Tuesday, 22nd of September 2009 at 09:51:25 PMBecause tonight’s discussion ended with attention to Whitman’s emphasis on assimilation in 1867 Leaves (especially in “Pensive on Her Dead Gazing”), it occurred to me that he was probably aware–again, in a way that makes him seem like an alien dropped from a planet of highly advanced thinking into plain ol’ 19th-century America–of how much […] […]
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Hey guys, I am thinking that I want to cover rifles or cannons for my material culture museum entry. Just post what you are thinking about researching. Mara Scanlon, who is quickly becoming a blogger extraordinaire, just blogged about a podcast by Nate DiMeo that discusses Guglielmo Marconi vision of sound waves as a crazy idea of eternal recurrence. To quote Mara: According to Nate DiMeo, late … Continue reading → […] I came across this story and video (do NOT skip the video, which features the poem “Beat! Beat! Drums!”, t-shirts with Whitman in slouch hat, a bad rendition of “I Kissed a Girl,” people spouting such hate it will give you shivers, and the weirdest dancing religious prostester I’ve seen in a long time) about […] […] Here is something I came across on umwblogs from a first-year seminar that discussed Whitman in relation to banned and dangerous art. […] So, I’ve worked retail for two years now. Those years have honed my skill for picking up items that are easy to sell, harder to sell, create selling points for the customer, etc. After finishing most of the readings between the 1855 and 1867 editions, I was looking back and comparing the table of contents. […] […] The Gospel According to Walt Let me start this by saying that I think I enjoyed Walt Whitman far more when I had to make the leap to proclaim him prophet. Now, granted, it wasn’t that far of a logical stretch to assume that that was the voice he was going for in the 1855 edition […] […] Walt Whitman is confusing me. His song of himself “Walt Whitman” seems very differetn from the first version that I found so novel and problematic. This poem seems very refined in comparison, and controlled too, which I consider the effect of the poem’s divisions. His voice is stronger in this poem, I feel, although less […] […] So one of the major things that really stuck out to me, as lame is this might be, was the punctuation adjustments going on between these two versions. It seems that in the deathbed edition, Whitman removed a lot of the commas throughout the poems, as well as dashes (which he sometimes replaced with commas […] […] In Luke Mancuso’s assessment of the 1867 Leaves of Grass, he writes on “The City Dead-House” of Whitman’s use of the figure of a dead prostitute to present and argue against flawed democracy. As Whitman develops the scene of the prostitute dead and lying within sight of the Capitol, Mancuso posits: Socially outcast, the body of […] […] As I trekked around F’burg this morning with my dog Groundhog, I was listening to a podcast from The Memory Palace about Marconi, credited often with inventing the radio. Download According to Nate DiMeo, late in his life, Marconi came to believe that sound waves never disappeared, but rather went on and on, infinitely in time and […] […] The first thing I notice that’s different about the 1867 version of Leaves of Grass (for pretty obvious reasons) is the first poem that Whitman chooses to introduce. The deathbed edition features “One’s-Self I Sing” about halfway through the book, under the broader section, “Inscriptions.” In the 1867 version this poem is featured at the […] […] This week, Richard Wright talks to Whitman and I try to listen. […] We have talked at great length in class about how Whitman worked to construct a public image of himself as the great American poet: When I Read the Book seems to be a reflection by the poet on the fact that his control over his image is really quite limited. Just as Whitman rails […] […] While reading Song of Myself and comparing it to the 1855 version I had a much stronger sense of being told how to understand the world. In the first reading of Song of Myself I found myself both wanting Whitman to be more structured, and getting frustrated that he seemed to think he knew the […] […] I believe it was Dr. Scanlon who used the phrase “micro-manage” to describe Whitman’s poetic shift after 1855. If it’s okay with you, Dr. Scanlon, I’m going to run with this idea. In the 1855 edition of Leaves, as we have discussed in class, there is hardly any opportunity to stop and catch your breath; […] […] “Out of the Cradle Endlessly Rocking” is perhaps one of my newest favorite Whitman poems. The theme of death is rampant in it, and at times, the imagery of the lost mates made me ache. But, despite all the loss, there is hope within the text; to quote a great movie and even greater king, […] […] Dr. Earnhart and I were bemoaning the fact that the online 1867 edition doesn’t include cover shots (something like glamour shots, but a little more satisfying). I wanted to provide this link to another element of the vast Whitman Archive that supplements a little , though 1867 has many fewer images than other editions. But […] […] After comparing the two versions of Whitman’s Leaves of Grass I find Walt Whitman more intriguing than ever. When noticing the differences in the poems, I thought to myself, “Why would Whitman do that?” “What is his purpose in changing just one little coma or word in the poem?” All of these questions heighten the […] […] All truths wait in all things, They neither hasten their own delivery nor resist it, They do not need the obstetric forceps of the surgeon, The insignificant is as big to me as any, (What is less or more than a touch?) Logic and sermons never convince, The damp of the night drives deeper into […] […] Shift From Country to City, Collapse of Relied-upon Systems: Overall Alienations living w/ extended family to living by himself surveillance of small town to looking out for oneself vertical authority (hierarchy, chain-of-command) to horizontal institutions (peers, friends, equals)– absence of people telling you what to do agricultural system (attn to rhythms of nature, systems of […] […] I would like to know a bit more about Whitman’s life growing up. Particularly what events may have influenced his views on love, friendship, and connection. It seems like he developed very strong and radical ideas for the time. I think that more often than not, this is a consequence of belonging to a minority […] […] What was Whitman’s conception of literature at the time he was writing? Who were his influences? What did he consider standard literature? amazing literature? How radical did he think he was being, and how important was that to him? I ask these questions because I have a tendency to read too minutely into the form […] […] Hi all, I as thinking about Whitman’s long lines and the fact that he breaks the boundaries of the page, and I wanted to share some thoughts with you all. Whitman really seems to be pushing the reader to explore beyond the beliefs that he/she carries. He proves that he cannot be contained, even with in […] […] I’m going with my constant preoccupation with voice on this one, but as Professor Emerson would say, sometimes it’s best to stick to your obsessions (loosely paraphrased, but the gist is there). We have spent so much time in class discussing Walt Whitman as this or Walt Whitman as publisher or Walt Whitman as critic […] […] |
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