Download Free Tony Harrison Book in PDF and EPUB Free Download. You can read online Tony Harrison and write the review.

Tony Harrison and the Classics comprises fifteen chapters examining the lasting importance of Tony Harrison's classical education, the extent of the influence of Greek and Roman texts on his subjects, themes, and styles, his contribution to knowledge and understanding of classical literature, his popularization of classical works, and his innovative treatment of classical drama in plays which have been performed globally. Harrison's work fosters debates about the role and perception of the classics and adaptations of classical literature in relation to education, 'high' and 'popular' culture, accessibility, and reception. A unifying theme of the collection is the way in which Harrison finds in classical literature fruitful matter for the articulation and dramatization of his longstanding preoccupations: language, class, access to art, and the causes and effects of war. Through his adaptations and translations, Harrison uses classical drama to stage interventions in modern politics, but neither idealizes nor romanticizes the ancient world, depicting inequality, bigotry, greed, and brutality.
Timeline of Tony Harrison's classics-informed works -- 'Models of eloquence' : radical classicism -- 'Stone bodies' : statuary in The loiners (1970) and Palladas (1975) -- 'Frontiers of appetite' : Phaedra Britannica (1975) -- 'Shaggermemnon' : Aeschylus' Oresteia and Continuous (1981) -- 'All the versuses of life' : 'v.' and Medea: a sex-war opera (1985) -- 'Bookworm excreta' : The trackers of Oxyrhynchus (1988) and other plays and poems -- 'End to end in technicolour' : Prometheus (1998) and other films -- 'Witnessed horror' : Fram (2008) and Harrison's Euripides -- 'Surviving the slopes of Parnassus' : 'Polygons' (2015) and other poems.
Tony Harrison's v. was written during the Miners' Strike of 1984-85 when he visited his parents' grave in a Leeds cemetery and found it vandalised by obscene graffiti. Channel Four's film of v. prompted extreme political and media reaction documented in the book's second edition (1989).
Tony Harrison: Loiner is published to celebrate the poet and playwright Tony Harrison's sixtieth birthday through an exploration of his work, including his best-known poem v.. Harrison (1937- ) has been called `our best English poet', and has been awarded a number of prizes for his poetry, including the Geoffrey Faber Memorial Prize, the Royal Television Society Award, the Prix Italia, and the Whitbread Prize for Poetry. This book gives his work the serious critical attention it merits, with essays from a number of prominent contributors, including Richard Eyre and Melvyn Bragg, and a foreword by Grey Gowrie. The collection ranges from personal recollections of working with Tony Harrison and personal responses to his poems, to detailed critical analyses of his techniques and themes, covering Harrison's short poems and sonnet sequence, his plays, his television poem-films, and his libretti, spanning the years 1955-1997. A `loiner' is a native of Leeds, where Tony Harrison was born and spent the early part of his life, and from which he was dispossessed by the enforced translation of the state scholarship system. The word also connotes other aspects of Tony Harrison: the `loins' of his poetry—its energy and physicality—and the `loners' who are its main protagonists—men and women dispossessed of their class, nation, language, and identity. At sixty, Harrison is at his poetic peak, producing plays, film-scripts, libretti, journalistic responses to social and national strife, impassioned speeches of love and outrage—always in poetry. Tony Harrison: Loiner introduces the major themes and forms of our most exciting and cosmopolitan as well as technically accomplished poet, and reassesses his achievement and place in twentieth-century literature.
This is the first book-length study of the classicism of Tony Harrison, one of the most important contemporary poets in England and the world. It argues that his unique and politically radical classicism is inextricable from his core notion that poetry should be a public property in which communal problems are shared and crystallised, and that the poet has a responsibility to speak in a public voice about collective and political concerns. Enriched by Edith Hall's longstanding friendship with Harrison and involvement with his most recent drama, inspired by Euripides' Iphigenia in Tauris, it also asserts that his greatest innovations in both form and style have been direct results of his intense engagements with individual works of ancient literature and his belief that the ancient Greek poetic imagination was inherently radical. Tony Harrison's large body of work, for which he has won several major and international prizes, and which features on the UK National Curriculum, ranges widely across long and short poems, plays, translations and film poems. Having studied Classics at Grammar School and University and having translated ancient poets from Aeschylus to Martial and Palladas, Harrison has been immersed in the myths, history, literary forms and authorial voices of Mediterranean antiquity for his entire working life and his classical interests are reflected in every poetic genre he has essayed, from epigrams and sonnets to original stage plays, translations of Greek drama and Racine, to his experimental and harrowing film poems, where he has pioneered the welding of tightly cut video materials to tightly phrased verse forms. This volume explores the full breadth of his oeuvre, offering an insightful new perspective on a writer who has played an important part in shaping our contemporary literary landscape.
In his lucid critical study Joe Kelleher brings Tony Harrison's diverse output together under coherent themes, from his early published verse The Loiners (1970), to his accomplished translation and adaptation of The Oresteia (1981), through to his recent work for stage and television including The Shadow of Hiroshima (1995).
Written during the Gulf War for The Guardian, the title poem is Harrison's response to Ken Jarecke's potent photo of a charred Iraqi soldier on the road to Basra. As a poet Harrison doesn't fool around.... There's something about his working-class temperament that hasn't time nor patience for metaphor and the grand abstraction. A Cold Coming is delivered rapid-fire in ninety-two clipped, rhymed couplets that never wear on the ear, driving the piece with relentless wit, heartbreak and a sick humor that is probably the only sane way to deal with the enormity of the subject...Harrison is a major poet, a tough and tender-minded realist fully aware of his spiritual contradictions. -- Willamette Week. Harrison's poetry is fuelled by the strongest feeling and most exhilarating erudition, and attains a quite remarkable singularity. -- TLS.
This book argues that Tony Harrison’s poetry is barbaric. It revisits one of the most misquoted passages of twentieth-century philosophy: Theodor Adorno’s apparent dismissal of post-Holocaust poetry as ‘impossible’ or ‘barbaric’. His statement is reinterpreted as opening up the possibility that the awkward and embarrassing poetics of writers such as Harrison might be re-evaluated as committed responses to the worst horrors of twentieth-century history. Most of the existing critical work on Harrison focuses on his representation of class, which occludes his interest in other aspects of historiography. The poet’s predilection for establishing links between the atrocities perpetrated by the Nazis, the bombing of Hiroshima and Nagasaki, and the prospect of global annihilation is examined as a commitment to oppose the dangers of linguistic silence. Hence Harrison’s work can be read fruitfully within the growing field of Holocaust Studies: his texts enter into arguments about the ethics of representing traumatic incidents that still haunt the contemporary. Harrison’s status as a ‘non-victim’ author of the events is stressed throughout. His writing of the Holocaust, allied bombings and atom bomb is mediated by his reception of the events through newsreels as a child, and his adoption and subversion, as an adult poet, of traditional poetic forms such as the elegy and sonnet. This book also discusses the ways in which Holocaust literature engages with a number of concepts challenged or altered by the historical events, such as love, mourning, memory, humanism, culture and barbarism, articulacy and silence.
'The dead travel fast and, in our contemporary globalised world, so too does the gothic.' Examining how gothic has been globalised and globalisation made gothic, this collection of essays explores an emerging globalgothic that is simultaneously a continuation of the western tradition and a wholesale transformation of that tradition which expands the horizons of the gothic in diverse new and exciting ways.Globalgothic contains essays from some of the leading scholars in gothic studies as well as offering insights from new scholars in the field. The contributors consider a wide range of different media, including literary texts, film, dance, music, cyberculture, computer games, and graphic novels. This book will be essential reading for all students and academics interested in the gothic, in international literature, cinema, and cyberspace.
This volume provides an in-depth comparative study of translation practices and the role of the poet-translator across different countries and in so doing, demonstrates the need for poetry translation to be extended beyond close reading and situated in context. Drawing on a corpus composed of data from national library catalogues and Worldcat, the book examines translation practices of English-language, French-language, and Italian-language poet-translators through the lens of a broad sociological approach. Chapters 2 through 5 look at national poetic movements, literary markets, and the historical and socio-political contexts of translations, with Chapter 6 offering case studies of prominent and representative poet-translators from each tradition. A comprehensive set of appendices offers readers an opportunity to explore this data in greater detail. Taken together, the volume advocates for the need to study translation data against broader aesthetic, historical, and political trends and will be of particular interest to students and scholars in translation studies and comparative literature.