Search

This intensive study embarks on an in-depth exploration of the intricate relationship between Transcendentalist philosophy and the timeless poetry of Gerard Manley Hopkins. This study aims to shed light on the strong relationship between Hopkins' literary work and the fundamental perceptions of Transcendentalist ideology by evaluating two of his most significant and symbolic poems - The Starlight Night, and Spring. Through a careful examination of themes such as nature, individual experience, and spiritual revelation as depicted in Hopkins' poetry, this study unveils insightful parallels with the core ideals adopted by Transcendentalist thinkers. This article contributes to a deeper understanding of Hopkins' poetic vision within the context of Transcendentalist thought. [ABSTRACT FROM AUTHOR]

Andrew Young (1885–1971) belongs to the English tradition of the 'parson poet'. Poetry written by serving clergy often provides both a personal perspective on Christianity, free of strict orthodoxy, and a reflection of Christianity's place in the prevailing culture. Most of Young's work consisted of short poems with only occasional Christian reference. Later in life he abandoned short poems and wrote two long works exploring a visionary afterlife. This paper argues that the key to these two long poems, important but neglected examples of mid-twentieth-century Christian literature, is a personal re-imagining of the Trinity. [ABSTRACT FROM AUTHOR]

Leopold Sédar Senghor was also the occasional translator of several English poets, including Gerard Manley Hopkins, for whom he always professed intense admiration. The Bibliothèque nationale de France holds several first drafts and revised typescripts of his translation of Hopkins’s masterpiece, The Wreck of the Deutschland, so we can see the progress of this challenging work he conceived as “a pleasant pastime”. Our reading of the translation and its drafts reveals a surprising poetic proximity (in terms of topics, rhythm and tropes) between Senghor’s own poetry and his translation of Hopkins, giving rise to two hypotheses: did Senghor impart his own style on the translation (a rather common practice among poet-translators) or does the whole enterprise testify to an unexpected poetic filiation?

G. K. Chesterton, William Wordsworth, and Gerard Manley Hopkins are set in conversation with Pope Francis's Laudato Si' (2015), to show how far those writers anticipate its animus against technocratic capitalism, but also, more surprisingly, how far Laudato Si' challenges the progressive assumptions of contemporary eco-activism. Chesterton, Wordsworth, and Hopkins do not merely foreshadow and clarify the theological stakes of a papal document. By making even single words expressive of a whole worldview (achieving what William Empson called a 'compacted doctrine'), their writings prove more imaginatively affective, as well as more theologically adequate than the communicative formalities available to the theological treatise as a genre. [ABSTRACT FROM AUTHOR]

Aposiopesis – to figura retoryczna, która jest stosunkowo rzadko przedmiotem zainteresowania badaczy. Artykuł stanowi porównanie dwóch udanych artystycznie oraz interesujących intelektualnie realizacji aposiopesis w poezji języka angielskiego: w poemacie Katastrofa statku „Deutschland” Gerarda Manleya Hopkinsa oraz w wierszu Final Soliloquy of the Interior Paramour Wallace’a Stevensa.Wnawiązaniu do syntezy Heinricha Lausberga charakter aposiopesis w tych dwóch dziełach dookreślono poprzez ukazanie konfliktu pomiędzy treścią pominiętej wypowiedzi a siłą powstrzymującą ujawnienie owej treści. Dostrzeżenie różnicy pomiędzy dwiema realizacjami tej samej figury pozwala wskazać na zmianę, która dokonała się w poezji w zakresie sposobów poruszania kwestii religijnych. Tę zmianę określa przejście w „tryb języka”, które jest cechą poezji Stevensa. Zarazem analiza aposiopesis w jego wierszu pozwala zauważyć subtelne przełamanie tego językowego trybu mówienia o kwestiach religijnych.

Copyright of Prace Filologiczne. Literaturoznawstwo is the property of University of Warsaw 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.)

In Laudato Si', Pope Francis urges not just a renewal of respect for creation but also a metanoia in our attitude to the created world. This article is a response to the Pontiff's challenge, exploring how a distinctively 'modern' approach to creation arose in the late nineteenth century which still influences our attitudes today. As those attitudes arose, however, the article argues that Christian thinkers were able to articulate other approaches, which are referred to as 'doing eco‐theology at the foot of the Cross'. The article explores these views and their implications in shaping a Christian response to the present ecological crisis within which we find ourselves. In particular, it concentrates on the interpretations of 'nature' in the writings of the German atheist philosopher Friedrich Nietzsche (1844–1900) and his exact English Jesuit contemporary Gerard Manley Hopkins (1844–1889) who were bothworking at the dawn of the 'modern' view of 'nature' and creation. [ABSTRACT FROM AUTHOR]

By profession, Gerard Manley Hopkins was a Classicist. From his novitiate to his death, he taught Greek and Latin at Jesuit schools in England, then at University College Dublin. Remarks in his journals and letters make clear his deep and lifelong engagement with Classics, and the influence of classical literature, particularly the work of Pindar and the Pre-Socratic philosophers, on his English poetry has been observed by numerous critics. Subject to less attention are the poems Hopkins composed in Latin, which include verse composition and translations from English. This article considers one such poem, an original Latin elegy composed in 1867, and explores its language, imagery, literary influences, and possible interpretations. [ABSTRACT FROM AUTHOR]

The intertwinement of poetic life writing and theological reflections has a long-standing history in British literature. This paper shows how two Victorian poets – Gerard Manley Hopkins and W. Abdullah Quilliam – use dialogic strategies to establish an autobiographic voice, which becomes an essential poetic means of the text. Through the representation of dialogic encounters, the poems establish an autobiographic mode of speaking, which is used to articulate individual conversion experiences and to negotiate conversion as an encounter with God. Based on the works of Martin Buber and Emmanuel Levinas, I will show how a dynamic understanding of text and conversion experience is essential to a reading that seeks to explore the poetic construction of Hopkins’s as well as Quilliam’s works. The representation of the dynamic encounter of the self and the Divine in the contact zone of the text provides a frame in which the authors locate themselves with regard to the religious majority of Victorian Britain. The texts link the spiritual journey of conversion to the self as being caught in the world, responding to God’s call as an answer to the world’s condition.

The Gulf Stream gained scientific prominence in the nineteenth century as a test case for theories about the dynamics of ocean currents and the equilibrium of transatlantic climate. Discourse about the current supplied descriptions, analogies, and myths that persist into the present. Triangulating oceanic, ecological, and transatlantic approaches to literary study, this essay argues that the nineteenth-century discourse of the Gulf Stream included a significant aesthetic dimension organized by a dialectic between stability and variability. First, the essay traces the Gulf Stream’s presence in eighteenth- and nineteenth-century scientific writing and print culture, showing how memorable figures and vivid illustrations accentuated the risk of climate variability even as they charted an apparently stable oceanic system. Next, it considers the work of two poets separated by the ocean, Gerard Manley Hopkins and Sidney Lanier. While ostensibly using the Gulf Stream motif to reflect on geographic identity and cultural belonging, Hopkins and Lanier use formal and figurative techniques that register the threat of climate instability, offering a deeper sense of climate disquiet than the scientific materials on which they drew. Finally, the essay looks at the poetry of Derek Walcott, sketching the afterlife of the Gulf Stream discourse, extending its formal and figurative lineage, and renewing the present ecological urgency of thinking with an Earth-system process as a motif of climatic connection and obligation. [ABSTRACT FROM AUTHOR]

Vegetal flotsam – undesirable or discarded and dead vegetation – holds and important position in the poetic imagery of Theodore Roethke’s production of the 1930s and ’40. In Roethke’s first two volumes (Open House and The Lost Son and Other Poems), weeds and dead plants are the protagonists of poems that are strikingly different from each other in style and content. “Long Live the Weeds” – Roethke’s “rewriting” of Gerard Manley Hopkins’ “Inversnaid” – expresses a reassuring worldview where “the ugly of the universe” is a necessary and even joyfully welcomed part of the universe’s natural order. In the “Lost Son Narratives” the faith in such idea is cyclically lost and reconquered by the conscience perceiving nature in its concreteness. In the Greenhouse Poems the interaction between the crude and simple representation of uprooted and decomposing plants, in particular poems like “Weed Puller” and “Flower Dump”, and the sequence’s portrayal of the entire vital balance of the greenhouse conveys an even more problematic and open-ended view of nature. As a thorough analysis and comparison of “Long Live the Weeds!” (first published in 1936) and sections the two aforementioned poetic sequences (published in their entirety in 1948) will show, in Roethke’s first two collections, the evolution of his modes of representation of vegetal flotsam mirrors the evolution of his conception of nature and existence.

Copyright of Other Modernities / Altre Modernita / Otras Modernidades / Autres Modernités is the property of Altre Modernita 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.)

This article explains the founding of the ELT Period, also called the Transition Era, 1880-1920. The many "minor" authors discussed here, whom Samuel Butler referred to as the "hewers of wood and tillers of the soil," played an important role in preparing the ground for Yeats, Eliot, James Joyce and other moderns. The period from 1880 until about 1920 seems like Walter Pater's late twelfth and early thirteenth centuries, "a brilliant but in part abortive effort" to revitalize Art and Life, a "little renaissance" but a renaissance nevertheless. The article directs its attention to the energy in quest for newness, a new life in the arts and a new artistic temperament in life, concentrating on two kinds of evidence: that which bears on the language and form of art; that which bears on the content of art. [137 words] [ABSTRACT FROM AUTHOR]

Youth depression is a growing phenomenon in schools, college and universities, a major area of pastoral concern which needs addressing, according to many Catholic educators. This article argues that medical/psychiatric approaches and guidance combined with theological and spiritual understandings constitute the most effective way forward. It contends that Catholic educational contexts have a unique opportunity to deal effectively with this matter by highlighting and drawing from the rich heritage of the Church. Its distinctive Christian metaphysics and theological anthropology have much to contribute and can be immensely therapeutic. Such frameworks, however, must only be considered when, in the professional judgement of the teacher/lecturer, it is wise to adopt them. The article concludes by suggesting that the vision of the world offered by Gerald Manley Hopkins (himself a victim of depression) in his poem 'God's Grandeur', is the ultimate goal Catholic educators might wish to strive for. [ABSTRACT FROM AUTHOR]

In the nineteenth century, the swing of anthropocentric forces wrought profoundly deleterious changes upon the face of the natural environment. Witnessing these metamorphic processes at work was Gerard Manley Hopkins, whose unique sensibility found the despoilment of nature by human hand no less than extremely dispiriting. Against a backdrop of the vanishing beauty, Hopkins fervidly engaged with the transforming world in his ecopoetical ruminations. He was not the first poet of ecological dissent, for during the Romantic period John Clare had poignantly expressed the anguish at what had then been the incipient stages of nature being disrobed of its inherent singularity. Being quite familiar with Clare’s ecopoetical meditations, the Jesuit poet was able to further elaborate upon Clare’s vision, while proving successful in presciently observing the discrepancies between wilderness as a cultural construct and a wildness whose emphasis upon the appreciation of the global through the local corresponds closely to the present-day awareness concerning the fragility of ecosystems. Most vividly and extensively, Hopkins explores the dyad of wildness and wilderness in poems like “Inversnaid,” “Duns Scotus’ Oxford,” and “Binsey Poplars,” wherein he truly establishes himself as one of the essential forerunners of modern ecological science. [ABSTRACT FROM AUTHOR]

Copyright of Revista Canaria de Estudios Ingleses is the property of Universidad de La Laguna 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.)

When placing Hopkins in the divisive and impassioned religious and academic world of mid-Victorian Oxford, scholars have frequently drawn attention to those University tutors and senior churchmen who in different ways influenced his mental and religious development: Benjamin Jowett, Walter Pater, Henry Parry Liddon, and (more distantly, from Birmingham) John Henry Newman. In comparison, relatively little attention has been paid to Hopkins’s own undergraduate friends and contemporaries at Balliol College, or to the question of how other young men responded to the same set of religious circumstances and intellectual influences. In this study Henry Scott Holland (1847-1918) is selected to illustrate discernible Anglican parallels to particular aspects of Hopkins’s literary style and religious faith. Examining the ways Holland’s Anglicanism resembles, engages, contests, and shadows the early spirituality of Hopkins throws useful light on their overlapping academic and religious contexts. Particular attention is paid to examples of shared vocabulary, to themes from Holland’s published sermons and religious writings, which correlate to elements of Hopkins’s work, and especially to Holland’s vision of a kenotic “law of sacrifice” set in the life of the Holy Trinity. Key works such as Holland’s Logic and Life (1882) and the influential volume of Anglican essays Lux Mundi: A Series of Studies in the Religion of the Incarnation (1889) are utilized to inform a new perspective on Hopkins’s sermons and devotional writings. [ABSTRACT FROM AUTHOR]

This essay discusses Gerard Manley Hopkin's notions of inscape and instress, examining their early expressions during Hopkins's time as a student at and recent alumnus of Balliol College, Oxford, their subsequent development amid Hopkins's career as a Jesuit novice and priest, and their manifestation in four sonnets composed in 1877. Attention is paid throughout to the likely influence of Hopkins's Balliol tutor, Walter Pater, as well as the influence of Ignatius of Loyola's Spiritual Exercises upon Hopkins's presentation of inscape and instress in his poems. [ABSTRACT FROM AUTHOR]

This article explores the symbolic values of light and darkness in the poetry of Gerard Manley Hopkins. Hopkins was fascinated by oppositional discourses and as such his poetry is resonant with dichotomous systems of metaphor; his struggles with faith and doubt, and his search for positivity in the midst of depression are both articulated through the oppositional concepts of light and dark. The candle functions uniquely within this metaphoric structure, as it breaches the bounds of darkness while still making it more ever-present. This article explores how Hopkins utilises the candle and its semiological expression to draw attention to the liminality of his beliefs. [ABSTRACT FROM AUTHOR]

The article is a re-reading of the poetry of Gerard Manley Hopkins from the perspective of Heideggerian ecophilosophy. It presents Hopkins's dynamic concept of reality, key principles of his sacramental poetics and his concern for the gradual destruction of the environment. The Hopkinsean concept of the sacred core of reality is discussed and interpreted in the context of Heideggerian environmental criticism. The conclusion sums up the main tenets of Hopkins's vision of the natural world and attempts to show how this vision may inform our environmental awareness even in a non-religious or multi-religious age. [ABSTRACT FROM AUTHOR]

Copyright of Revue Francaise d'Etudes Americaines is the property of Editions Belin 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.)