Pub Date : 2021-12-01DOI: 10.5325/bishoplowellstud.1.0006
Angus Cleghorn
This essay builds on the scholarship of Barbara Page, Bethany Hicok, Eleanor Cook, Julia E. Daniel, and Jo Gill to further examine Bishop’s use of Stevens’s poetics to recast Parisian architecture. How much of his twenties and thirties styles are found in her work? Bishop’s ever-shifting ambivalences toward French aesthetic traditions characterize her thirties poetry in contrast to the Floridian poetry; both styles are published in North & South published in 1946. Does the new bright realism found in Florida mean the end of Bishop’s French aesthetics, or do the Parisian styles endure?
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Pub Date : 2021-12-01DOI: 10.5325/bishoplowellstud.1.0027
J. Gill
This article reads Robert Lowell’s poetry in terms of its engagement with architecture. It argues that at crucial moments in American history, and in Lowell’s life, the architectural environment of the various places he called home (including Boston, Maine, Ohio, New York, and Kent, England) offered a perspective, a language, and a set of forms through which to negotiate personal, historical, and cultural change. This is a process that he achieved, in part, with reference to the work of other poets including Elizabeth Bishop, Hart Crane, and William Carlos Williams. By moving beyond a general reading of place, and towards a specific and granular reading of architectural figuration, I show that Lowell is able to contemplate and eventually to restructure the relationship between tradition and innovation—a process that is vital to his developing poetics.
{"title":"“Those blessed structures”: Robert Lowell’s Architectural Aesthetic","authors":"J. Gill","doi":"10.5325/bishoplowellstud.1.0027","DOIUrl":"https://doi.org/10.5325/bishoplowellstud.1.0027","url":null,"abstract":"\u0000 This article reads Robert Lowell’s poetry in terms of its engagement with architecture. It argues that at crucial moments in American history, and in Lowell’s life, the architectural environment of the various places he called home (including Boston, Maine, Ohio, New York, and Kent, England) offered a perspective, a language, and a set of forms through which to negotiate personal, historical, and cultural change. This is a process that he achieved, in part, with reference to the work of other poets including Elizabeth Bishop, Hart Crane, and William Carlos Williams. By moving beyond a general reading of place, and towards a specific and granular reading of architectural figuration, I show that Lowell is able to contemplate and eventually to restructure the relationship between tradition and innovation—a process that is vital to his developing poetics.","PeriodicalId":198773,"journal":{"name":"Bishop–Lowell Studies","volume":"324 18","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120881944","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-01DOI: 10.5325/bishoplowellstud.1.0133
James McCorkle
{"title":"Love Unknown: The Life and Worlds of Elizabeth Bishop by Thomas Travisano.","authors":"James McCorkle","doi":"10.5325/bishoplowellstud.1.0133","DOIUrl":"https://doi.org/10.5325/bishoplowellstud.1.0133","url":null,"abstract":"","PeriodicalId":198773,"journal":{"name":"Bishop–Lowell Studies","volume":"149 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134567970","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-01DOI: 10.5325/bishoplowellstud.1.0061
G. Foust
This essay offers close readings of Elizabeth Bishop’s poems “Cirque d’Hiver” and “Filling Station” aided by selections from various works by Walter Benjamin, whose book One-Way Street [Einbahnstrasse] begins with a thought-image that is also titled “Filling Station” [“Tankstelle”]. Using Benjamin’s interest in Charles Baudelaire, toys, and the miniature, his critiques of domesticity and advertisements, and his theories of collection to illuminate the poems’ formal and narrative elements, these meditations focus on Bishop’s use of rhyme in “Cirque d’Hiver” and her passing mention of “some comic books” in “Filling Station,” while also reflecting on the former poem’s previous titles, the concepts of melancholy and care, the ESSO oil brand, and poetry’s incitement to laughter.
本文将仔细阅读伊丽莎白·毕肖普的诗歌《Cirque d 'Hiver》和《加油站》，并选读沃尔特·本雅明的多部作品，本雅明的《单行道》以一个思想意象开头，也被命名为《加油站》。利用本雅明对查尔斯·波德莱尔、玩具和微格画的兴趣，他对家庭生活和广告的批评，以及他的收藏理论来阐明诗歌的形式和叙事元素，这些思考集中在毕晓普在“Cirque d’hiver”中对押韵的使用，以及她在“加油站”中对“一些漫画书”的提及，同时也反思了前一首诗之前的标题，忧郁和关怀的概念，ESSO石油品牌，诗歌对笑声的刺激。
{"title":"Two Meditations On Some Benjaminian Motifs in Elizabeth Bishop","authors":"G. Foust","doi":"10.5325/bishoplowellstud.1.0061","DOIUrl":"https://doi.org/10.5325/bishoplowellstud.1.0061","url":null,"abstract":"\u0000 This essay offers close readings of Elizabeth Bishop’s poems “Cirque d’Hiver” and “Filling Station” aided by selections from various works by Walter Benjamin, whose book One-Way Street [Einbahnstrasse] begins with a thought-image that is also titled “Filling Station” [“Tankstelle”]. Using Benjamin’s interest in Charles Baudelaire, toys, and the miniature, his critiques of domesticity and advertisements, and his theories of collection to illuminate the poems’ formal and narrative elements, these meditations focus on Bishop’s use of rhyme in “Cirque d’Hiver” and her passing mention of “some comic books” in “Filling Station,” while also reflecting on the former poem’s previous titles, the concepts of melancholy and care, the ESSO oil brand, and poetry’s incitement to laughter.","PeriodicalId":198773,"journal":{"name":"Bishop–Lowell Studies","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127762387","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-01DOI: 10.5325/bishoplowellstud.1.0076
Bethany Hicok
When archives across the world closed last year, the author turned to images from Elizabeth Bishop’s papers stored on her laptop, tucked away in a folder that, if it were not for a global pandemic, probably would have stayed in the cloud. The folder contained a small collection of postcards and letters that Bishop sent to her friend Chester Page in the early 1970s. While some might find this little collection insignificant, the author argues that these objects nevertheless present us with a small, illuminated window into the poet’s world and art.
{"title":"From the Archives: Archive Fever in the Midst of a Pandemic","authors":"Bethany Hicok","doi":"10.5325/bishoplowellstud.1.0076","DOIUrl":"https://doi.org/10.5325/bishoplowellstud.1.0076","url":null,"abstract":"\u0000 When archives across the world closed last year, the author turned to images from Elizabeth Bishop’s papers stored on her laptop, tucked away in a folder that, if it were not for a global pandemic, probably would have stayed in the cloud. The folder contained a small collection of postcards and letters that Bishop sent to her friend Chester Page in the early 1970s. While some might find this little collection insignificant, the author argues that these objects nevertheless present us with a small, illuminated window into the poet’s world and art.","PeriodicalId":198773,"journal":{"name":"Bishop–Lowell Studies","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130807605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-01DOI: 10.5325/bishoplowellstud.1.0138
Keegan Grady
{"title":"A Delicate Aggression: Savagery and Survival in the Iowa Writers’ Workshop by David O. Dowling.","authors":"Keegan Grady","doi":"10.5325/bishoplowellstud.1.0138","DOIUrl":"https://doi.org/10.5325/bishoplowellstud.1.0138","url":null,"abstract":"","PeriodicalId":198773,"journal":{"name":"Bishop–Lowell Studies","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129662103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-01DOI: 10.5325/bishoplowellstud.1.0001
Ian D. Copestake
{"title":"Welcome to the Bishop-Lowell Studies Journal","authors":"Ian D. Copestake","doi":"10.5325/bishoplowellstud.1.0001","DOIUrl":"https://doi.org/10.5325/bishoplowellstud.1.0001","url":null,"abstract":"","PeriodicalId":198773,"journal":{"name":"Bishop–Lowell Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128745323","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-01DOI: 10.5325/bishoplowellstud.1.0085
Amna Umer Cheema
This article establishes Elizabeth Bishop’s relationship with art historian Heinrich Wölfflin through an in-depth analysis of the former’s landscape poems, “Questions of Travel,” “Cape Breton” and “The End of March.” Bishop’s poetry is shown to exercise Wölfflin’s “painterly” geometry to soften stationary shapes and enhance her language’s ability to paint her poetic environment. This study focuses on Bishop’s geometry of indeterminate lines as incomplete and unclear dimensions of vision, where their preference for diagonal motion references Wölfflin’s description of the “painterly […] depreciation of line” in baroque art. Bishop’s painterly lines of perception help to differentiate her spatial poetics from plastic tendencies. Her poems are not tangible facts, but spaces of dialogue. This article thus proposes that Bishop’s landscape poems show strategies of painterly paintings read as verse.
{"title":"Bishop and Wölfflin: The Painterly Geometry","authors":"Amna Umer Cheema","doi":"10.5325/bishoplowellstud.1.0085","DOIUrl":"https://doi.org/10.5325/bishoplowellstud.1.0085","url":null,"abstract":"\u0000 This article establishes Elizabeth Bishop’s relationship with art historian Heinrich Wölfflin through an in-depth analysis of the former’s landscape poems, “Questions of Travel,” “Cape Breton” and “The End of March.” Bishop’s poetry is shown to exercise Wölfflin’s “painterly” geometry to soften stationary shapes and enhance her language’s ability to paint her poetic environment. This study focuses on Bishop’s geometry of indeterminate lines as incomplete and unclear dimensions of vision, where their preference for diagonal motion references Wölfflin’s description of the “painterly […] depreciation of line” in baroque art. Bishop’s painterly lines of perception help to differentiate her spatial poetics from plastic tendencies. Her poems are not tangible facts, but spaces of dialogue. This article thus proposes that Bishop’s landscape poems show strategies of painterly paintings read as verse.","PeriodicalId":198773,"journal":{"name":"Bishop–Lowell Studies","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122270112","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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