Elizabeth Bishop

Wojcik-Leese, Elzbieta: Cognitive Poetic Readings in Elizabeth Bishop: Portrait of a Mind Thinking, Hawthorne, New York, USA Mouton De Gruyter 2010 ; fester Einband / hard cover ISBN: 9783110186109
9783110186109 Neu

Wojcik-Leese, Elzbieta Cognitive Poetic Readings in Elizabeth Bishop Portrait of a Mind Thinking (De Gruyter) ISBN: 978-3-11-018610-9 gebunden VIII, 316 S. Verlag : De Gruyter ISBN : 978-3-11-018610-9 Einband : gebunden Preisinfo : 99,95 Eur[D] UVP / 102,80 Eur[A] UVP Alle Preisangaben in CHF (Schweizer Franken) sind unverbindliche Preisempfehlungen. Legende: UVP = unverbindliche Preisempfehlung, iVb = in Vorbereitung. Alle Preisangaben inkl. MwSt Seiten/Umfang : VIII, 316 S. Produktform : B: Einband - fest (Hardcover) Erscheinungsdatum : 1. Aufl. 15.02.2010 Aus der Reihe : Applications of Cognitive Linguistics [ACL] 15 verwandte Themen : Kognitive Linguistik Literaturwissenschaft Lyrik Moderne /i.d.Literatur Amerika/ Literatur, Literaturgeschichte Bishop, Elizabeth (Schriftstellerin) [DNB] Literarische Technik [DNB] Literarischer Stil [DNB] Kognitive Linguistik [DNB] Hardcover Buch

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GARDINER, William Nelson. Execution de Marie Stuart, Reine d'Ecosse, en sept estampes gravees. London, (Tebaldo Monzani, 1791).
Extremely rare complete print series depicting in highly melodramatic, almost romantic fashion the execution of Mary Stuart, Queen of Scots, at Fotheringhay Castle, Northamptonshire on 8 February 1587, including the scenes immediately before and after the beheading, including her burial. The seven plates are preceded by 4 pages in letterpress with the title and 3 pp. explanatory text in French. Each plate (the measurements of the scenes are ca. 160 x 215 mm) has a 3 to 7-line English explanation engraved underneath. Four of the plates are dated 20 April 1790, the remaining three 1 May 1791.They show: (1): Mary Stuart in her chapel praying to God and bidding adieu to all worldly concerns. In the doorway sheriff Thomas Andrews enters with many attendants to fetch her.(2): 'Mary. Queen of Scotts, going to the place of execution' (caption on the plate), her steward Melvil falling upon his knees.(3): The Dean pressing her to change religion.(4): Mary Stuart laying herself down on the ground, and stretching forth her neck on the block.(5): Mary Stuart's head, after two strokes is severed from the body and is being shown to the people in the hall.(6): The chief mourner, the countess of Bedford attended by all the Lords and Ladies, her train being borne, proceeded through the church to the choir. With four lines of a song which was sung during the procession. (7): The descent of the coffin. The body was received by the bishop of Peterborough and the deacon and chapter. In the presence of the attending Scots the coffin was laid in a vault. The bishop of Peterborough performed the funeral service and the bishop of Lincoln preached the sermon, after which the anthem engraved underneath the explanation was sung: 'Go sorrows sigh, and falling tear ...' (6 lines) .Queen Elizabeth I felt threatened by the marriage of Mary Stuart to her cousin Darnley. Both were claimants to the English throne, being direct descendants of Margaret Tudor, the elder sister of Henry VIII. Their children would inherit both parents' claims, and thus, be next in line for the English throne. After a variety of accusations the Catholic Queen of Scotland, Mary Stuart was put on trial for treason by a court of about 40 noblemen, including Catholics, after being implicated in the Babington Plot and after having allegedly sanctioned the attempted assassination of Elizabeth. Mary denied the accusation and was spirited in her defence. Mary was ultimately convicted of treason, and was sentenced to beheading on 8 February 1587. She was only told the day before she was executed that it would be the next day. She had spent the last hours of her life in prayer and also writing letters and her will. The scaffold that was erected in the great hall of the castle and was three feet tall and draped in black. It was reached by five steps and the only things on it were a disrobing stool, the block, a cushion for her to kneel on, and a bloody butcher's axe that had been previously used on animals. The executioners and her two servants helped remove a black outer gown, two petticoats, and her corset to reveal a deep red chemise - the liturgical colour of martyrdom in the Catholic Church. As she disrobed she smiled faintly to the executioner and said, "Never have I had such assistants to disrobe me, and never have I put off my clothes before such a company." She was then blindfolded and knelt down on the cushion in front of the block. She positioned her head on the block and stretched her arms out behind her. Not long after Mary's death, the Spanish Armada sailed to England to depose Elizabeth, but it sailed into a North Sea storm, and retreated without ever touching English soil. The traditional view that Mary's execution was the trigger for Spain sending the Armada is now disputed.The publisher of the series is Tebaldo Monzani (1762-1839) an Italian music-seller, publisher and instrument-maker in London. Monzani appears to have first published the plates, printed in black and in a slightly different form, in the beginning of 1791: <I>A representation of the execution of Mary Queen of Scots in seven views</I>, which included music composed for each view by Willoughby Bertie, Earl of Abingdon. The present series apparently is a re-issue with an explanatory text in English under each engraving (the same texts which appear in letter-press at the beginning of the aforementioned book) by Abindon, and preceded by three pages of explanatory texts in French which are translations of the captions to each engraving. It may be that this publication was intended for export to the continent. The topic of the beheading of a king was very actual and relevant at the time when this work was published in view of the fate of the French king, Louis XVI, who had been captured in 1791 by the revolutionary French government after attempting to escape France and who would be executed in 1793. It certainly also is a waring to the English: no revolution in England, please! Moreover, the life and fate of Mary Queen of Scots had become a source of historical debate within late 18th-century Britain, in particular her alleged complicity in the murder of her first husband, Lord Darnley, which appeared to be confirmed by the infamous Casket letters written to Lord Bothwell.The topic of the beheading of a king was very actual and relevant at the time when this work was published in view of the fate of the French king, Louis XVI, who had been captured in 1791 by the revolutionary French government after attempting to escape France and who would be executed in 1793. It certainly also is a waring to the English: no revolution in England, please! Moreover, the life and fate of Mary Queen of Scots had become a source of historical debate within late 18th-century Britain, in particular her alleged complicity in the murder of her first husband, Lord Darnley, which appeared to be confirmed by the infamous Casket letters written to Lord Bothwell.The engravings in this work are after paintings by <B>John Francis Rigaud </B>(Turin 1742 - Packington Hall, 1810), painter of portraits, history and decorative pieces. Born in Italy of French descent, he was mainly active in England. After a two-year stay in Rome (1768-70) he moved to London in 1771. Rigaud made a career out of decorative painting in the country houses of the nobility and in producing depictions of classical, literary and historical subjects. The plates were engraved by <B>William Nelson Gardiner</B> (Dublin 1766- London 1814). Gardiner studied at the Dublin Academy and later made his way to London. He worked for the famous engraver Francisco Bartolozzi. Gardiner worked also on the engravings for Sylvester Harding's editions of Shakespeare and <I>Memoirs of Count de Grammont</I>.
Fine copy wityh ownership's entry of E.(?) Gerken written in pencil on title.- (Plates 4-7 with faint waterstain in lower corner not affecting the plates; binding sl. used with small stain on front cover).
<I>ESTC </I>N471985; <I>KVK</I> (mentions copies in the National Library of Scotland and Dessau (Germany); Benezit VIII, p. 764 (on Rigaud) & IV, p. 615 (on Gardiner).

Oblong folio. Contemporary light-brown polished calf with decorated gilt spine, covers with decorated gilt border along the edgess, front cover with gilt green morocco inlay with title lettered in gold, decorated gilt binding edges, pastedowns and first and last flyleaf of paper decorated in eighteenth-century style with a pattern of red dots and trefoils. With seven full-page stipple-engraved plates (ca. 200 x 250 mm) printed in brown by W.N. Gardiner after the designs of J.F. Rigaud. (4) pp. with title and explanatory text.

[SW: 18th Century; Engravings; England; History]

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Travisano, Thomas J. Elizabeth Bishop: Her Artistic Development, University of Virginia Press 1988 ISBN: 0813911591

Crisp Firm Clean copy ! 227 pages. Condition:New New Binding Type:Hardcover 9.5 x 6.5 x 0.75

[SW: Poetry Poetry::Poet Biographies Poetry::1900-1975 Poetry texts & anthologies Bishop, Elizabeth - Poems Criticism Literary Poetry / American 1911-1979 20th century Elizabeth, and interpretation History United States Women 811.5 Poetry:]

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Jarrell, Randall: Losses. Poems. New York, Harcourt Brace & Co., 1948.
Guter Zustand. - Randall Jarrell (* 6. Mai 1914 in Nashville, Tennessee, Vereinigte Staaten; 14. Oktober 1965) war ein US-amerikanischer Dichter, Literaturkritiker, Kinderbuchautor, Essayist und Novellist. Er war der elfte Poet Laureate Consultant in Poetry der Library of Congress. Biographie: Jarrell studierte an der Vanderbilt University in Nashville, Tennessee, wo er die Bekanntschaft von Dichtern aus Emigrantengruppen machte. Später wechselte er zum Kenyon College in Gambier (Ohio). Hier verfasste er eine Arbeit über den Dichter Alfred Edward Housman, und lernte den Dichter Robert Lowell kennen, mit dem ihn eine lebenslange Freundschaft verband. Jarrell machte seinen Masterabschluss im Jahre 1938, dann nahm er einen Lehrstuhl an der University of Texas in Austin (Texas) an. Hier lernte er seine erste Frau Mackie Langham kennen. Ab 1942 leistete er seinen Wehrdienst bei der United States Army Air Force. Zunächst diente er als Fliegerkadett, später als Navigator." Sein Frühwerk ist von seinen Kriegserlebnissen geprägt. Nach seiner Entlassung arbeitete Jarrell ein Jahr lang im Sarah Lawrence College in Bronxville, N.Y., dann wechselte er zum Woman's College of the University of North Carolina, wo er Englisch, moderne Poesie und kreatives Schreiben unterrichtete. Jarrell erhielt für sein Schaffen zahlreiche Auszeichnungen, u. a. Guggenheim Fellowship uor 1947-48, eine Förderung des National Institute of Arts and Letters im Jahre 1951, und den National Book Award im Jahre 1961. Während eines Abendspaziergangs am 14. Oktober 1965 kam Jarrell bei einem Autounfall ums Leben. Da er kurz vorher psychologisch behandelt worden war, tauchte das Gerücht auf, er habe Selbstmord begangen. Eine Woche nach dem Unfall schrieb Robert Lowell an Elizabeth Bishop :"Es besteht eine kleine Möglichkeit, dass Jarrells Tod ein Unfall war. Ich glaube, dass es Selbstmord war, und das tut jeder, der ihn gut kannte." Seine zweite Frau Mary, die er 1952 geheiratet hatte, war der Ansicht, es handle sich um einen Unfall. Am 28. Februar 1966 fand an der Yale University ein Gedenkgotesdienst statt, an dem zahlreiche der bekanntesten Dichter des Landes teilnahmen, u. a. Robert Lowell, Richard Wilbur, John Berryman, Stanley Kunitz, und Robert Penn Warren. Die New York Times bezeichnete Jarrell als den "herzbrechendsten Poeten unserer Zeit", der die "beste englischsprachige Poesie über den Zweiten Weltkrieg" geschrieben hat. Werk: Seine erste Gedichtsammlung "Blood from a Stranger", die Einflüsse W. H. Audens aufweist, erschien 1942. Es folgten "Little Friend, Little Friend" 1945 und "Losses" 1948, in denen er seine Erfahrungen während des Militärdienstes verarbeitet. In diesen Büchern befreite sich Jarrell von Audens Einfluss und entwickelte seinen eigenen Stil und seine poetische Philosophie. Die bekannteste seiner Veröffentlichungen von Kriegsgedichten ist "The Death of the Ball Turret Gunner". In diesem wird der einzelne Soldat als schuldlos und kindlich dargestellt, er erfüllt seine Pflicht für den Staat. In dieser Zeit erwarb er den Ruf eines ausgezeichneten Kritikers, als Poet war er noch weniger bekannt. Unterstützt durch Edmund Wilson publizierte Jarrell zahlreiche Kritiken in The Nex Republic. Die Anerkennung von Robert Lowell, Elizabeth Bishop und William Carlos Williams waren der Festigung seiner Reputation förderlich. In Reaktion auf das 1951 erschienene Buch "The Seven Leage Crutchers" bezeichnete Lowell Jarrell als den talentiertesten unter-40-jährigen Dichter, der Pathos und Schönheit besser verbinden könne als Pope oder Matthew Arnold. Karl Shapiro verglich Jarrell mit dem "großen, modernen Rainer Maria Rilke." Jarrell verfasste Essay über Robert Frost, dessen Poesie einen großen Einfluss auf Jarrels Werk ausgeübrt hatte, sowie über Walt Whitman, Marianne Moore, Wallace Stevens. Diese Essays wurden in dem 1953 erschienen Band "Poetry and the Age" zusammengefasst. Viele Schüler betrachten ihn als den scharfsinnigsten Dichter seiner Generation, und 1979 forderte Peter Levi dazu auf, ihr Augenmerk auf Jarrells Kritiken zu richten. 1955 wurde der Roman "Pictures from an Institution" veröffentlicht, der 1955 für den National Book Award nominiert wurde. Es handelt von Jarrels Lehrerfahrungen im Sarah Lawrence College, das im Buch allerdings den Namen Benton College trägt. Zudem war Jarrell von 1956 - 1958 als Berater für Poesie in der Library of Congress tätig. In der Folgezeit erschienen verschiedene Kindergeschichten, u. a. "The Bat-Poet" im Jahre 1964 und "The Animal Family" 1965. Als Dichter erhielt Jarrell seine Reputation durch die Verleihung des National Book Award im Jahre 1960 für "The Woman at the Washington Zoo" Sein 1965 erschienener Band "The Lost World", der die Kindheit zum Thema hat, wurde von der Kritik als bestes poetisches Werk betrachtet. Daneben übersetzte Jarrel Werke von Rainer Maria Rilke und anderen Dichtern, ein Schauspiel von Anton Chekhov und einige Märchen der Gebrüder Grimm. Aus wikipedia-orgRandall_Jarrell

Erstausgabe. 68 Seiten. Leinen mit Schutzumschlag und goldgeprägten Rückentitel. SU mit minimalen Abreibungen an den Kanten. (Black cloth. Fine copy in dust jacket some rubbing at edges)

[SW: Lyrik / Poesie, Amerikanische Literatur des 20. Jahrhunderts, Gedichte, Literaturtheorie, Lyriktheorie, Literaturwissenschaft, Literaturwissenschaften, Book is written in english]

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