Gotowa bibliografia na temat „Theodore Roethke”

In this article we share our experiences of using poems in teacher-training courses where the students are predominantly second-language learners. We describe how we tried to help learners engage with a creative text through its language and meaning. We share our experiences of helping to facilitate the open expression of opinions and feelings in L2 teachers (both inservice and preservice) on creative texts, specifically the poem “My Papa’s Waltz” by Theodore Roethke. The use of this poem and others like it in teacher education courses in three of Hong Kong’s tertiary institutions has produced consistently impressive outcomes in terms of teachers’ responses to poetry in general. We aim to illustrate a teaching strategy that emphasizes the reader as expert and to show how this process leads EFL/ESL teachers as well as English-language learners (ELLs) to experience more lived, esthetic responses as part of their coursework.

Poetry is sonic language and it is meant for reading aloud with lyrical and musical tone Furthermore, poetry is figuratively rich language where mere linguistic meanings cannot purport the implied meanings of words and poetic contexts and the readers need to explore both covered and overt meanings to make a better understanding of poetry. Readers can grasp overt meanings by reading the outward shape of the poems like word and syntax. The covered meaning of poetry, however, is explored through special treatments to poetic writing. Considering this basic premise, this article tries to analyze poetic art and language by making an analysis of the famous poem, "My Papa's Waltz" by Theodore Roethke, one of the famous American poets. To prove the claim, I have relied on literary views and scholarly arguments by great scholars and eminent poets. This article, therefore, makes an analytical approach of poetic writing, thereby examining distinct poetic elements like linguistic, rhetoric, figurative and sonic in the poem " My Papa's Waltz": exposing why poetic language differs from normal prosaic writing in terms of stylistic corpus and its form and presentation. The analytical part of the article examines aspects of linguistic, rhetorical and sonic elements in the poem to be different from prosaic genre of expression.

L’oggetto di questa tesi di letteratura anglo-americana e storia delle idee è l’influsso esercitato dalla spiritualità protestante sulla sensibilità, la visione del mondo e l’immaginario di Theodore Roethke, così come si manifestano nelle sue prime poesie inedite e nella sua produzione degli anni trenta e quaranta raccolta in Open House (1941), The Lost Son and Other Poems (1948) e Praise to the End! (1951). Lo scopo della tesi è dimostrare che, nonostante l’apparente discontinuità formale e contenutistica tra il primo volume di Roethke e i suoi due volumi successivi, le tre raccolte presentano un fondamentale punto di contatto: sono ricche di temi, motivi e simboli religiosi e fortemente influenzate da nozioni filosofiche che Roethke ha ereditato dalla tradizione filosofico-letteraria protestante ed elaborato in accordo alla sua sensibilità personale e allo spirito della sua epoca. Più precisamente, nella sua poesia degli anni trenta e quaranta Roethke recupera l’originario significato filosofico ed esistenziale di temi, motivi e simboli preesistenti e nel contempo li arricchiesce attraverso la nuova consapevolezza derivante dalle scoperte della psicoanalisi e dalle riflessioni dell’esistenzialismo protestante. I tre capitoli della tesi mettono in luce la complessità del rapporto tra la prima produzione di Roethke e la tradizione filosofico-letteraria protestante, soffermandosi sulle sue affinità con particolari rami di tale tradizione. Il primo capitolo prende in esame le prime poesie inedite di Roethke e le sue poesie degli anni trenta raccolte in Open House in relazione a due opposti, ma imparentati, orientamenti teologici: l’ortodossia calvinista, dominata dal sentimento della condizione caduta e della colpa umane, e le eresie protestanti che hanno recuperato le aspirazioni mistiche all’origine della spiritualità riformata, asserendo implicitamente la natura divina dell’anima umana. Tali aspirazioni mistiche sono state ereditate da Lutero attraverso i discepoli di Meister Eckhart, la cui visione del rapporto tra essere umano e Dio si avvicinava molto a quella espressa dalla poesia di Emily Dickinson, una delle principali fonti di ispirazione di Roethke negli anni trenta. Il secondo capitolo, sulle poesie della serra raccolte nella prima sezione di The Lost Son and Other Poems, esplora la loro affinità filosofica con la teologia calvinista della natura del diciassettesimo e del diciottesimo secolo. Si sofferma inoltre sull’uso che vi si fa di metafore e simboli di origine biblica: la metafora di Dio come giardiniere e le piante come simboli escatologici di resurrezione e rigenerazione, precedentemente impiegati nella poesia lirica protestante del diciassettesimo secolo – specialmente quella di Henry Vaughan –, nelle poesie di William Blake che traggono ispirazione dai libri di emblemi del sedicesimo e diciassettesimo secolo e nelle poesie di Emily Dickinson che risentono dell’influsso della tipologia naturale di Jonathan Edwards. Infine il terzo capitolo, concernente i poemetti narrativi raccolti in The Lost Son and Other Poems e Praise to the End!, si concentra sulla lotta spirituale compiuta dal loro protagonista per superare la propria alienazione da Dio, lotta culminante nel paradossale rovesciamento della disperazione in fede – o rigenerazione – al cuore dello schema di salvezza descritto da Lutero, Søren Kierkegaard e Karl Barth. Tale processo è principalmente analizzato attraverso gli echi del Libro di Giobbe, dei Salmi, dei Cantici, dei Vangeli e i simboli biblici di disperazione e rigenerazione attraverso cui gli stati psichici e spirituali esperiti dal protagonista vengono evocati: la fossa, le acque profonde, l’ira di Dio, la rosa di Sharon, il battesimo. La compresenza nella poesia di Roethke degli anni trenta e quaranta di concezioni e sentimenti così variegati è resa possibile dalle loro comuni premesse filosofiche, ampiamente analizzate da Søren Kierkegaard e Paul Tillich nel diciannovesimo e nel ventesimo secolo. La prima produzione di Roethke può essere compresa più facilmente alla luce delle riflessioni di questi eredi e interpreti esistenzialisti della tradizione protestante, che hanno trattato con il linguaggio della filosofia le stesse esperienze e gli stessi sentimenti al cuore della sua poesia.
The subject of this dissertation in American Literature and the History of ideas is the influence of Protestant spirituality on Theodore Roethke’s sensibility, worldview, and imagination in his early unpublished poems and his work from the thirties and the forties, collected in Open House (1941), The Lost Son and Other Poems (1948), and Praise to the End! (1951). The dissertation aims to demonstrate that, in spite of the apparent breaking point between Roethke’s first volume and the subsequent two, the three collections share a fundamental feature: they are rich with religious themes, motifs, and symbols and informed by philosophical notions that Roethke inherited from the literary-philosophical Protestant tradition and elaborated according to his personal sensibility and the spirit of his age. More precisely, in his early poetry Roethke recovers the original existential and psychological meaning of such pre-existing themes, motifs, and symbols but also enriches them thanks to a new awareness deriving from the discoveries of psychoanalysis and the reflections of Protestant existentialist philosophy. The three chapters of which this dissertation is comprised bring to light the complexity of the relationship between Roethke’s early poetry and the literary-philosophical Protestant tradition by focusing on its points of contact with particular branches of such tradition. Chapter one deals with Roethke’s early unpublished poems and his poems from the thirties collected in Open House in relation to two opposite – albeit related – theological orientations: Calvinist Orthodoxy, dominated by the feeling of human fallenness and guilt, and the Protestant heresies that reclaimed the mystical aspirations at the origin of reformed spirituality, which implicitly asserted the divine nature of the human soul. Such mystical aspirations were inherited by Luther from the disciples of Meister Eckhart, whose view of the relationship between man and God was very similar to that expressed in the poetry Emily Dickinson, one of Roethke’s fundamental sources of inspiration in the thirties. The second chapter, which focuses on the Greenhouse Poems collected in the first section of The Lost Son and Other Poems, explores the poems’ philosophical kinship with seventeenth- and eighteenth-century Calvinist Theology of Nature, as well as their treatment of Biblical metaphors and symbols: the metaphor of God as a gardener and plants as eschatological symbols of resurrection and regeneration, previously used in seventeenth-century Protestant lyric poetry – especially that of Henry Vaughan –, William Blake’s poems which draw inspiration from sixteenth- and seventeenth-century emblem books, and Emily Dickinson’s poems which are influenced by Jonathan Edwards’ natural typology. Lastly, the third chapter, which deals with the long narrative poems collected in The Lost Son and Other Poems and Praise to the End!, is centered on the protagonist’s spiritual struggle to overcome his estrangement from God, culminating in the paradoxical reversal from desperation to faith – or regeneration – at the core of the Protestant scheme of salvation described by Luther, Søren Kierkegaard, and Karl Barth. This process is analyzed predominantly through the echoes of Scripture in Job, the Psalms, the Song of Songs and the Gospels, as well as the Biblical symbols of desperation and regeneration through which the psychic and spiritual states experienced by the protagonist are evoked; namely, the pit, the deep waters, the wrath of God, the Rose of Sharon, and the Baptism. The coexistence of all these variegated beliefs and feelings in Roethke’s early poetry is made possible by their common philosophical premises, widely analyzed by Søren Kierkegaard and Paul Tillich in the nineteenth and twentieth century. Roethke’s early poetry can be more easily understood in light of the reflections of these existentialist heirs and interpreters of the Protestant tradition, who used the language of philosophy to describe the very experiences and feelings at the core of his poetry.

This dissertation argues that the midcentury period from 1945-1967 offers a distinct historical framework in American poetry that bears further study. This position counters most other literary history of this period wherein midcentury poets are divided into schools or coteries based on literary friendships and movements: the San Francisco Beats, the New York School, the Black Mountain poets, the Confessionals, the Black Arts poets, the Deep Image poets, and the New Critics, to invoke only the most prominent designations. Critics also typically share a reluctance to cross gender or racial lines in their conceptualizations of the period. Of the few books that survey this period as a whole, most propose the defining features of midcentury poetry as formal innovation (or lack thereof) and a renunciation of the past. By contrast, I argue that such divisions and limiting categories do not attend to some of the most important features of midcentury poetry. I suggest that midcentury poetry most often demonstrates a renewed interest in locating a particular identity in a specific place. To illustrate this point, I explore depictions of identity and place in the works of three poets who are rarely studied together, Gwendolyn Brooks, Theodore Roethke, and Elizabeth Bishop. Each chapter examines the changes in poets' careers by focusing on how the relationship between place and identity differs in their early and late work. I contend that the few generalizations we have about the trajectory of this period (that poets moved from using more traditional forms to more open forms, for example) are not entirely accurate and, even more, that the accounts that we have of the poets' individual careers could be enhanced by a comparison between their early and late depictions of identity and place. I argue that the concerted exploration of the intersection of place and identity calls for a reconsideration of midcentury poetry: not just the categories we have but the poets and poems we read.

"Edge Effects: Poetry, Place, and Spiritual Practices” focusses on the intersection of the environmental and religious imaginations in the work of five West Coast poets: Robinson Jeffers, Theodore Roethke, Robert Hass, Denise Levertov, and Jan Zwicky. My research examines the selected poems for their reimagination of the sacred perceived through attachments to particular places. For these writers, poetry is a constitutive practice, part of a way of life that includes desire for wise participation in the more-than-human community. Taking into account the poets’ critical reflections and historical-cultural contexts, along with a range of critical and philosophical sources, the poetry is examined as a discursive spiritual exercise. It is seen as conjoined with other focal practices of place, notably meditative walking and attentive looking and listening under the influence of ecospiritual eros. My analysis attends to aesthetics of relinquishment, formal strategies employed to recognize and accept finitude and the non-anthropocentric nature of reality, along with the complementary aesthetics of affirmation, configuration of the goodness of the whole. I identify an orienting feature of West Coast place, particular to each poet, that recurs as a leitmotif for engagement of such aesthetics and related practices. In chapter one, I consider a group of Jeffers’s final poems as part of a project he designated “our De Natura,” attending especially to his affinity for stones and stars. In chapter two, I investigate both Roethke’s and Hass’s configurations of ecospiritual eros in accord with their fascination for flora, while in chapter three, I employ the concepts of “aura” and “resonance” to explicate Levertov’s meditations on the “coming and going” Mount Rainier-Tacoma and Zwicky’s reflective iterations of the sea.
Graduate
2019-04-04