WALT WHITMAN QUARTERLY REVIEW最新文献_第10页

IF 0.2 3区文学

WALT WHITMAN QUARTERLY REVIEW Pub Date : 2017-10-01 DOI: 10.13008/0737-0679.2277

A. Zee

引用次数: 3

Karbiener, Karen, ed. Poetry for Kids: Walt Whitman. Illustrated by Kate Evans [review] 卡伦·卡比纳编:《儿童诗歌:沃尔特·惠特曼》。插图:凯特·埃文斯[评论]

IF 0.2 3区文学

WALT WHITMAN QUARTERLY REVIEW Pub Date : 2017-10-01 DOI: 10.13008/0737-0679.2279

K. Franklin

引用次数: 0

Following You: Second Person in Walt Whitman’s “As I Ebb’d with the Ocean of Life” 跟随你:惠特曼《我与生命的海洋一起退潮》的第二人称

IF 0.2 3区文学

WALT WHITMAN QUARTERLY REVIEW Pub Date : 2017-10-01 DOI: 10.13008/0737-0679.2276

Marion K. Mcinnes

引用次数: 0

A Translation of Whitman Discovered in the 1912 Spanish Periodical Prometeo 1912年西班牙《Prometeo》杂志对惠特曼的翻译

IF 0.2 3区文学

WALT WHITMAN QUARTERLY REVIEW Pub Date : 2017-08-14 DOI: 10.13008/0737-0679.2267

K. Franklin

{"title":"A Translation of Whitman Discovered in the 1912 Spanish Periodical Prometeo","authors":"K. Franklin","doi":"10.13008/0737-0679.2267","DOIUrl":"https://doi.org/10.13008/0737-0679.2267","url":null,"abstract":"UNTIL NOW, the first substantial Spanish translation of Whitman was believed to be the 1912 Walt Whitman: Poemas, published in Valencia by the Uruguayan writer Armando Vasseur. But I have now discovered the publication of an earlier, fifteen-page Spanish translation of Whitman's poetry, including a full translation of his long poem \"Salut au Monde.\" In addition to pushing back the date of print entry for Whitman's poems into Spanish, this discovery represents a very early point of print contact between Whitman and the inception of the Spanish- language vanguardias, or avant-gardes. Furthermore, both the text and the context of the translation help explain why the avant-gardes in Spain and Mexico tend to imagine Whitman in Futurist terms. Finally, the Prometeo translations reveal that even Whitman's ostensibly transamerican appropriations may occur through a transatlantic- and in fact a heavily global-network of circulation.These newly-discovered poems appear in a mostly-prose translation at the beginning of 1912 in the Spanish literary and cultural journal Prometeo.1 Since it was the first of eleven issues published in 1912 (Prometeo was basically a monthly periodical), we can assume this translation predates or is at most simultaneous with Walt Whitman: Poemas, since Vasseur dates his preface as February, 1912, suggesting an even later publication date for his book-length translation.2 Either way, we can see this earlier translation as independent from Vasseur's textual influence. But more importantly, the Prometeo publication marks or colors Whitman's reception in a particular way, by locating the American poet within an increasingly avant-garde context.First published in 1908 with a modernista3 bent, the journal Prometeo was not always linked with the avant-garde;4 but in 1909, the journal made a radical endorsement of the new aesthetics of Italian Futurism, one of the originators of the global avant-gardes. When the Italian movement's founder, Filippo Tommaso Marinetti, published his bombastic \"The Founding and Manifesto of Futurism,\" Prometeo's editor, Ramon Gomez de la Serna, published his own translation of the avant-garde text, alongside a piece celebrating Marinetti-making Prometeo the first Spanish periodical to bring Italian Futurism to Spain. Marinetti's performative text, a hybrid of prose narrative and manifesto, proclaimed the inauguration of a new era, as it celebrated rebellion, violence, the power and aesthetics of machines, and the vitality of industry.5 Then, in 1910, at Gomez de la Serna's personal request, Marinetti even wrote a Futurist address directly to Spain, \"Proclama Futurista a los Espanoles,\" again translated by Gomez de la Serna, and for exclusive publication in Prometeo. In it, Marinetti railed against what he perceived as the lassitude of Spanish culture, and called for a revitalization of Spain through radical social change and the development of industry. We see Futurism taking hold in Spain: Gomez de la Serna ","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":"35 1","pages":"115-126"},"PeriodicalIF":0.2,"publicationDate":"2017-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48067910","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Walt Whitman: A Current Bibliography, Summer 2017 沃尔特·惠特曼：当代书目，2017年夏季

IF 0.2 3区文学

WALT WHITMAN QUARTERLY REVIEW Pub Date : 2017-08-14 DOI: 10.13008/0737-0679.2269

Ed Folsom

引用次数: 0

Walt Whitman’s Poetry Reprints and the Study of Nineteenth-Century Literary Circulation 惠特曼诗歌再版与19世纪文学流通研究

IF 0.2 3区文学

WALT WHITMAN QUARTERLY REVIEW Pub Date : 2017-08-14 DOI: 10.13008/0737-0679.2266

A. Omidsalar, A. Palmer, Stephanie M. Blalock, Matt Cohen

引用次数: 1

A Translation of Abdel-Muneim Ramadan’s “Walt Whitman’s Funeral,” and Some Notes on Whitman in the Arab World 阿卜杜勒·穆尼姆·拉马丹《沃尔特·惠特曼的葬礼》的翻译，以及对惠特曼在阿拉伯世界的一些注释

IF 0.2 3区文学

WALT WHITMAN QUARTERLY REVIEW Pub Date : 2017-07-01 DOI: 10.13008/0737-0679.2268

Adnan Haydar, M. Beard

{"title":"A Translation of Abdel-Muneim Ramadan’s “Walt Whitman’s Funeral,” and Some Notes on Whitman in the Arab World","authors":"Adnan Haydar, M. Beard","doi":"10.13008/0737-0679.2268","DOIUrl":"https://doi.org/10.13008/0737-0679.2268","url":null,"abstract":"We present here a translation into English of Egyptian poet AbdelMuneim Ramadan's (b. 1951) \"Walt Whitman's Funeral\" Janâzat Walt Witman], a remarkable 2012 poem that underscores the complex role that Whitman has played in the Arab world. As an aid to understanding the poem, we first offer a brief history of the Whitman-Arab relationship.The Mahjar, or \"emigrant\" poets, were a small group of Lebanese and Syrian writers in the United States, affiliated with the New Yorkbased Arabic-language newspaper Al-Hudâ. The group flourished in the 1920s. They did not have a project in common except to break with the patterns of traditional Arabic poetry. Mahjar in Arabic does not name a particular common project: it simply means the diaspora of Arabs around the world. The poets were scattered: Khalil (\"Kahlil\") Gibran (1883-1931) lived in Boston, Ameen Rihani (18761940) primarily in New York, and Mikhail Naimy (1889 -1988) in Walla Walla, Washington, but also New York, as well as, during the first World War, France (where he served in the American army). They had one thing in common: they absorbed American poetry, and their distance from a strict critical establishment (back home in Syria and Lebanon) gave them freedom to experiment. Whitman's name comes up often in their critical writings, and they seem to have agreed that it was Whitman's influence that allowed them to redefine Arabic poetry.Rihani, writing in the preface to his 1923 collection Hutâf al-Awdiya [Hymns of the Valleys], makes Whitman's innovations a pivotal point in literary history:Milton and Shakespeare liberated English Poetry from the bonds of rhyme; and the American Walt Whitman freed it from prosodic bonds such as the conventional rhythms and customary meter. But this freed verse has a new and particular rhythm, and a poem composed in it may follow numerous and varied metres.1He emphasizes the force of the break:This type of new poetry is called vers libres in French and free verse in English, that is, free, or more properly, freed verse (in Arabic al-shi'r al- Ķurr wa almutlaq)2\"Free\" versus \"freed\" verse: Mounah Khouri's translation of Rihani's essay (al-h/urr as \"free\" and al-mutlaq as \"freed\") captures something latent in the Arabic. Al-hfurr is \"free\" in the political sense. Al- mutlaq is perhaps \"freer\": Hans Wehr's dictionary offers \"unlimited, unrestricted, absolute.\"3 Similarly, in English \"free,\" a simple adjective, is a static state; \"freed,\" a passive participle, is a state that results from an act of will. The translation takes that break with tradition a step further in intensity.Later in the same essay Rihani translates Whitman's \"To Him That Was Crucified\" (Ilâ al-masfub). Rihani was a Christian, but the effect of the poem is not sectarian. The vision of a utopian devotional community (\"We walk silent among disputes and assertions, but reject not the disputers nor any thing that is asserted\") may matter more than the Christ-figure of the title.Naimy, in a 1949 article, \"","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":"35 1","pages":"127-136"},"PeriodicalIF":0.2,"publicationDate":"2017-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42588845","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Whitman’s Metro-Poetic Lettrism: The Mannahatta Skyline as Sentence, Syntax, and Spell 惠特曼的都市诗体:从句子、句法和拼写看曼哈顿天际线

IF 0.2 3区文学

WALT WHITMAN QUARTERLY REVIEW Pub Date : 2017-07-01 DOI: 10.13008/0737-0679.2264

Kimo Reder

{"title":"Whitman’s Metro-Poetic Lettrism: The Mannahatta Skyline as Sentence, Syntax, and Spell","authors":"Kimo Reder","doi":"10.13008/0737-0679.2264","DOIUrl":"https://doi.org/10.13008/0737-0679.2264","url":null,"abstract":"I was asking for something specific and perfect for my city,Whereupon, lo! Up sprang the aboriginal name!I see that the word of my city is that word from of old,Because I see that word nested in nests of water-bays, superb,with tall and wonderful spires....-\"Mannahatta\"11In his 1860 poem \"Mannahatta,\" Walt Whitman hints at just how microscopic our academic practice of close reading could eventually become. Whitman's poem reads its own title word's letterscape as a skyline, with its vowels compared to saliva-storing \"water-bays\" and its consonants compared to ascending \"spires.\" The poet finds meaning burrowed inside a borough's name, but also scrolled out along the surface of its spelling. This paper is a series of aphoristic riffs following his own example off the rooftops of its most extreme implications, treating this fleeting and oblique reference as a kind of high-rise Rosetta Stone or a runic cipher into Whitman's philological concerns.Whitman, unlike thinkers from Plato to Saussure, believed in a sensual correspondence not only between objects and their names, but also between words and their component letters. The Native American word \"Mannahatta\" treated like a skyline is a case of signifier-become-signified, characters-become-content, and a horizon-made-hieroglyphic, proof indeed that \"These States shall stand rooted in the ground in names.\"2 David Carr refers to the Manhattan skyline and its hourglass undulation as a \"sexy colossus in Reubenesque recline,\"3 but Whitman sees the pre-colossal 1860 skyline as a spelling primer and a conjurer's spell at once. While my reference is anachronistic, \"Alphabet City\" here is not a specific Lower East Side enclave but, for Whitman, the elongated entirety of Manhattan itself.Clearly, Whitman's background as a printer's apprentice and a journeyman carpenter gives him a mechanical and architectural feeling for the humanly made shapes of characters and words. Whitman (who blurred between subject and object by writing his own nameless reviews for Leaves of Grass) is a word-carpenter and a self-made fetish constructed out of words at once. In \"Song of the Broad-Axe,\" one of his odes-to-tools, he uses the word \"preparatory\" to describe the \"jointing, squaring, sawing, mortising\"4 of a building, just as his assembling-together of letters on a compositor's stick was preparatory to the laying-down of words on a page, a process blueprinted by Whitman's handwritten manuscripts. By implication, the crossbars, ascenders, and serifs of letters are the beam, studs, tenons, and mortises of our words, and considering his abundant references to house-making tools (and the ways that exclamation points often cluster around those tool-references), Whitman's mere pen seems often to envy the majestic blows of hammers and chisels and mallets.2\"Mannahatta\" imagines a word made out of iron, rivets, and cement, but the letters making up the words \"Leaves of Grass\" on that book's first cover were entwined in vines, buds, and","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":"35 1","pages":"88-114"},"PeriodicalIF":0.2,"publicationDate":"2017-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48357200","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

More Than One Hundred Additional Reprints of Walt Whitman’s Short Fiction in Periodicals 沃尔特·惠特曼短篇小说在期刊上的一百多次加印

IF 0.2 3区文学

WALT WHITMAN QUARTERLY REVIEW Pub Date : 2017-07-01 DOI: 10.13008/0737-0679.2265

Stephanie M. Blalock

{"title":"More Than One Hundred Additional Reprints of Walt Whitman’s Short Fiction in Periodicals","authors":"Stephanie M. Blalock","doi":"10.13008/0737-0679.2265","DOIUrl":"https://doi.org/10.13008/0737-0679.2265","url":null,"abstract":"IN 2013, I DETAILED my discovery of 266 reprints of Walt Whitman's short stories in nineteenth and twentieth-century newspapers and magazines published in the United States and abroad.1 Here, I offer an addendum to that bibliography, and document 116 additional previously unknown periodical reprints of Whitman's fiction that have come to light since the publication of that piece, as well as two recent online reprints of his first short story \"Death in the School-Room.\" This brings the total number of previously unknown reprints of the poet's short fiction in periodicals to 382 to date.2 When these new reprints-along with the two recent online publications-are added to those included in previous bibliographies of Whitman's writings, the number of known reprints of the poet's fiction in periodicals totals more than four hundred.3The most often reprinted piece of Whitman's fiction is, and will likely continue to be, \"Death in the School-Room. A Fact,\" which has been reprinted at least 139 times in print newspapers and magazines in the United States and included in online publications or journalism projects at least twice since its initial publication in the August 1841 issue of one of the most prestigious monthly magazines of the time, The United States Magazine and Democratic Review (often referred to as the \"Democratic Review\").4 Whitman's \"A Legend of Life and Love\" remains the second most often reprinted story, having been copied 99 times in the United States and twice in Canada, for a total of 101 reprints, since it was first published in the Democratic Review in July 1842. The third and fourth most often-reprinted tales, respectively, are \"The Tomb-Blossoms,\" with at least 42 reprints since it was first published in the January 1842 issue of the Democratic Review and \"The Death of Wind-Foot,\" with at least 32 reprints since the story was first published as part of Whitman's temperance novel Franklin Evans; or the Inebriate: A Tale of the Times in an extra edition of the New World newspaper in November 1842.5 These reprint totals, especially those for stories originally published in the Democratic Review, help explain the exaggerated claims a writer for the Philadelphia Dollar Newspaper made about Whitman's most popular tales in a brief September 13, 1843, article entitled, \"Pay of American Writers\": \"Recently were published, the sketch of \"Death in the School Room,\" and a \"Legend of Life and Love,\" [sic] both of which, as they respectively appeared, were copied by three fourths of the newspapers in America, and universally admired.\"6 The writer goes on to assert that the author of those two stories-Whitman is never mentioned by name-\"received only five dollars in payment for them\" because, at that time, he was not yet a well-known writer with an established literary reputation.Even though, in the opinion of the Dollar Newspaper, the Democratic Review had given Whitman \"a sum [that] would not pay for the pen work merely, to say nothing of the l","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":"35 1","pages":"45-87"},"PeriodicalIF":0.2,"publicationDate":"2017-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46727027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Walt Whitman: A Current Bibliography, Winter/Spring 2017 《沃尔特·惠特曼:当前参考书目》，2017年冬/春

IF 0.2 3区文学

WALT WHITMAN QUARTERLY REVIEW Pub Date : 2017-02-20 DOI: 10.13008/0737-0679.2250

Ed Folsom

引用次数: 0