Elizabeth Bishop

“The whole conviction of my life now rests upon the belief that loneliness, far from
being a rare and curious phenomenon, is the central and inevitable fact of human
existence.”
                        Thomas Wolfe

A psychoanalytic look at aspects of Loneliness, with an emphasis on internal factors, further to those described by Melanie Klein, is presented. In particular, importance is given to Paternal Reverie as compared with Bion's concept of Maternal Reverie. Examples from literature and the TV series The West Wing are given, along with a brief clinical example.

This essay discusses shore poems of four American poet of the latter half of the 20th century: W.S. Merwin, Elizabeth Bishop, A.R. Ammons and Denis Johnson. In reference to Whitman, the shore appears as a space created by poets for reflecting their status as well as for staging cultural conflicts of ambivalences. It is argued that the significance of the shore must be seen in regard to the critical discussion of the limit, in which liminality, advocated by Victor Turner, has become a key concept. It is thus the object of this essay to sketch a poetics of liminality for the contemporary poetry of the American shore. The focus hereby lies on the struggle with the limits of poetic language, the instable status of the poet as a figure of the in-between, and the social critique these shore poets level against an America which marginalizes all that questions and does not fit into the ideological mainstream.

This essay explores the impact of Charles Darwin's often poetic, largely geological travel narratives – the Diary and Voyage of the Beagle – on Elizabeth Bishop's queered travel poems " Crusoe in England " (1976) and " Vague Poem " (circa 1973), in the context of recent feminist theory's materialist ecological " turn. " I survey Bishop's shift from her early Freudian, " primordial " rocky landscapes, projecting submerged desires for a seductive mother figure, to her later deliberate materializations of these psychosexual realms in " the real " of geology's unfolding forces and flows. Adapting Darwin's similarly haunted, dark, Romantic accounts of his voyaging into crustal earth, Bishop's " Crusoe " and " Vague Poem " variously enact an immersion in earth's unfolding volcanic or crystalline ancestral past, which successively opens out " eco-geologically " to enmesh queer human intimacy/ the body. Theoretically, Bishop's Darwinian love poems richly materialize the queer body while redefining our enmeshment in nature as the wellspring of achieved being, intimacy, and desire. Further, Bishop's poems offer a newly relevant feminist ecology within our so-called Anthropocene era of humanly caused, unnaturally accelerated geology. Bishop effectively inserts a " differently " sexed/gendered relation to geologic forces and materialities, thereby countering the neglectful patriarchal anthropos currently scarring our planet. Critics have associated Elizabeth Bishop's eco-poetics and her attraction to Charles Darwin with his often poetic Origin of Species' story of entanglement in our biological, evolutionary ancestral past. They trace her speakers' epiphanic

Ao escolher a poeta Elizabeth Bishop como objecto de estudo para este trabalho, nomeadamente uma figura que, na História da Literatura Americana, é fundamentalmente considerada e recordada como poeta, poder-se-á aventar a hipótese, à primeira vista, de que nem tal figura, nem tal obra se parecem enquadrar no âmbito dos Estudos de Literatura de Viagens. No entanto, segundo Mary Baine Campbell, poderse-á ler contra a corrente (Campbell, 2005: 262) e inscrever Bishop como escritora de viagens, dada a natureza híbrida do género 1 , que, em inglês, se denomina por Travel Writing. Na verdade, o terceiro livro de poesia desta autora intitula-se Questions of Travel, sendo que um dos seus poemas ostenta o título homónimo, o que é também mencionado por Campbell, no que se refere ao enquadramento da Literatura de Viagens em termos de consideração da categoria de espaço, que enforma a teorização mais actual. (Campbell, 2005: 263) Porém, a faceta mais conhecida de Bishop, enquanto poeta, negligencia a tradutora, crítica, ensaísta, contista, epistológrafa e escritora viajante. Assim, o corpus elegido para este trabalho consta de poemas seleccionados do livro Questions of Travel, em particular da primeira parte "Brazil" e da epistolografia trocada entre Bishop e seus amigos, aquando da sua residência no Brasil. Após esta pequena nota introdutória, cabe então explicar até que ponto Bishop se pode considerar escritora de viagens. Daí que se recorra à biografia, mas principalmente à conceptualização teórica que caracteriza um texto enquanto pertença de um género denominado "Literatura de Viagens". Elizabeth Bishop nasceu em 1911, em Worcester, Massachusetts, nos Estados Unidos. Filha de pai americano, cujo falecimento ocorre quando Bishop tinha apenas oito meses, e de mãe canadiana passa a viver com os avós maternos a partir dos cinco anos de idade, numa pequena aldeia, na Nova Escócia, no Canadá, devido ao internamento da mãe num hospital psiquiátrico. Dada a conjuntura familiar, a infância de Bishop é passada num vaivém entre a Nova Escócia, onde se situa a casa dos avós maternos, e em Worcester, no Estado do Massachussetts, local de residência dos avós paternos, espaço onde Bishop se sente isolada e infeliz, mas também doente, o que é 1 Segundo Patrick Holland e Graham Hughan "Travel writing (…)is hard to define not least because it is a hybrid genre that straddles categories and disciplines"

RESUMO: Este ensaio propõe uma abordagem acerca das influências, referências e relações intertextuais da poeta americana Elizabeth Bishop presentes nas poesias de Ana Cristina Cesar e Angélica Freitas. A história de cada uma das escritoras aparece enlaçada nas suas construções poéticas, assim como a presença direta e indireta de diversos escritores em um texto poético. As ideias apresentadas se baseiam em estudos e pesquisas realizados por Julia Kristeva, T.S. Eliot, Roland Barthes, Leonor Arfuch, Carlos Alberto Messeder Pereira, Maria Lucia de Barros Camargo, entre outros. A interpretação aqui exposta desemboca em uma discussão sobre a importância de Elizabeth Bishop como inspiração para poetas que a sucederam e como ela compõe e se perpetua nas poesias através de alusões e citações. ABSTRACT: This paper proposes an approach about influences, references and intertextual relations of the work of the American poet Elizabeth Bishop present in the poetics of Ana Cristina Cesar and Angélica Freitas. The history of the writers appears in their poetic constructions, as well as direct and indirect presence of canonic writers in a poetic text. The ideas presented are based on studies and researches conducted by Julia Kristeva, T.S. Eliot, Roland Barthes, Leonor Arfuch, Carlos Alberto Pereira Messeder, Maria Lucia de Barros Camargo, and others. The interpretation outlined leads into a discussion about the importance of Elizabeth Bishop as inspiration for poets who succeeded her and how she composes and is perpetuated in poetry through allusions and quotations.

In a contribution to a symposium on xenophilia, this essay—a study of Brian Friel's 1980 play Translations—raises the question of whether all xenophilia is by nature doomed to fail. Set in Ireland in 1833, the drama centers on the tension arising from a young British lieutenant's falling in love with an Irish-speaker while he is in her country to translate Irish place-names into English for an imperial cartographic survey. While the lieutenant is referred to in the play as a Hibernophile, the essay interprets his love as xenophilic: love for the foreignness rather than the Irishness of what he encounters. The lieutenant's love of foreign places and their names impedes his effort to systematize Ireland for imperial ends, and his love for an Irish woman brings about his own undoing. Applying Simone de Beauvoir's view of alterity to the lieutenant's xenophilia, the essay questions whether the English written over the Irish in this play and the lieutenant's desire written over the objects of his love obscure enough of the other's otherness to render his xenophilia no longer viable.

Scott Edward Anderson presents a critical examination of the poem "Crusoe in England" by Elizabeth Bishop, focusing on themes of exile, elegy, and Bishop's depiction of the title castaway character from the book "Robinson Crusoe" by Daniel Defoe. Themes of knowledge, memory, and feelings of displacement in the poem are discussed, as well as loneliness and bliss in the poem.

Resumo: Este artigo tem como objetivo investigar o impacto de Virginia Woolf na produção literária de Victoria Ocampo. Ocampo disseminou a escrita de Virginia Woolf nos países de língua espanhola, por meio de suas traduções, palestras e publicações. Tal relação trouxe benefício para ambas, o progresso de Ocampo como escritora teve um dramático impacto depois do encontro com Woolf. Ocampo foi severamente criticada por suas relações europeias. Perón, o então presidente da Argentina, pensava que Ocampo estaria difundindo uma visão imperialista; outros, ao contrário, a consideravam uma nacionalista, pois seu trabalho foi de extrema importância para construir a cultura argentina. O feminismo de Ocampo estava ligado à sua posição cosmopolita, sempre viajando e trabalhando para construir uma ponte cultural, artística e literária, a qual romperia com o isolamento da Argentina e ajudaria a difundir a produção artística e literária dos escritores latino-americanos. Palavras-chave: Virginia Woolf; Victoria Ocampo; feminismo; influência literária. Abstract: This paper aims at investigating how Woolf impacted Victoria Ocampo's literary production as it appears in Ocampo's Testemonies. Ocampo disseminated Virginia Woolf's writings in the Spanish-speaking world through translations, public lectures and publications. This relationship was of mutual benefit in a remarkable manner to both of them, Ocampo's progress as a writer was dramatically impacted by Woolf. Ocampo was severely criticised because of her European relations. Peron, the president of Argentina, thought she was spreading an imperialist vision; others, on the contrary, thought that she was a nationalist because her work was of great assistance in building an Argentinian culture. Ocampo's feminism was linked to her cosmopolitan position, always travelling and working to build a cultural, artistic and literary bridge, which would break Argentina's isolation and would help to spread the artistic and literary production of the Latin-American writers.

Bishop's Brazil: a story of love and discontent My paper aims to illustrate how Bishop's oeuvre portrays her expatriate's experience during her residence in Brazil, by showing a literary landscape that encompasses her affection and disaffection towards her host country. To illustrate this point, I draw on Bishop's letters written to her American friends and explain how the poet's ambivalence vis-à-vis Brazil shows a split " I " / eye towards the other. I also draw on some of Bishop's poetry in which she depicts Brazil and Brazilians. In effect, the representation of the other, particularly the oppressed and dispossessed, is described through the lens of the keen observer, who illustrates how deprivation, marginality or criminality resist to conform to the status quo, and can be read as forms of resistance to the social body. Hence, by not depicting Brazil and Brazilians in the light of the clichés in which Bishop was brought up and that still prevail today, I will prove that in some of Bishop's poems about Brazil, the poet turns her gaze on the poor and illiterate, whilst denouncing the evils of Brazilian society. Thus, in both Bishop's letters and in the poems that I have selected, Bishop's Brazil is simultaneously the space of consent and dissent which, due to its ambivalent representation, helps the poet build her own identity in a space where she paradoxically feels both at home and elsewhere. Furthermore, feeling simultaneously at home and elsewhere in the case of Bishop's long sojourn in Brazil can be proven by a social atmosphere that cherished her but where she rarely used the other's language given her poor speech in Portuguese, despite her good knowledge of both Brazilian and Portuguese literature.

Os romances de Santiago Nazarian traçam, de muitas maneiras, os contornos da prosa narrativa no final do século passado: personagens sem rumo no deserto fragmentado e imapeável do pós-modernismo. Porém, em outros aspectos, seus romances também seguem em frente, transcendendo o rescaldo da abalada psique pós-moderna, assim revelando um eu móvel e fluido como manifestação do que muitos estão chamando agora de transmodernismo. Este artigo examina a obra de Nazarian a nível psicológico em seus três primeiros romances — Olívio (2003), A morte sem nome (2004) e Feriado de mim mesmo (2005) — através de uma lente pós-junguiana e um personagem recorrente, um escritor chamado Thomas Schmidt. Ao acompanharmos Thomas nestes textos e na luta perpétua com o eu despedaçado, veremos como os livros de Nazarian navegam a crise de identidade do novo milênio no processo criativo, escrevendo ligações entre os pedaços da psique fraturada em vez de tentarem reforjá-la.

2 This paper examines instances in the writings of Elizabeth Bishop wherein coastlines are evoked in order to refer to a psychological subjective state -conscious or unconscious -of being on the threshold between places. I term these coastlines 'writing coastlines'. Within this term, 'writing' refers both to the act of writing and to that which is written. The act of writing translates aural, physical, mental and digital processes into marks, actions, utterances and speech-acts. The intelligibility of that which is written is intertwined with both the context of its production and of its consumption. And 'coastlines' refers to the shifting terrains where land and water meet, always neither land nor water and always both. Coastlines are edges, ledges, legible lines caught in the double bind of simultaneously writing and erasing. These in-between places are liminal spaces, fraught with comings and goings. Echoing this back and forth movement, this paper ebbs and flow between analytical and lyrical modes.

Bishop's The Moose abounds in tropes. These furnish the poem with a powerfully exciting set of rhetorical flourishes that betray the narrator's uneasy agon with his surroundings and, consequently, with herself. The poem's final scene downplays the possibilities for redemption offered by the preceding sections, making the poem, ultimately, a study in the limits, and sometimes impossibility, of successful negative capability.

Este Trabalho de Conclusão de Curso se ancora em duas fontes da literatura e do cinema para debater as representações acerca do relacionamento amoroso de Lotta de Macedo Soares e Elizabeth Bishop,
entre os anos de 1951 e 1967. Estas duas mulheres, arquiteta brasileira autodidata e poeta estadunidense, respectivamente, são as protagonistas do livro Flores Raras e Banalíssimas de Carmen L. Oliveira e do filme Flores Raras, dirigido por Bruno Barreto. Desenvolvido em três capítulos, o primeiro traz as justificativas do uso das fontes pelo viés da História Cultural, o segundo trabalha com a contextualização do ambiente em que o casal viveu e o último traz a análise de como foram retratadas as duas personagens e sua vida em comum, na literatura e no cinema. Considerando as vantagens das expressões artísticas apontamos a visibilidade dada aos relacionamentos afetivos entre mulheres lésbicas enquanto, como contrapartida ou devido aos limites inerentes a cada representação, evidenciamos que a narrativa fílmica tornou as duas mulheres, feitas personagens, mais simples e menos interessantes do que foram.