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Copyright of Alkemie is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on analyzing Dorothy Parker's position within the poetic canon, examining the relationship with both nineteenth-century poetry and modernist contemporaries. It aims to identify the value that found in light verse compared to serious verse and it discusses the lack of scholarship on poetry. It highlights efforts to challenge the distinctions between light and serious poetry, as well as the exploration of traditional meter and modernist experimentation.

This essay analyses a strain of modern classicism other than the high modernist classicism of Hulme, Pound, and Eliot. Its practitioners were middlebrow writers associated with the newspaper columns and 'smart magazines' thriving in New York City during the 1910s and 1920s. Led by the columnist, popular poet, and Algonquin Round Table fixture, Franklin P. Adams, 'smart classicism' took its inspiration from ancient Rome's elegists, satirists, and epigrammatists. Adams's smart classicist poems complicate current accounts of early twentieth-century American poetry, of modern(ist) classicism, and of the literary legacy of the smart writers and the Round Table. Dorothy Parker's poetic rejoinders to smart classicism re-gender the masculinist speakers and attitudes of Adams's light verse – and the verse of the ancient poets he emulates and translates. This contextualisation clarifies neglected aspects of Parker's poetic achievements: her erudition, critiques of literary gender politics ancient and modern, and role in articulating a female counterpart to the smart magazines' suffering Little Man figure. [ABSTRACT FROM AUTHOR]

The article informs about Dorothy Parker's epigram on a series of writers called "A Pig's-Eye View of Literature," formed part of her second collection of poems, "Sunset Gun." It mentions about popular forms of romantic sentiment with quipping schoolmistress identified with and passionately undercut with feminine form of intelligent disenchantment. It further informs about recognition in the conventionally male territory of literary epigrams, and aphorisms.

The article focuses on the fiction writers like John Steinbeck, Ann Petry, and Dorothy Parker. It discusses the ethics followed by Steinbeck in his works such as "Of Mice and Men" and "The Grapes of Wrath" inspiring moral reflection and empathy, the New Women ideal brought on by the female writers like Edna Ferber and Dorothy Parker.

The article focuses on the scholarships on author Ernest Hemingway and F. Scott Fitzgerald. It discusses Fitzgerald's relationship with poet Dorothy Parker, and how he worsened after his wife Zelda was diagnosed with schizophrenia and influence of Fitzgerald's novel "The Great Gatsby" and Burton Rascoe's take on Fitzgerald's novels.

The article discusses the paradox of the "new woman" theme in the books "Big Blonde" by Dorothy Parker and Edna Ferber's "Dawn O'Hara, The Girl Who Laughed." Topics include a reassessment of the definition of modernity with a mention of Rita Felski's "The Gender of Modernity," the woman's confrontation with modernity as the theme in Big Blonde and Dawn O'Hara, and a definition of what a New Woman is according to historian Sarah Jane Deutsch.

The article presents literary criticism of the book "Lolita" by Vladimir Nabokov and the short story "Lolita" by Dorothy Parker. Particular focus is given to the state of both authors' careers in 1955, the year the works were published, and to their professional relationships with one another. Details on Parker's review of Nabokov's novel are presented. Other topics include Nabokov's attempts to publish his book and Parker's relationship with the periodical the New Yorker.

An essay is presented which explores the role of humor in the fiction of author Dorothy Parker. The author considers Parker's use of humor to celebrate independent and imaginative women in stories such as "The Waltz" and "The Little Hours." Other topics include solidarity between characters and readers, the incongruity between acceptable and unacceptable behavior, and complicity in traditional social order.

During the years 1943-1946, the Chicago choreographer and ballet director Ruth Page created a compact, innovative vehicle for touring, a concert she called Dances with Words and Music. The programme consisted of solo dances accompanied by the poems of Dorothy Parker, Ogden Nash, e. e. cummings, Federico García Lorca, Langston Hughes, Hilaire Belloc, Edna St. Vincent Millay, and others. Page performed her danced poems, speaking the words herself and dialoguing with them in dance, in New York and Chicago, and at Jacob's Pillow. She also toured extensively to smaller cities scattered throughout the Midwest and South, sponsored by colleges and universities, as well as civic associations, independent producers, women's clubs, and USOs. I argue that Page's marriage of poetry and dance was not just a stopgap measure designed to keep her choreographic footing during the lean years when male dancers were enlisted. It was a deliberate strategy to position herself as a front-runner on the American scene - an architect of the American ballet with a sensitive 'vernacular ear,' a worldview, and, crucially, a perspective sympathetic to the psyches of young women and children. [ABSTRACT FROM AUTHOR]

This essay proposes that humorists Robert Benchley and Dorothy Parker cast the middlebrow professional as a modern performer in their drama reviews and fiction. Under the sign of sophistication, their work champions individual identity and social status based on professionalism , public performance, and wit. The article traces sophistication as an ideal on the Broadway stage of the 1920s and 1930s, analyzes the skeptical personae that Benchley and Barker create in their drama reviews for middlebrow magazines, and follows the trope of performance (monologue, song, stage) in fiction by Benchley and Parker. In their drama reviews, Benchley and Parker reclaim the tonal extremes of modernist drama for the alienated middle-class professional, and they insist that even artistic avant-gardes derive their techniques from low-cultural spectacle and mass media people-pleasing. In so doing, they encouraged their readers to view themselves as consumers and producers of modern performances. In their fiction, Benchley and Parker use the roles of the beleaguered businessman and the world-weary divorcéée to advocate social mobility, professional independence, and hedonistic choice over self-abnegating duty. [ABSTRACT FROM AUTHOR]

Copyright of Journal of English Studies is the property of Universidad de la Rioja, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article examines articles, both fiction and nonfiction, of the woman author Dorothy Parker, published in the periodicals known as "women's magazines" in the early 20th century. A contradiction is considered in which Parker's essays and poems published in those periodicals frequently satirized or criticized women consumers, the exact audience these periodicals, which had large circulations for their time, were attempting to attract. Parker's direct criticism of the concepts of women depicted in the advertising of these publications is discussed.

As humorists, women poets have a spotty history. Sure, there is comedy in the work of Gertrude Stein and in the darkly sarcastic poems of Dorothy Parker, but humor is hardly as prevalent as it is in the works of male poets, who have a rich history of comic poetry dating back to Chaucer and leading up to Philip Larkin, John Ashbery, Billy Collins, and others. Rather than make comparisons, however, I explore women poets on their own terms, paying particular attention to the way contemporary women poets in America use humor in their work. I outline four modes (thematic, tonal, imagistic, and syntactical), then examine why women use humor—to what ends? Ultimately, I argue that humor is disruption, a way to assert authority, and often a means by which women poets examine sexual and social mores. [ABSTRACT FROM AUTHOR]

The article offers information on the work of fiction between the 1930s and the 1960s. It states that the books by writer, Dorothy Parker, including "A Telephone Call," "Dusk Before Fireworks," and "New York to Detroit," telephone is used to denote locus of a power struggle between heterosexual lovers. It mentions that the book "Outsider Citizens: The Remaking of Postwar Identity in Wright, Beauvoir, and Baldwin," by Sarah Relyea, shows the status as citizens.

The article discusses American humorist and author Dorothy Parker. The author states that Parker's satire is important in humor studies because it exemplifies the alienation of postwar urban society and reflects the struggle of women during the beginning of the 1900s. Her best selling books include "Enough Rope" and "Sunset Guns." The author explains that Parker wrote on subjects such as racism and abortion which was considered improper for a woman at the time.

An essay is presented on the short story "Lady with a Lamp" by Dorothy Parker and the novel "My Next Bride" by Katie Boyle. It outlines each piece of literature's place as an abortion narrative set during the Great Depression era in the U.S. The social aspects of the narratives are discussed and the differences between these narrative abortions and those of the twenty-first century are explored.

The article focuses on recently published literary works related to the American fictional literature of 1930-1960. It mentions about the authors whose works are discussed in Gary Richards' book "Lovers and Beloveds: Sexual Otherness in Southern Fiction 1936-1961," and informs about the biography titled "Eudora Welty: A Biography," by Suzanne Marrs. Several other authors who were center of recent literary works include James Agee, Dorothy Parker, and Richard Wright.

This article examines the lives of Gerald and Sara Murphy, a wealthy U.S. couple who were friends with most of the celebrated U.S. artists and writers of the first half of the 20th century. The Murphys lived in Paris and Switzerland in the 1920s, where they were known for lavish entertainment. They were close to F. Scott Fitzgerald and Ernest Hemingway. The Murphys also knew New York literary figures such as Dorothy Parker. Their contribution to cookery is a book of cocktail recipes.

This article focuses on the key role of telephone in the lives of men and women in the U.S. who are searching for their partners as contained in the fiction novels written by Dorothy Parker. It is stated that telephone lines encourage conspiratorial intimacy among lovers being separated from a distance. Like the popular Biblical lines, a telephone line is said to hold lines together and brings both comfort and curse to couples since it could destroy a relationship. Many individuals occasionally use the telephone in an attempt to hide their true personalities or genders. The trade journal "Telephony" also provided suggestions for women regarding the proper ethics in calling through the telephone.

The article focuses on Dorothy Parker, founder of Anti-Nazi League who was considered a quadruple threat to the nation's security under McCarthyism, a period of anti-Communist suspicion in the U.S. Parker was attracted to political activism which led her to make scornful speeches during political and legislative gathering. She was also described as accomplished, acerbic, no-nonsense woman who shared her left-wing politics and notoriety as alleged Communist Party member.

Just after becoming prominent as a poet with the success of "Enough Rope," one of the first best-selling volumes of poetry in the United States, Dorothy Parker began writing a series of short stories that emphasize the distinction between what the speaker says that what she thinks. Her female monologists present a sacrificial politeness that belies the bitingly satirical mentality within. The division between external and internal expression in these monologues not only represents Parker's awareness that she can no longer completely control her public image, but also her satirical mockery of what publicity does to women writers.

This article focuses on the decline of popular poetry. It was learned that many popular magazines with large circulations regularly publish poetry. Magazines that publish poetry in 1916-18 was given. For over 100 years, newspapers were another prime market for poetry. In the twentieth century, Sara Teasdale, Melville Cane, and others published poems in The New York Herald Tribune; Dorothy Parker published in the New York World and New York Sun. The New York Times published 730 poems during 1930, 416 poems in 1940, and 446 poems in 1946. In its early years, radio seemed to be the ideal medium for poetry. John Masefield was not alone in 1930 when he foresaw a new era for poetry. During the 1930s and 1940s, verse drama was written specifically for radio presentation. Archibald MacLeish might be called the father of radio drama in verse, for his The Fall of the City was performed on network radio in 1937 was widely hailed as a critical and popular success. Norman Corwin became famous for his poetic radio productions, Words Without Music, So This Is Radio, On a Note of Triumph, and others. The popularity of the MacLeish and Corwin verse drama suggested to many that this was just the beginning. By the mid-fifties, only a few radio programs of poetry readings remained. Television has not picked up the tradition.

Discusses how the poetry and books of Dorothy Parker during the Jazz Age of the 1920s transformed the roles and relations presented her by the literary tradition of lyric love poetry and defined the new concept of `Modern Love.' Her poem `Women: A Hate Song'; Intersubjective love which Parker refers to in one of her poems as the `mist of mutual dream'; The poem titled `Folk Tune'; More.

Reviews the poetry of Dorothy Parker including the poem `Fighting Words.'

Focuses on the Africanist presence in Dorothy Parker's short story `The Big Blonde.' Story's power to disturb; Author's use of blondness to eroticize the main character.