Between Here and There: Lyricism and Zen in Sinéad Morrissey’s Japanese Poems

This article is devoted to the second section of Sinéad Morrissey’s Between Here and There (2002), which gathers poems written during the Irish writer’s two-year stay in Japan. The title of the collection alludes to the poet’s position, poised between her discovery of Japanese Zen culture and the Western lyrical tradition she was steeped in during her youth in Ireland. In the light of seminal essays on lyricism (J.-M. Maulpoix, J.-C. Pinson, M. Ueda, P. Volsik) and a selection of inquiries into the spirit of Zen (R. H. Blyth, N. W. Ross, D. T. Suzuki, C. Jung, J. Pigeot), our aim is to explore the interactions fostered between both traditions, and the way in which their collusion generates a unique body of poems, as “two worlds split open to each other, stars spilling from each” (“Pearl”). Between attachment and impersonality, Sinéad Morrissey’s Japan sequence cultivates the art of in-betweenness while advocating, in the poet’s own words, “the tolerance of transitions”.Cette étude est dédiée à la seconde section de Between Here and There (2002), qui réunit des poèmes composés au cours des deux années durant lesquelles Sinéad Morrissey séjourna au Japon. Le titre du recueil fait allusion à la position qui fut celle de la poétesse, partagée entre sa découverte de la culture et de la spiritualité japonaises et la tradition lyrique dans laquelle elle avait jusqu’alors baigné. À la lumière d’essais fondateurs sur le lyrisme (J.-M. Maulpoix, J.-C. Pinson, M. Ueda, P. Volsik) et d’une sélection d’écrits visant à cerner l’esprit du Zen (R. H. Blyth, N. W. Ross, D. T. Suzuki, C. Jung, J. Pigeot), cet article a pour objectif d’explorer les relations complexes instaurées entre ces deux traditions et la manière dont leur rencontre génère un corpus de poèmes dans lesquels « deux mondes s’ouvrent l’un à l’autre, chacun semant une pluie d’étoiles » (“Pearl”). Entre attachement et impersonnalité, les poèmes japonais de Sinéad Morrissey épousent l’art de l’entre-deux tout en promouvant « la tolérance des transitions »

Study of Zen in American poets

制度:新 ; 文部省報告番号:乙2107号 ; 学位の種類:博士(人間科学) ; 授与年月日:2007/7/18 ; 早大学位記番号:新458

The Chinese short story of 1917-1927: patterns of influence.

by Lee Zhengwei.Thesis (M.Phil.)--Chinese University of Hong Kong, 1988.Bibliography : leaves 109-116

Brahms the Exotic: The Representation of Non-European and Ethnic `Others\u27 in the Hafiz/Daumer Settings of Opus 32, Romanzen aus L. Tieck\u27s Magelone, and Zigunerlieder, Opus 103

Though scholars, performers, and classical enthusiasts alike recognized and praised the many facets of his compositional craft, Johannes Brahms\u27s treatment of poetry in his Lieder has led to much conflicting assessments. The negative critiques exist partially because the majority of scholars do discuss an interpretation of the poems but seldom explain precisely how Brahms conveys the texts\u27 meanings through his music, leaving the more specific details of text-to-music relationship and what it shows about Brahms\u27s own understanding of the texts unexplored. Brahms\u27s Lieder have also been criticized because of the supposed lack of exotic qualities in those works that portray non-Western characters or music, especially those dealing with Persian, Turkish, and Hungarian themes. Previous scholars have approached them with the attitude that they are musically not at all exotic, and as a result most of Brahms\u27s Lieder with exotic subjects received little detailed attention in musicological research. Many of the dismissive critiques reflect a common misunderstanding of exotic works in musicological literature. As Ralph P. Locke has shown in his book Musical Exoticism: Images and Reflections, musicologists tend to focus on what he calls the Exotic Style Only Paradigm, an approach referring only to music which explicitly evokes an exotic other. As a result, many studies of musical exoticism overlook important clues in works that do not sound overtly exotic. To solve the problem, Locke proposed a new, more inclusive approach to musical exoticism--the All the Music in Full Context Paradigm. According to the Full Context view, scholars should not only look at the explicit musical markers of exoticism but also the extra-musical elements. This approach helps to identify not only exotic-sounding musical tropes, but also specific and previously overlooked points of view about exotic Others. In this thesis, I will explore three song collections using Locke\u27s Full Context view in order to challenge existing scholarship as well as explain how Brahms used exotic subtleties to bring out the various meanings of the texts in a highly refined way

Bulletin of the Center for Children's Books 50 (01) 1996

published or submitted for publicatio

Anglo-American poetry and Japan, 1900-1950: A critical bibliography

From the advent of literary Japonisme late in the nineteenth century through the literary and cultural upheavals of the twentieth century Japanese literature, visual arts, aesthetic principles, and landscapes imaginative and real have attracted the attention of many of the most remarkable and remarked upon poets of Britain and the United States. This work provides a critical and bibliographical overview of the works that constitute the textual fabric of this attraction, focusing particularly on the first half of the twentieth century, when Japan first emerged as a determinative presence in Anglo-American verse. The introduction, 'Anglo-American Poetry and the Special Case of Japan', places the work under study in historical context, and is followed by four bibliographical sections. Section A, 'Critical and Comparative Studies', provides a chronological listing of general secondary works that have addressed the use of Japanese subjects and forms in Anglo-American poetry. Section B, 'Poets Central to the Study', provides chronological listings of primary and secondary materials by and about twelve writers whose mediation of Japanese subjects and forms was most significant among Anglo-American poets active from 1900 to 1950: Conrad Aiken, Richard Aldington, Laurence Binyon, Edmund Blunden, Witter Bynner, William Empson, Arthur Davison Ficke, John Gould Fletcher, Amy Lowell, William Plomer, Ezra Pound, and W. B. Yeats. Section C, 'Other Materials', includes selected listings of works by and about other Anglo-American poets whose mediation of Japanese materials has been significant (CA), a selected listing of relevant archives (CB), and a selected listing of secondary works that focus on the larger influence of Japan in the West (CC). Section D, 'Sources of Influence and Transmission', provides a bibliographical overview of the writers and texts that have provided Anglo-American poets with many of their images and understandings of Japan and Japanese forms

Echoes of the Past: Stylistic and Compositional Influences in the Music of Sergei Bortkiewicz

Despite the wide array of his compositional output in the first half of the twentieth century, the late Romantic composer, Sergei Bortkiewicz (1877-1952), remains relatively unknown. Bortkiewicz was born and raised near Kharkov, Ukraine, but considered himself Russian. Bortkiewicz studied in St. Petersburg and Leipzig, lived in Berlin, and later returned to Kharkov during World War I. During the Russian Revolution, he fled to Istanbul as a refugee. Eventually, he returned to Berlin and then to Vienna, where he would remain during World War II and for the rest of his life. Substantial modern-day recording efforts have rekindled interest in this composer who was faced with difficult circumstances throughout his life; however, a paucity of scholarly contributions exist. This project seeks to address some of these shortages. The first chapter provides historical perspective concerning Kharkov and Ukraine in the decades prior to the birth of Bortkiewicz. The second chapter presents a biography of Bortkiewicz against the backdrop of important events in world history. The third chapter contains commentary regarding Bortkiewicz’s compositional output which consisted primarily of works for the piano, but also included orchestral works, solo concerti, one opera, and several collections of songs. Unfortunately, some of these pieces have been lost as a result of World War II. The fourth chapter examines the compositional style of Sergei Bortkiewicz. Despite Bortkiewicz’s pro-Russian sentiments, some of his music appears to contain Ukrainian folk idioms. Other observations in this chapter supplement the work of Nils Franke regarding musical retrospection in Bortkiewicz’s works. These additional examples reaffirm harmonic and textural similarities and other stylistic connections in Bortkiewicz’s music. Ultimately, these similarities have pedagogical advantages notably through stylistic comparisons and might affect one’s approach to interpreting Bortkiewicz’s music

Musing the Garden: a Poetics of Place and Emplacement.

A walk through a garden is an immersion into a wealth of sensory and relational experiences of place. Plant varieties, color, texture, flowers, forms, pathways, light, benches, ornaments, and other experiential qualities of place work upon one\u27s consciousness to draw one into intimate contact with the place Emplacement is this intimate, immersed engagement with a place, a process and state of being that erodes the boundaries we so often erect between self and environment. Traditional systematic forms of inquiry, based upon the Cartesian idea of an essential separation between object and subject, are not applicable to the study of emplacement because the detachment of such an inquiry destroys the existential sense of engagement central to emplacement Knowledge related to emplacement is poetic rather than Cartesian, an intimate kind of knowing that is more apprehending than comprehending. Existential phenomenology as a methodological approach discloses poetics of place and emplacement in selected American public gardens, addressing not only epistemology, but also poetic ontology, expression, and conceptualization. Poetic knowing is accompanied by an awareness of poetic being, poetic language, and the formation of concepts such as genius loci that avoid the consequences of object-subject reductions. Gardens are particularly poetic, since they are places we enter into intentionally and aesthetically. The pedestrian rate and a scale provide a poetic quality much different from the more prosaic world of busy lifestyle. Public gardens therefore serve as a workshop for the understanding and awareness of poetics and emplacement. According to their styles and to their natural and artistic content, gardens provide an abundance of poetic perceptions and impressions, such as a sense of spaciousness or intimacy, focused or dissipated attention, historical or cultural references, internal and external context, comprehensibility of orientation, qualities of movement through the garden, tactile experiences, or sensory and bodily involvement. These poetic qualities serve to create an experiential sense of place both unique and shared in the encounter with the garden