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'Pennyfields' - a volume of poetry; and 'Two Best Friends: Reading as a Writer in Elizabeth Bishop and May Swenson' - a critical thesis

机译：'Pennyfields'-诗集；和“两个最好的朋友：在伊丽莎白·毕晓普和梅·斯文森中作为作家读书”-批判性论文

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'Pennyfields' – the volume of poetry in the creative section of this thesis – explores the notion of living in something that is already an artwork or a memory or film. The poems often display an interest in doubles and twins, and in the reversed priority in artistic production between original and copy. The question of reading and how it is integrated into creative work is central both here and in the critical section of the thesis that follows. The critical thesis adopts the term ‘best friends’ to examine the work of Elizabeth Bishop and May Swenson, two poets who particularly matter to me. This term is used by Bishop to distinguish between poets to whom one is personally drawn and others who may be more generally seen as worthy of admiration. In order to explore this idea of ‘best friends’ and, more particularly, the professional relationship between Bishop and Swenson, I use the idea of ‘reading as a writer’ as opposed to reading as a critic. I consider what is meant by reading as a writer in the institutional context of creative writing pedagogy, but I focus more particularly on my own engagement with Bishop and Swenson — and their reading of one another. There is no attempt to create an entire theory of reading as a writer, but rather, I pay scrupulous attention to its place in the relations between Bishop and Swenson and how it operates in my own case. I view the dynamics of these exchanges in terms of D.W. Winnicott’s object-relations theory and his concepts of the ‘transitional object’ and ‘potential space’, ideas which I introduce in Chapter One. Bishop’s engagement with Gerard Manley Hopkins, one of her chosen ‘best friends’, is the focus of Chapter Two. This leads into accounts of how contemporaries Bishop and Swenson read one another in Chapters Three and Four. I argue that what is distinctive about their relationship is the quality of carefulness in their mutual responses, akin to exchanges in a workshop. In Chapter Five I focus on the work of Bishop that chimes with my own poetics, and in the final chapter I discuss poems in 'Pennyfields' which seem to have learnt most from Bishop and Swenson. Chapters Five and Six thus present my practitioner’s reading of Bishop and how this reading has influenced my own work. Reading as a writer is used in a flexible way throughout the thesis to carefully examine how poets — who are appreciated from a practitioner’s point of view — might be considered as ‘best friends’

机译：“ Pennyfields”（本论文创意部分中的诗歌数量）探讨了生活在已经是艺术品，记忆或电影的事物中的概念。这些诗歌经常表现出对双胞胎和双胞胎的兴趣，以及对原作和抄本之间艺术创作的优先考虑。阅读问题以及如何将其整合到创造性作品中，在这里以及随后的论文的关键部分都是中心问题。批判性论文采用“最好的朋友”一词来考察伊丽莎白·毕晓普和梅·斯文森的作品，这两位诗人对我尤为重要。主教使用这个术语来区分一个人是谁吸引的诗人和其他人可能更值得钦佩的诗人。为了探讨“最好的朋友”的概念，尤其是主教和斯文森之间的专业关系，我使用“作为作家阅读”而不是作为评论家阅读的思想。我认为在创造性写作教学法的制度背景下，作为一名作家读书是什么意思，但我更专注于自己与Bishop和Swenson的交往-以及彼此的阅读。没有尝试创建一个完整的作为作家的阅读理论，而是我认真地关注了它在Bishop和Swenson之间的关系中的地位以及它在我自己的情况下的运作方式。我以D.W.的眼光看待这些交流的动力。温尼科特的客体关系理论以及他的“过渡客体”和“潜在空间”的概念，这些概念我将在第一章中介绍。 Bishop与她被选为“最好的朋友”之一的Gerard Manley Hopkins的交往是第二章的重点。这引起了当代主教和斯文森在第三章和第四章中如何相互阅读的解释。我认为，他们之间关系的独特之处在于他们相互反应中的谨慎质量，就像在研讨会上进行交流一样。在第五章中，我主要关注毕晓普的作品，这些作品与我自己的诗学很相称，在最后一章中，我讨论了“彭妮菲尔兹”中的诗歌，这些诗似乎从毕晓普和斯文森那里学到的最多。因此，第五章和第六章介绍了我的从业者对毕晓普的读物，以及这种读物如何影响了我自己的工作。在整个论文中，以灵活的方式使用作家读书来仔细检查诗人-从实践者的角度欣赏的诗人如何被视为“最好的朋友”

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McLoughlin Dominic;
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年度 2015
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'Pennyfields' - a volume of poetry; and 'Two Best Friends: Reading as a Writer in Elizabeth Bishop and May Swenson' - a critical thesis

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