Papers by Jan Jedrzejewski
Palgrave Macmillan UK eBooks, 1996
Directly related to images based on Hardy’s knowledge of and interest in church architecture is h... more Directly related to images based on Hardy’s knowledge of and interest in church architecture is his frequent use of motifs deriving from another external aspect of the tradition of Christianity — the music and ritual of the Christian Church. Temperamentally passive and conservative, always ready to return to the memories of his childhood and youth, and throughout his career trying to recapture in his works the moods and feelings of the past, Hardy always remained deeply attached not only to the traditional music of the Church of England, its hymns, psalms, and carols, but also to the entire external aspect of High Christian worship, with its theatricality, solemnity, and imaginative richness. It was indeed principally this sense of emotional bond with the Anglican liturgical tradition, which he got to know and admire as a young man, that prevented him from breaking away from the Church altogether and that led him, towards the end of his life, to recognise the role of Christianity as the institutional guardian of basic human values against the often cruel and thoughtless reality of the world.
University of Lodz Repository (University of Łódź), Oct 24, 2018
Asked about his reaction to being classed as "confessional," Berryman described his response as o... more Asked about his reaction to being classed as "confessional," Berryman described his response as one of "rage and contempt," adding: "The word doesn't mean anything. I understand the confessional to be a place where you go and talk with a priest. I personally haven't been to confession since I was twelve" (qtd. in Stitt 21). It is wise to approach anything John Berryman says about his own writing with a fair degree of suspicion (he seems to reveal more about his poetry when he discusses the work of others) but this kind of reaction clearly indicates a skepticism about reductive critical classifications in general, and a suspicion regarding the specific category. A thorough interrogation of the latter "both with regard to the poet's critical reception and in terms of the more general development of Anglo-American criticism since the 1970s" (xv) informs Philip Coleman's 2014 book whose aim is to relocate "the scene of disorder" (a formulation used originally in Berryman's "Formal Elegy" for JFK) from the poet's psyche to the sphere of contemporary American realities, and posit Berryman's public vision as "a central aspect of his lasting achievement" (209). Before he proceeds to examine the extent of Berryman's allusions and engagement with several urgent contexts of its composition, Coleman focuses on the pervasiveness of the disputed designation in the literary critical discourse, and its contribution to the status of confessional poetry as art which fails to engage with the public sphere: starting perhaps as early as M. L. Rosenthal's oft (and rather selectively) quoted view of Robert Lowell's Life Studies as a "magnificent but unpleasantly egocentric" display of personal faults, through Marjorie Perloff 's assessment of Berryman's work as an example of the aesthetics of "non-engagement," "confessional" seems to have evolved into a vaguely dismissive term for the "less poetic" kind of poetry whose main purpose is to provide a key to the tortured private life of the poet.
Palgrave Macmillan UK eBooks, 1996
... Jedrzejewski, Jan (1996) Thomas Hardy and the Church. Macmillan. 243 pp ISBN 033364025X. Full... more ... Jedrzejewski, Jan (1996) Thomas Hardy and the Church. Macmillan. 243 pp ISBN 033364025X. Full text not available from this repository. Item Type: Book (authored). Faculties and Schools ...
English Literature in Transition 1880-1920, 1988
The Journal of English Studies, Dec 16, 2019
The common perception of the Anglo-Irish, or the Protestant Ascendancy-the Anglophone, predominan... more The common perception of the Anglo-Irish, or the Protestant Ascendancy-the Anglophone, predominantly Church-of-Ireland, and essentially Britocentric aristocracy, gentry, and professional class, which played a dominant role in the social, economic, political, and cultural life of Ireland from the seventeenth to the early twentieth century-is of a community which, despite its privileged position in Irish society, was nonetheless, in consequence of its colonial roots and its isolation from and distrust of the country's Catholic majority, paradoxically always a community in decline, passively clinging to the memories of the past and unable to play a constructive role in the formation of the cultural identity of a modern, independent Ireland. The paper takes an issue with this interpretation of the contribution of the Ascendancy to Irish culture, particularly in the nineteenth century; taking the examples of three Romantic and Victorian Ascendancy writers, Lady Morgan, Sir Samuel Ferguson, and George Moore, it argues that their vision of Ireland was much more open-minded, inclusive, and progressive than the popular myths of the Ascendancy, such as in particular the tradition of Big House fiction, would lead most readers to believe.
John Wiley & Sons, Ltd eBooks, Oct 3, 2018
Palgrave Macmillan UK eBooks, 1996
Born at Higher Bockhampton, Dorset, on 2 June 1840 — less than six months after the marriage of h... more Born at Higher Bockhampton, Dorset, on 2 June 1840 — less than six months after the marriage of his parents Thomas Hardy ‘the Second’ and Jemima Hand on 22 December 1839 at Melbury Osmond — Thomas Hardy was christened, on 5 July at nearby Stinsford. This had been the family parish since 1801, when the first Thomas Hardy, the writer’s grandfather, moved from Puddletown to the newly built cottage that was to become the family home for the next 112 years. In religious terms, the parish in many ways typified the conservative rural Anglicanism of early nineteenth-century Dorset, with its relaxed approach to religious observances and theological subtleties and a deep attachment to local customs and traditions. This pattern of parish life changed suddenly in 1837, following the arrival at Stinsford of the energetic new vicar Arthur Shirley, who soon set about transforming the relaxed religious mores of his flock along the lines advocated by the Oxford Movement, which he saw launched and growing during his undergraduate years. In spite of his efforts, however, the old ways persisted among his parishioners for quite some time, coexisting, somewhat uneasily at times, with the vicar’s Tractarian seriousness.
Dialog-a Journal of Theology, Apr 1, 2005
Put your head, darling, darling, darling, Your darling black head my heart above; Oh, mouth o f h... more Put your head, darling, darling, darling, Your darling black head my heart above; Oh, mouth o f honey, with the thyme for fragrance, Who, with heart in breast, could deny you love? Oh, many and many a young girl for me is pining, Letting her locks of gold to the cold wind free, For me, the foremost o f our gay young fellows; But I'd leave a hundred, pure love, for thee! Then put your head, darling, darling, darling, Your darling black head my heart above; Oh, mouth of honey, with the thyme for fragrance, Who, with heart in breast, could deny you love?
The Slavonic and East European Review, Oct 1, 2019
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Papers by Jan Jedrzejewski