreate what he has seen, including his transformative viewer perception. In the examination of the intersemiotic transfer, we take as tools the notions of "figure" and "ekfrasis". Already, R. Barthes noted in A Lover's discourse : Fragments the choreographic character of the textual "figure". The dance is not really akin to a figure until the motif becomes the emblem of poetics. We limit the use of the term "ekfrasis" to a theatrical dance, really seen on stage by the author, and which brings a given poem a unitary structure. Ekfrasis implies a description in the second or first degree, depending on whether the dance is mediated or not by painting. The analysis allows, therefore, the evolution of a logic of representation, still strongly marked by the mimicry of sounds and movements, with V. Parnakh, with that of the presentation, with W. C Williams and D. Fourcade. The textual presence of dance is always supported by an explicit mention (vocabulary of dance, movement or the body, reference to a dancer, a choreographer, a piece ...). Expression or semiotic content are not sufficient to establish precisely the dancing dimension of the poem. Eventually, it is the mode of reading, and the type of perception that results from it, which founds the dancing character of modern poetry. The text functions as a matrix for the interpretation-embodiment of the reader, which can eventually lead to its transfer into dance. That's why we establish an original method, in order to legitimize an approach of textuality, that shifts to the reading act. It is considered as a unique performance of a "different reader", expressed through three self-explication situations. There is a mode of choreographic reading of the texts, attentive to the kinetic and kinesthetic dimension of the words and sentences, which we examine, after having noted the difficulty to separate the study of the dancing movement and the danced movement, when we settle with a semiotics of the text. On the other hand, if we take the reader's point of view, associations are less directly dependent on semantics. When he's reading, he develops from the text a kinetic perception, which may eventually lead to finding retrospectively in the form of the poem structures of movement. The notion of the inner world argues that the dance takes place inside the reader, even before its translation into dance
Desblaches, Claudia. "Tradition et innovation dans les poèmes de W. Carlos Williams et E. Estlin Cummings : entre articulation et rupture. Essai d'analyse formelle." Tours, 1999. http://www.theses.fr/1999TOUR2019.
Full textBucher, Vincent. "Une pratique sans théorie. Le très long poème américain de seconde génération." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030135/document.
Full textEver since Emerson the United-States have been expecting the great national masterpiece that would not only celebrate the unique destiny of this young democracy but would also free American language and literature from the European model. However, it did not seem that it was for the epic poem to accomplish this task given that it appeared not only ill-suited to describe the modern world but also incompatible with the demands of a poetic modernity predicated on lyrical intensity. Hence, the planned obsolescence of this “form” has made it all the more difficult to explain the spectacular rebirth of the “American long poem” in the 19th and 20th centuries. It has appeared all the more problematic since, after having been associated to Walt Whitman’s democratic lyricism, the “long poem” was appropriated by T.S. Eliot and Ezra Pound making it the symbol of the authoritarian, elitist and systematic tendencies of “high modernism”. It will thus come as no surprise that the critical community has tended to view the “long poem” negatively confirming in a way its illegibility: the “long poem” could only be viewed as a short lyric sequence, an impossible masterpiece or a parody of systematic thought and American exceptionalism. In undertaking this study of Louis Zukofsky’s “A”, William Carlos William’s Paterson and Charles Olson’s Maximus Poems I wish to demonstrate that it is possible to read the “long poem” as such without having to resort to generic categories and to the modern/postmodern dichotomy. I also hope to show that, in these three works, poetry is understood as a kind of ongoing activity which modestly attempts to articulate the poem to the world, time and reading
Martinovski, Vladimir. "Aspects de la poésie ekphrastique : C. Baudelaire, Les Fleurs du mal, W. C. Williams, Tableaux d'après Bruegel, S. Janevski, Palette maudite, V. Urosevic, Pays invisible, J. Ashbery, Autoportrait dans un miroir convexe et Y. Bonnefoy, Ce qui fut sans lumière." Paris 3, 2007. http://www.theses.fr/2007PA030027.
Full textFrom the most ancient monuments of literature to most recent, one finds the process of ekphrasis - description of real or imaginary plastic art works. The main subject of our comparative study are the ekphrastic poetic works of six poets belonging to three linguistic zones and thus to three different literary traditions: the French poets Charles Baudelaire and Yves Bonnefoy, the American poets William Carlos Williams and John Ashbery and the Macedonian poets Slavko Janevski and Vlada Urosevic. The aim of the research is not only to determine the dominant models of ekphrasis in their poetry, but also to clarify some theoretical aspects of the description of plastic art works: the generic statute of an ekphrastic text; the hermeneutic dimension of the ekphrasis and the intersemiotic, intertextual and metatextual communication/transposition. The semantics of the poetic text is inseparable from the bond with the works of fine arts, which represent the object of literary description
Kalck, Xavier. "L'expérience de la langue chez les poètes objectivistes." Paris 4, 2007. http://www.theses.fr/2007PA040174.
Full textThis research aims at understanding Objectivist poets and poetics, considered as the nexus from which to analyse the theoretical and formal questions that matter to English and American modernist poetry. As a groundbreaking movement taking place in the thirties, Objectivism first gathers American poets such as Louis Zukofsky, Charles Reznikoff, George Oppen, Carl Rakosi and Lorine Niedecker, as well as English poet Basil Bunting. We choose to add to these the name of William Carlos Williams, both their predecessor and a long-time companion. The meaning of this work lies in the Objectivists going back to the basis of a poetics, and hence the need for new tools required to understand their texts. We propose to help develop a thinking enabling the reader to enter this specific poetical field, by analysing the new definitions, the various manipulations and the interplay with tradition that the Objectivists have produced. Their innovations concern such essential notions such as the poetic voice and its relation to the speaking subject in the poem; rhythm and the graphic quality of the written text as inducing a possibly new prosody; and the logic of the sign within the frame of a transformed experience of language and speech, from the point of view of the reading of the text
"The city and the self in William Carlos Williams's Paterson." 1999. http://library.cuhk.edu.hk/record=b5889889.
Full textThesis (M.Phil.)--Chinese University of Hong Kong, 1999.
Includes bibliographical references (leaves 101-105).
Abstracts in English and Chinese.
Abstract --- p.i
Introduction --- p.1
Chapter Chapter1 --- The Eyes in Paterson: Williams as Photographer and Illustrator --- p.14
Chapter Chapter2 --- The Past and the Present: Williams as Historian in Paterson --- p.37
Chapter Chapter3 --- "The Father, the Mother and the Son: the Making of the Paterson Family" --- p.60
Conclusion --- p.92
Works Cited --- p.101
Sinutko, Natasha Marie 1969. "Passing on the melting pot : resistance to Americanization in the work of Gertrude Stein, Alice Corbin Henderson and William Carlos Williams." 2001. http://hdl.handle.net/2152/10835.
Full textRalph, Iris. "An ecocritical study of William Carlos Williams, James Agee, and Stephen Crane by way of the visual arts." Thesis, 2005. http://hdl.handle.net/2152/2282.
Full textMourão, Henrique José Franco. "The great American novel: três versões, um título (Williams, Roth e Davis)." Master's thesis, 2011. http://hdl.handle.net/10451/6810.
Full textDepois de décadas de uso, o conceito de great American novel tornou-se um lugar-comum para a crítica literária norte-americana. Porém, três autores, William Carlos Williams, Philip Roth e Clyde Brion Davis, tornaram-no o centro das suas obras ao utilizarem-no como título. O ponto de partida humorístico leva a análises profundas das esperanças literárias de uma nação e do que significa ser americano. Williams escreve uma obra sem enredo ou protagonista para testar os limites do romance, enquanto género, e procurar uma voz americana independente da Europa. Davis mostra os perigos do realismo ao escrever o diário de um homem comum e Roth explora os mitos americanos, a sua criação e manipulação, com uma história ficcional sobre um dos principais passatempos nacionais, o basebol.
Abstract: After decades of use, the concept of great American novel has become a common place for the American literary critique. Yet, three authors, William Carlos Williams, Philip Roth and Clyde Brion Davis, made it the centre of their texts by making it their titles. The humorous starting point leads to a profound analysis of the literary hopes of a nation and of what means to be an American. Williams writes a book without plot or protagonist to test the limits of the novel, as a genre, and search for an American voice independent from Europe. Davis shows the dangers of realism by writing the diary of a common man and Roth explores the American myths, their creation and manipulation, with a fictional story about one of the most important national pastimes, baseball.
Books on the topic "Williams, William Carlos, 1883-1963 – Influence"
Berry, Wendell. The Poetry of William Carlos Williams of Rutherford. Berkeley, CA: Counterpoint, 2011.
Find full textSchmidt, Peter. William Carlos Williams, the arts, and literary tradition. Baton Rouge: Louisiana State University Press, 1988.
Find full textDiggory, Terence. William Carlos Williams and the ethics of painting. Princeton, N.J: Princeton University Press, 1991.
Find full textMarzán, Julio. The Spanish American roots of William Carlos Williams. Austin, Tex: University of Texas Press, 1994.
Find full textMy toughest mentor: Theodore Roethke and William Carlos Williams (1940-1948). Lewisburg, [Pa.]: Bucknell University Press, 1999.
Find full textThe American avant-garde tradition: William Carlos Williams, postmodern poetry, and the politics of cultural memory. Lewisburg, Pa: Bucknell university Press, 1997.
Find full textPoetics of the feminine: Authority and literary tradition in William Carlos Williams, Mina Loy, Denise Levertov, and Kathleen Fraser. Cambridge [England]: Cambridge University Press, 1994.
Find full textQian, Zhaoming. Orientalism and modernism: The legacy of China in Pound and Williams. Durham: Duke University Press, 1995.
Find full textMoney and modernity: Pound, Williams, and the spirit of Jefferson. Tuscaloosa: University of Alabama Press, 1998.
Find full textBook chapters on the topic "Williams, William Carlos, 1883-1963 – Influence"
"William Carlos Williams (1883 –1963)." In The Columbia Companion to the Twentieth-Century American Short Story, 582–86. Columbia University Press, 2004. http://dx.doi.org/10.7312/gelf11098-121.
Full text"Williams, William Carlos 1883–1963." In Reader's Guide to Literature in English, 1592–636. Routledge, 2012. http://dx.doi.org/10.4324/9780203303290-91.
Full text