Elizabeth Vandiver – författare

Elizabeth Vandiver examines the ways in which British poets of the First World War used classical literature, culture, and history as a source of images, ideas, and even phrases for their own poetry. Vandiver argues that classics was a crucial source for writers from a wide variety of backgrounds, from working-class poets to those educated in public schools, and for a wide variety of political positions and viewpoints. Poets used references to classics both to support and to oppose the war from its beginning all the way to the Armistice and after. By exploring the importance of classics in the poetry of the First World War, Vandiver offers a new perspective on that poetry and on the history of classics in British culture.

Elizabeth Vandiver examines the ways in which British poets of the First World War used classical literature, culture, and history as a source of images, ideas, and even phrases for their own poetry. Vandiver argues that classics was a crucial source for writers from a wide variety of backgrounds, from working-class poets to those educated in public schools, and for a wide variety of political positions and viewpoints. Poets used references to classics both to support and to oppose the war from its beginning all the way to the Armistice and after. By exploring the importance of classics in the poetry of the First World War, Vandiver offers a new perspective on that poetry and on the history of classics in British culture.

Rupert Brooke, Wilfred Owen, Isaac Rosenberg, and Charles Sorley all died in the First Word War. They came from diverse social, educational, and cultural backgrounds, but for all of the writers, engagement with Greek and Roman antiquity was decisive in shaping their war poetry.The world views and cultural hinterlands of Brooke and Sorley were framed by the Greek and Latin texts they had studied at school, whereas for Owen, who struggled with Latin, classical texts were a part of his aspirational literary imagination. Rosenberg's education was limited but he encountered some Greek and Roman literature through translations, and through mediations in English literature. The various ways in which the poets engaged with classical literature are analysed in the commentaries, which are designed to be accessible to classicists and to users from other subject areas. The extensive range of connections made by the poets and by subsequent readers is explained in the Introduction to the volume. The commentaries illuminate relationships between the poems and attitudes to the war at the time, in the immediate post-war years, and subsequently. They also probe how individual poems reveal various facets of the poetry of unease, the poetry of survival, and the poetics of war and ecology. References to the accompanying online Oxford Classical Receptions Commentaries will enable readers to follow up their special interests. This volume differs from the shorter volume Greek and Roman Antiquity in First World War Poetry: Making Connections in that it covers the whole output of the four poets, and not just their war poems.

Rupert Brooke, Wilfred Owen, Isaac Rosenberg, and Charles Sorley all died in the First Word War. They came from diverse social, educational, and cultural backgrounds, but for all of the writers, engagement with Greek and Roman antiquity was decisive in shaping their war poetry.The world views and cultural hinterlands of Brooke and Sorley were framed by the Greek and Latin texts they had studied at school, whereas for Owen, who struggled with Latin, classical texts were a part of his aspirational literary imagination. Rosenberg''s education was limited but he encountered some Greek and Roman literature through translations, and through mediations in English literature. The various ways in which the poets engaged with classical literature are analysed in the commentaries, which are designed to be accessible to classicists and to users from other subject areas. The extensive range of connections made by the poets and by subsequent readers is explained in the Introduction to the volume. The commentaries illuminate relationships between the poems and attitudes to the war at the time, in the immediate post-war years, and subsequently. They also probe how individual poems reveal various facets of the poetry of unease, the poetry of survival, and the poetics of war and ecology. References to the accompanying online Oxford Classical Receptions Commentaries will enable readers to follow up their special interests. This volume differs from the shorter volume Greek and Roman Antiquity in First World War Poetry: Making Connections in that it covers the whole output of the four poets, and not just their war poems.

Rupert Brooke, Wilfred Owen, Isaac Rosenberg, and Charles Sorley all died in the First Word War. They came from diverse social, educational, and cultural backgrounds, but for all of the writers, engagement with Greek and Roman antiquity was decisive in shaping their war poetry.The world views and cultural hinterlands of Brooke and Sorley were framed by the Greek and Latin texts they had studied at school, whereas for Owen, who struggled with Latin, classical texts were a part of his aspirational literary imagination. Rosenberg's education was limited but he encountered some Greek and Roman literature through translations, and through mediations in English literature. The various ways in which the poets engaged with classical literature are analysed in the commentaries, which are designed to be accessible to classicists and to users from other subject areas. The extensive range of connections made by the poets and by subsequent readers is explained in the Introduction to the volume. The commentaries illuminate relationships between the poems and attitudes to the war at the time, in the immediate post-war years, and subsequently. They also probe how individual poems reveal various facets of the poetry of unease, the poetry of survival, and the poetics of war and ecology. References to the accompanying online Oxford Classical Receptions Commentaries will enable readers to follow up their special interests. This volume differs from the shorter volume Greek and Roman Antiquity in First World War Poetry: Making Connections in that it covers the whole output of the four poets, and not just their war poems.

Rupert Brooke, Wilfred Owen, Isaac Rosenberg, and Charles Sorley all died in the First Word War. They came from diverse social, educational, and cultural backgrounds, but for all of the writers, engagement with Greek and Roman antiquity was decisive in shaping their war poetry.The world views and cultural hinterlands of Brooke and Sorley were framed by the Greek and Latin texts they had studied at school, whereas for Owen, who struggled with Latin, classical texts were a part of his aspirational literary imagination. Rosenberg's education was limited but he encountered some Greek and Roman literature through translations, and through mediations in English literature.The various ways in which the poets engaged with classical literature are analysed in the commentaries, which are designed to be accessible to classicists and to users from other subject areas. The extensive range of connections made by the poets and by subsequent readers is explained in the Introduction to the volume.The commentaries illuminate relationships between the poems and attitudes to the war at the time, in the immediate post-war years, and subsequently. They also probe how individual poems reveal various facets of the poetry of unease, the poetry of survival, and the poetics of war and ecology.

Rupert Brooke, Wilfred Owen, Isaac Rosenberg, and Charles Sorley all died in the First Word War. They came from diverse social, educational, and cultural backgrounds, but for all of the writers, engagement with Greek and Roman antiquity was decisive in shaping their war poetry.The world views and cultural hinterlands of Brooke and Sorley were framed by the Greek and Latin texts they had studied at school, whereas for Owen, who struggled with Latin, classical texts were a part of his aspirational literary imagination. Rosenberg's education was limited but he encountered some Greek and Roman literature through translations, and through mediations in English literature.The various ways in which the poets engaged with classical literature are analysed in the commentaries, which are designed to be accessible to classicists and to users from other subject areas. The extensive range of connections made by the poets and by subsequent readers is explained in the Introduction to the volume.The commentaries illuminate relationships between the poems and attitudes to the war at the time, in the immediate post-war years, and subsequently. They also probe how individual poems reveal various facets of the poetry of unease, the poetry of survival, and the poetics of war and ecology.

Rupert Brooke, Wilfred Owen, Isaac Rosenberg, and Charles Sorley all died in the First Word War. They came from diverse social, educational, and cultural backgrounds, but for all of the writers, engagement with Greek and Roman antiquity was decisive in shaping their war poetry.The world views and cultural hinterlands of Brooke and Sorley were framed by the Greek and Latin texts they had studied at school, whereas for Owen, who struggled with Latin, classical texts were a part of his aspirational literary imagination. Rosenberg's education was limited but he encountered some Greek and Roman literature through translations, and through mediations in English literature.The various ways in which the poets engaged with classical literature are analysed in the commentaries, which are designed to be accessible to classicists and to users from other subject areas. The extensive range of connections made by the poets and by subsequent readers is explained in the Introduction to the volume.The commentaries illuminate relationships between the poems and attitudes to the war at the time, in the immediate post-war years, and subsequently. They also probe how individual poems reveal various facets of the poetry of unease, the poetry of survival, and the poetics of war and ecology.

Rupert Brooke, Wilfred Owen, Isaac Rosenberg, and Charles Sorley all died in the First Word War. They came from diverse social, educational, and cultural backgrounds, but for all of the writers, engagement with Greek and Roman antiquity was decisive in shaping their war poetry.The world views and cultural hinterlands of Brooke and Sorley were framed by the Greek and Latin texts they had studied at school, whereas for Owen, who struggled with Latin, classical texts were a part of his aspirational literary imagination. Rosenberg''s education was limited but he encountered some Greek and Roman literature through translations, and through mediations in English literature.The various ways in which the poets engaged with classical literature are analysed in the commentaries, which are designed to be accessible to classicists and to users from other subject areas. The extensive range of connections made by the poets and by subsequent readers is explained in the Introduction to the volume.The commentaries illuminate relationships between the poems and attitudes to the war at the time, in the immediate post-war years, and subsequently. They also probe how individual poems reveal various facets of the poetry of unease, the poetry of survival, and the poetics of war and ecology.

This book examines the importance of Classics and classical reception in the poetry, novels, translations, essays, and letters of Richard Aldington (1892-1962). The book has a double focus: first, to demonstrate the ubiquity of Classics in Aldington's writings from around 1910 to 1933 and explore the crucial role of classical receptions in his thought and his work, and second, to re-evaluate Aldington's importance in the history of Modernism in English literature in the 1910s and 1920s, and thus also to highlight the centrality of his classical receptions for the Modernist project. Aldington was a key figure in the English literary world of the 1910s and 1920s. He was one of the three founders of the Imagist movement (along with Ezra Pound and H.D.) in 1912; he advocated a style of translation that was a forerunner of Modernist translational practice; he was recognized as a significant war poet during and immediately after the First World War; and his Modernist war novel Death of a Hero (1929) was widely read and admired. In all these areas, Aldington was a central player in the development of Modernism. Nevertheless, despite an increase of critical interest in Aldington in the last few years, his importance has been generally under-recognized in literary histories of the 1910s and 1920s. This book counters that neglect by surveying Aldington's involvement in the literary culture of London during the 1910s and 1920s and by demonstrating the significance of his work as poet and critic for Imagist theory, Modernist approaches to translation, and Modernism in general. Throughout, the book establishes that Classics was crucially important for Aldington's writing in various genres, including the novels that formed the bulk of his creative output from 1929 onward, as well as for his poetry. The book includes detailed readings of many of Aldington's original poems and translations and contextualizes them through excerpts from his essays, reviews, and letters. In addition to discussing Aldington's published work, the book draws heavily on archival resources, including unpublished letters, translations, essays, prints, and poems, making many significant texts available to readers for the first time.

This book examines the importance of Classics and classical reception in the poetry, novels, translations, essays, and letters of Richard Aldington (1892-1962). The book has a double focus: first, to demonstrate the ubiquity of Classics in Aldington's writings from around 1910 to 1933 and explore the crucial role of classical receptions in his thought and his work, and second, to re-evaluate Aldington's importance in the history of Modernism in English literature in the 1910s and 1920s, and thus also to highlight the centrality of his classical receptions for the Modernist project. Aldington was a key figure in the English literary world of the 1910s and 1920s. He was one of the three founders of the Imagist movement (along with Ezra Pound and H.D.) in 1912; he advocated a style of translation that was a forerunner of Modernist translational practice; he was recognized as a significant war poet during and immediately after the First World War; and his Modernist war novel Death of a Hero (1929) was widely read and admired. In all these areas, Aldington was a central player in the development of Modernism. Nevertheless, despite an increase of critical interest in Aldington in the last few years, his importance has been generally under-recognized in literary histories of the 1910s and 1920s. This book counters that neglect by surveying Aldington's involvement in the literary culture of London during the 1910s and 1920s and by demonstrating the significance of his work as poet and critic for Imagist theory, Modernist approaches to translation, and Modernism in general. Throughout, the book establishes that Classics was crucially important for Aldington's writing in various genres, including the novels that formed the bulk of his creative output from 1929 onward, as well as for his poetry. The book includes detailed readings of many of Aldington's original poems and translations and contextualizes them through excerpts from his essays, reviews, and letters. In addition to discussing Aldington's published work, the book draws heavily on archival resources, including unpublished letters, translations, essays, prints, and poems, making many significant texts available to readers for the first time.

This book examines the importance of Classics and classical reception in the poetry, novels, translations, essays, and letters of Richard Aldington (1892-1962). The book has a double focus: first, to demonstrate the ubiquity of Classics in Aldington's writings from around 1910 to 1933 and explore the crucial role of classical receptions in his thought and his work, and second, to re-evaluate Aldington's importance in the history of Modernism in English literature in the 1910s and 1920s, and thus also to highlight the centrality of his classical receptions for the Modernist project. Aldington was a key figure in the English literary world of the 1910s and 1920s. He was one of the three founders of the Imagist movement (along with Ezra Pound and H.D.) in 1912; he advocated a style of translation that was a forerunner of Modernist translational practice; he was recognized as a significant war poet during and immediately after the First World War; and his Modernist war novel Death of a Hero (1929) was widely read and admired. In all these areas, Aldington was a central player in the development of Modernism. Nevertheless, despite an increase of critical interest in Aldington in the last few years, his importance has been generally under-recognized in literary histories of the 1910s and 1920s. This book counters that neglect by surveying Aldington's involvement in the literary culture of London during the 1910s and 1920s and by demonstrating the significance of his work as poet and critic for Imagist theory, Modernist approaches to translation, and Modernism in general. Throughout, the book establishes that Classics was crucially important for Aldington's writing in various genres, including the novels that formed the bulk of his creative output from 1929 onward, as well as for his poetry. The book includes detailed readings of many of Aldington's original poems and translations and contextualizes them through excerpts from his essays, reviews, and letters. In addition to discussing Aldington's published work, the book draws heavily on archival resources, including unpublished letters, translations, essays, prints, and poems, making many significant texts available to readers for the first time.

Elizabeth Vandiver examines the ways in which British poets of the First World War used classical literature, culture, and history as a source of images, ideas, and even phrases for their own poetry. Vandiver argues that classics was a crucial source for writers from a wide variety of backgrounds, from working-class poets to those educated in public schools, and for a wide variety of political positions and viewpoints. Poets used references to classics both to support and to oppose the war from its beginning all the way to the Armistice and after. By exploring the importance of classics in the poetry of the First World War, Vandiver offers a new perspective on that poetry and on the history of classics in British culture.

Elizabeth Vandiver examines the ways in which British poets of the First World War used classical literature, culture, and history as a source of images, ideas, and even phrases for their own poetry. Vandiver argues that classics was a crucial source for writers from a wide variety of backgrounds, from working-class poets to those educated in public schools, and for a wide variety of political positions and viewpoints. Poets used references to classics both to support and to oppose the war from its beginning all the way to the Armistice and after. By exploring the importance of classics in the poetry of the First World War, Vandiver offers a new perspective on that poetry and on the history of classics in British culture.

This important collection of essays both contributes to the expanding field of classical reception studies and seeks to extend it. Focusing on nineteenth- and twentieth-century Britain, it looks at a range of different genres (epic, novel, lyric, tragedy, political pamphlet). Within the published texts considered, the usual range of genres dealt with elsewhere is extended by chapters on books for children, and those in which childhood and memories of childhood are informed by antiquity; and also by a multi-genre case study of a highly unusual subject, Spartacus. "Remaking the Classics" also goes beyond books to dramatic performance, and beyond the theatre to radio - a medium of enormous power and influence from the 1920s to the 1960s, whose role in the reception of classics is largely unexplored. The variety of genres and of media considered in the book is balanced both by the focus on Britain in a specific time period, and by an overlap of subject-matter between chapters: the three chapters on twentieth-century drama, for example, range from performance strategies to post-colonial contexts.The book thus combines the consolidation of a field with an attempt to push it in new and exciting directions.

This volume brings together two important contemporary accounts of the life of Martin Luther in a confrontation that had been postponed for more than four hundred and fifty years. The first of these is written after Luther’s death, when it was rumoured that demons had seized the Reformer on his deathbed and dragged him off to Hell. In response to these rumours, Luther’s friend and colleague, Philip Melanchthon wrote and published a brief encomium of the Reformer in 1548. A completely new translation of this text appears in this book.It was in response to Melanchthon’s work that Johannes Cochlaeus completed and published his own monumental life of Luther in 1549, which is translated and made available in English for the first time in this volume. Such is the detail and importance of Cochlaeus’s life of Luther that for an eyewitness account of the Reformation – and the beginnings of the Catholic Counter-Reformation – there is simply no other historical document to compare.An electronic edition of this book is freely available under a Creative Commons (CC BY-NC-ND) licence.

This important collection of essays both contributes to the expanding field of classical reception studies and seeks to extend it. Focusing on nineteenth- and twentieth-century Britain, it looks at a range of different genres (epic, novel, lyric, tragedy, political pamphlet). Within the published texts considered, the usual range of genres dealt with elsewhere is extended by chapters on books for children, and those in which childhood and memories of childhood are informed by antiquity; and also by a multi-genre case study of a highly unusual subject, Spartacus. "Remaking the Classics" also goes beyond books to dramatic performance, and beyond the theatre to radio - a medium of enormous power and influence from the 1920s to the 1960s, whose role in the reception of classics is largely unexplored. The variety of genres and of media considered in the book is balanced both by the focus on Britain in a specific time period, and by an overlap of subject-matter between chapters: the three chapters on twentieth-century drama, for example, range from performance strategies to post-colonial contexts.The book thus combines the consolidation of a field with an attempt to push it in new and exciting directions.

This important collection of essays both contributes to the expanding field of classical reception studies and seeks to extend it. Focusing on nineteenth- and twentieth-century Britain, it looks at a range of different genres (epic, novel, lyric, tragedy, political pamphlet). Within the published texts considered, the usual range of genres dealt with elsewhere is extended by chapters on books for children, and those in which childhood and memories of childhood are informed by antiquity; and also by a multi-genre case study of a highly unusual subject, Spartacus. "Remaking the Classics" also goes beyond books to dramatic performance, and beyond the theatre to radio - a medium of enormous power and influence from the 1920s to the 1960s, whose role in the reception of classics is largely unexplored. The variety of genres and of media considered in the book is balanced both by the focus on Britain in a specific time period, and by an overlap of subject-matter between chapters: the three chapters on twentieth-century drama, for example, range from performance strategies to post-colonial contexts.The book thus combines the consolidation of a field with an attempt to push it in new and exciting directions.

First published in 1923, Exile and Other Poems is an important, poignant collection from one of the foremost Imagist war poets. Penned after witnessing the horrors of the frontline during the First World War, Aldington’s brutal, honest verse lays bare unimaginable experiences.