{"title":"The Lighthouse at the End of the Hudson","authors":"A. Molina","doi":"10.2307/j.ctvz938fd.26","DOIUrl":"https://doi.org/10.2307/j.ctvz938fd.26","url":null,"abstract":"","PeriodicalId":42617,"journal":{"name":"HUDSON REVIEW","volume":"66 1","pages":"8"},"PeriodicalIF":0.0,"publicationDate":"2013-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68862630","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-12-01DOI: 10.7135/UPO9781843313885.003
B. Cardullo
The interrupting of narrative is a recurrent motif of avant-garde film. Structuralist-materialist filmmakers of the 1960s and 1970s, for example, emptied their motion pictures of apparent content in order to draw attention to how a particular aspect of cinematic technique functioned, or to emphasize film as a concrete material rather than as a medium for imitating actions and conveying emotions. But, surveying the history of avant-garde cinema as a whole, it would be more accurate to say, not that narrative has simply been expunged altogether a la the structuralist-materialists, but that it has been displaced, deformed, and reformed over the years in such quasi-mainstream yet otherwise disparate films as Earth (1930), Paisan (1946), Tokyo Story (1953), Last Year at Marienbad (1961), The Phantom of Liberty (1974), and Mystery Train (1989). “Back to the Future, or the Vanguard Meets the Rearguard” considers three relatively recent, more-or-less mainstream films that all similarly attempt to bridge the gap between narrative and non-narrative cinema--between the abstract and the representational, that is, or the avant and the garde. These films are Van Sant"s Last Days (2005), Gondry"s Eternal Sunshine of the Spotless Mind (2004), and July"s Me and You and Everyone We Know (2005).
{"title":"Back to the Future, or the Vanguard Meets the Rearguard","authors":"B. Cardullo","doi":"10.7135/UPO9781843313885.003","DOIUrl":"https://doi.org/10.7135/UPO9781843313885.003","url":null,"abstract":"The interrupting of narrative is a recurrent motif of avant-garde film. Structuralist-materialist filmmakers of the 1960s and 1970s, for example, emptied their motion pictures of apparent content in order to draw attention to how a particular aspect of cinematic technique functioned, or to emphasize film as a concrete material rather than as a medium for imitating actions and conveying emotions. But, surveying the history of avant-garde cinema as a whole, it would be more accurate to say, not that narrative has simply been expunged altogether a la the structuralist-materialists, but that it has been displaced, deformed, and reformed over the years in such quasi-mainstream yet otherwise disparate films as Earth (1930), Paisan (1946), Tokyo Story (1953), Last Year at Marienbad (1961), The Phantom of Liberty (1974), and Mystery Train (1989). “Back to the Future, or the Vanguard Meets the Rearguard” considers three relatively recent, more-or-less mainstream films that all similarly attempt to bridge the gap between narrative and non-narrative cinema--between the abstract and the representational, that is, or the avant and the garde. These films are Van Sant\"s Last Days (2005), Gondry\"s Eternal Sunshine of the Spotless Mind (2004), and July\"s Me and You and Everyone We Know (2005).","PeriodicalId":42617,"journal":{"name":"HUDSON REVIEW","volume":"59 1","pages":"7-35"},"PeriodicalIF":0.0,"publicationDate":"2012-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71348761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The 1855 edition is dominated by the inaugural poem. Untitled in the 1855 edition, in 1856 it became "A Poem of Walt Whitman, an American"; in the 1881 edition it received the title by which it is known today. "Song of Myself" is written in free verse—a self-conscious and deliberately unstructured form of poetry consisting of long lines, often mixing verse with song. It is a composite of all the ideas that preoccupied Whitman throughout his life and his writing. The title places the poem within two fundamental contexts: autobiography and epic poetry, the ancient tradition of oral poetry in which the poet, or "bard," sings the story of a hero's trials and victories. An epic poem is an extended narrative written in poetic language that sets forth the story of a people or a nation; in a sense, it is a national history, to be memorialized and handed down through generations. In "Song of Myself," Whitman names—and praises—Americans in all walks of life and grants them "divine" status through the combined grandeur of body and soul.
{"title":"Of \"Song of Myself\"","authors":"D. Donoghue","doi":"10.2307/j.ctv1bpw627.23","DOIUrl":"https://doi.org/10.2307/j.ctv1bpw627.23","url":null,"abstract":"The 1855 edition is dominated by the inaugural poem. Untitled in the 1855 edition, in 1856 it became \"A Poem of Walt Whitman, an American\"; in the 1881 edition it received the title by which it is known today. \"Song of Myself\" is written in free verse—a self-conscious and deliberately unstructured form of poetry consisting of long lines, often mixing verse with song. It is a composite of all the ideas that preoccupied Whitman throughout his life and his writing. The title places the poem within two fundamental contexts: autobiography and epic poetry, the ancient tradition of oral poetry in which the poet, or \"bard,\" sings the story of a hero's trials and victories. An epic poem is an extended narrative written in poetic language that sets forth the story of a people or a nation; in a sense, it is a national history, to be memorialized and handed down through generations. In \"Song of Myself,\" Whitman names—and praises—Americans in all walks of life and grants them \"divine\" status through the combined grandeur of body and soul.","PeriodicalId":42617,"journal":{"name":"HUDSON REVIEW","volume":"65 1","pages":"247"},"PeriodicalIF":0.0,"publicationDate":"2012-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68788792","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2010-01-01DOI: 10.1017/CBO9780511902710.005
D. Donoghue
On April 2,1916 one ofYeats's plays for dancers, At the Hawk's Well, received its first performance in Lady Emer ld Cunard's drawing room in Cavendish Square, London, before an invited audience. Michio Ito danced the Guardian of the Well. The guests included Ezra Pound and T. S. Eliot. For all I know, this may have been the only afternoon on which Yeats, Eliot, and Pound were together in the same room. Many years later, Samuel Beckett wrote a play, like At the Hawk's Well, about waiting; waiting for someone who is supposed to arrive but doesn't, a variant of waiting for a transforming flow of water which is never received because the guardian of the well distracts those who are longing for it. In Happy Days Winnie utters the first line of At the Hawk's Well, "I call to the eye of the mind," one of many literary allusions that she recalls?or rather, that Beckett recalls on her behalf. I draw a loose connection between these occasions to suggest a literary context for the relations I propose to describe: Yeats and Eliot, Yeats and Pound. We know when Eliot converted to the Anglican Communion? he made his formal profession on June 9, 1927?but we don't know precisely when he converted to Yeats?that took much longer. The first time he wrote formally about Yeats was in the Atheneum, the issue for July 4, 1919, a memorably severe review of the reprinted The Cutting of an Agate. Eliot apparently found Yeats's entire sensibility weird. As much in his prose as in his verse, he said, Yeats "is not 'of this world'?this world, of course, being our visible planet with whatever our theology or myth may conceive as below or above it." Eliot assumes that he is central, by comparison with whom Yeats is exotically peripheral. The differ
{"title":"Irish Essays: Three Presences: Yeats, Eliot, Pound","authors":"D. Donoghue","doi":"10.1017/CBO9780511902710.005","DOIUrl":"https://doi.org/10.1017/CBO9780511902710.005","url":null,"abstract":"On April 2,1916 one ofYeats's plays for dancers, At the Hawk's Well, received its first performance in Lady Emer ld Cunard's drawing room in Cavendish Square, London, before an invited audience. Michio Ito danced the Guardian of the Well. The guests included Ezra Pound and T. S. Eliot. For all I know, this may have been the only afternoon on which Yeats, Eliot, and Pound were together in the same room. Many years later, Samuel Beckett wrote a play, like At the Hawk's Well, about waiting; waiting for someone who is supposed to arrive but doesn't, a variant of waiting for a transforming flow of water which is never received because the guardian of the well distracts those who are longing for it. In Happy Days Winnie utters the first line of At the Hawk's Well, \"I call to the eye of the mind,\" one of many literary allusions that she recalls?or rather, that Beckett recalls on her behalf. I draw a loose connection between these occasions to suggest a literary context for the relations I propose to describe: Yeats and Eliot, Yeats and Pound. We know when Eliot converted to the Anglican Communion? he made his formal profession on June 9, 1927?but we don't know precisely when he converted to Yeats?that took much longer. The first time he wrote formally about Yeats was in the Atheneum, the issue for July 4, 1919, a memorably severe review of the reprinted The Cutting of an Agate. Eliot apparently found Yeats's entire sensibility weird. As much in his prose as in his verse, he said, Yeats \"is not 'of this world'?this world, of course, being our visible planet with whatever our theology or myth may conceive as below or above it.\" Eliot assumes that he is central, by comparison with whom Yeats is exotically peripheral. The differ","PeriodicalId":42617,"journal":{"name":"HUDSON REVIEW","volume":"62 1","pages":"563"},"PeriodicalIF":0.0,"publicationDate":"2010-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/CBO9780511902710.005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57099578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"What We Talk about When We Talk about Food","authors":"Siobhan K. Phillips","doi":"10.5860/choice.187265","DOIUrl":"https://doi.org/10.5860/choice.187265","url":null,"abstract":"","PeriodicalId":42617,"journal":{"name":"HUDSON REVIEW","volume":"62 1","pages":"189"},"PeriodicalIF":0.0,"publicationDate":"2009-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71026239","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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