Ted Hughes's Expressionism: the Encyclopaedic Range and Maverick Utterance of England's Greatest Twentieth Century Poet

特德·休斯的表现主义:英国二十世纪最伟大诗人的百科全书式的范围和特立独行的言论

基本信息

  • 批准号:
    AH/X003809/1
  • 负责人:
  • 金额:
    $ 16.29万
  • 依托单位:
  • 依托单位国家:
    英国
  • 项目类别:
    Fellowship
  • 财政年份:
    2023
  • 资助国家:
    英国
  • 起止时间:
    2023 至 无数据
  • 项目状态:
    未结题

项目摘要

Ted Hughes (1930-1998) is one of the most important English language poets of the twentieth century. He published over a hundred books, including collections of poetry, translations, plays, stories, libretti, collaborations with artists and experimental works. Within that range he adopted a variety of styles, modes and registers that have been variously identified as mythic, elegiac, narrative, autobiographical, confessional, devotional and formal. The range of content Hughes drew on, including myth, conflict, nature & landscape, religion, the occult, philosophy and autobiography), and themes he addressed (vitality/violence, ecology, male/female relationships, grief, guilt and bereavement and issues of meaning and purpose to name but a few) embody a similar catholicity. The encyclopaedic diversity of Hughes's outputs has generated scholarly responses as varied as the work itself, but within that richness and plurality there is sometimes a sense that the essential Hughes is missing - what is it that is truly distinctive about Hughes's work, which marks him out as a major poet? Where does his main achievement lie? This research will answer that question by identifying Hughes's dominant mode as Expressionist and arguing that his best, most characteristic and most important work is written in the Expressionist mode. The research will present an understanding of Expressionism as a broad movement or tendency across the arts in which the artist is concerned to articulate the truth as he or she sees it under the influence of a strong, visionary subjectivity, rooted in an all important 'inner-life'. For the Expressionist artist, Naturalistic, Impressionistic or Realist representations of subject matter are inadequate, leading to the deployment of a range of techniques - hyperbole, distortion, symbolism, abstraction, typology - in the quest to express 'the truth'.The identification of Hughes as an Expressionist poet will also allow a more precise identification of his secondary modes, giving a holistic overview of his achievement, and enabling a number of limiting interpretations or misconceptions about Hughes to be challenged. For example, although the research will take into account the importance of Hughes's relationship with his first wife Sylvia Plath and his subsequent partner Assia Wevill, and the traumatic impact of their suicides on his life and work, the research will eschew reductive biographical readings and use the identification of Expressionism as Hughes's dominant mode to critique the rather crude 'mythic'/'elegiac' binary ('mythic' = obscure, symbolic, arcane, 'bad'; 'elegiac' = personal, moving, accessible, 'good') that has recently begun to emerge in Hughes studies. The research will also catalyse new approaches to Hughes's animal and nature poetry, much of which (for example, 'Wind', 'Pike' and 'The Howling of Wolves') does not simply derive from the precise observations of an 'experienced countryman' as is often implied, but is characterised by the transformative and didactic subjectivity typical of Expressionism. The research will also challenge the common conception of Hughes as a parochial 'Little England' establishment figure, (obsequious poet laureate, tweedy fisherman and 'traditional' nature poet), demonstrating that he was a socially and culturally engaged, international artist of global stature.Finally, the research will enable the development of pedagogical resources and related in-person and online seminars ('The Expressionist Poetry Workshop' (TEPW)), that will encourage poets in community, University and other contexts to write in the Expressionist mode, using Expressionistic techniques, challenging the current limiting dominance of the autobiographical mode and the 'relatable' first-person lyric. Associated with the workshop will be a national competition, with successful entries being published in an anthology: 'Visionary Subjectivity: Poems from the Expressionist Poetry Workshop'
泰德·休斯(Ted Hughes,1930-1998)是世纪最重要的英语诗人之一。他出版了一百多本书,包括诗集,翻译,戏剧,故事,libretti,与艺术家和实验作品的合作。在这一范围内,他采用了各种风格,模式和寄存器已被不同地确定为神话,挽歌,叙事,自传,忏悔,虔诚和正式。休斯借鉴的内容范围,包括神话,冲突,自然与景观,宗教,神秘学,哲学和自传),他所处理的主题(活力/暴力,生态,男性/女性关系,悲伤,内疚和丧亲之痛以及意义和目的的问题,仅举几例)体现了类似的普遍性。休斯作品的多样性产生了与作品本身一样多样的学术反应,但在这种丰富性和多样性中,有时会有一种感觉,即本质上的休斯缺失了-休斯作品真正与众不同的是什么,这标志着他成为一个主要的诗人?他的主要成就在哪里?本研究将回答这个问题,确定休斯的主导模式是表现主义,并认为他最好的,最具特色的和最重要的工作是写在表现主义模式。该研究将呈现对表现主义的理解,表现主义是一种广泛的艺术运动或趋势,艺术家关注的是在强烈的、有远见的主观性的影响下,表达他或她所看到的真理,这种主观性植根于所有重要的“内心生活”。对于表现主义艺术家来说,自然主义、印象派或现实主义对主题的表现是不够的,这导致了一系列技术的部署-夸张、扭曲、象征、抽象、类型学-在寻求表达“真理”。休斯作为表现主义诗人的身份也将允许更准确地识别他的次要模式,全面概述他的成就,并使一些限制性的解释或对休斯的误解受到挑战。例如,虽然研究将考虑休斯与他的第一任妻子西尔维亚普拉斯和他后来的伴侣阿西娅韦维尔的关系的重要性,以及他们的自杀对他的生活和工作的创伤影响,研究将避免还原传记阅读,并使用表现主义作为休斯的主导模式来批评相当粗糙的“神话”/“挽歌”二元(“神话的”=晦涩、象征、《双城之战》、“坏”;“挽歌的”=个人的、感人的、可理解的、“好”),最近开始出现在休斯研究中。这项研究还将促进休斯的动物和自然诗歌的新方法,其中大部分(例如,“风”,“派克”和“狼的嚎叫”)并不简单地从一个“经验丰富的乡下人”的精确观察中得出,正如通常所暗示的那样,但其特点是表现主义典型的变革和说教的主观性。这项研究还将挑战休斯作为一个狭隘的“小英格兰”当权者的普遍观念,(谄媚的桂冠诗人,花呢渔民和'传统'自然诗人),表明他是一个社会和文化参与,国际艺术家的全球地位。最后,这项研究将有助于开发教学资源和相关的面对面和在线研讨会(“表现主义诗歌研讨会”(TEPW)),这将鼓励社区,大学和其他环境中的诗人以表现主义模式写作,使用表现主义技巧,挑战目前自传模式和“相关”第一人称抒情的限制优势。与研讨会相关的将是一个全国性的比赛,成功的参赛作品将在选集中出版:“有远见的主体性:表现主义诗歌研讨会的诗歌”

项目成果

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