Strange Courtship: a study of narrative in several contemporary works of poetry

奇怪的求爱：几部当代诗歌作品的叙事研究

• 批准号: 2275974
• 金额: --
• 依托单位: Queen's University Belfast
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2275974
• 关键词: Strange; Courtship; study; narrative; several

There is a stark and surprising absence of research on the function and employment of narrative in contemporary poetry. As McHale says, 'in many classic contemporary monographs on narrative theory, in specialist journals, at scholarly meetings [...], poetry is conspicuous by its near-absence.' The critical component of this PhD will attempt to do some work towards addressing this absence, through conducting an investigation into some of the contemporary Anglophone narrative poetry emerging from the UK and America. The focus will be on book-length works of narrative verse. The creative component will consist of a poetry collection that explores and expands upon a pre-existing narrative. My creative component will be a collection of poetry based around the story of the Isdal woman. In November 1970 the badly burnt body of a woman was discovered in the Isdalen valley, Norway. It was not a place usually frequented by hikers, and the labels had been removed from her clothing. As police investigated her death, they discovered the woman had a series of false identities and disguises. She remains unidentified. The poetry collection will have at its centre a long sequence written in a close third person voice, that will make use of both fact and creative conjecture to construct a verse narrative around an unnamed woman's life, death, and the circumstances surrounding her undiscoverable identity. The sequence will take the form of both prose poems and free verse, and will make use of traditional tropes from narrative epic. In an essay on Gilmore's narrative sonnet sequence 'Belongings', Brogan lists narrative epic conventions, including beginning in medias res; the treatment of a single heroic figure; and the inclusion of lesser characters who serve as foils to the hero (in Schneider, 3). These are all features I intend to incorporate, and I will draw on my experience of having already published a narrative poetry pamphlet, genuine human values (The Lifeboat, 2018) which was a rewriting of the story of Hero and Leander. Two of my proposed texts to study alongside writing my creative component are Maggie Nelson's Jane: A Murder (2005) and Martha Collins' Blue Front (2006). In Brogan's study of Sandra Gilbert, she says the work engages 'in an intertextual dialogue that ultimately comes to record a much larger story' (Brogan, in Schneider, 10), and both these texts make use of found material to imbue their texts with additional narrative material above that of their speaker, who, in both cases, is speculating long after the fact. This is a method I also intend to employ in my writing. In the first chapter of the critical component I will begin by interrogating what is meant by 'narrative poetry' - a term which has provoked some divergence in definition. The first chapter will attempt to come up with a satisfactory definition of what narrative poetry is, as a place from which to begin. Following this will be a study of several contemporary works of narrative verse. Given the intention behind the creative component, I will look at texts that explore through poetry a pre-existing narrative. These texts will be the two previously mentioned, as well as The Red Parts (2007), Lavinia Greenlaw's A Double Sorrow (2014), and Tara Bergin's The Tragic Death of Eleanor Marx (2017). The Nelson, Collins, and Bergin texts all take the historical narrative of a death and use a combination of verse forms and personal conjecture to expand on the factual, and therefore will tie in to my creative component. While Greenlaw's is a rewriting of the myth of Troilus and Cressida (taking as its specific inspiration Chaucer's Troilius and Criseyde and Boccaccio's Il Filostrato) it is worth studying alongside the Nelson and Collins texts for its use of intertextual allusions; Greenlaw's text, as a narrative palimpsest, carries with it the shadow of its predecessors.

关于叙事在当代诗歌中的作用和运用的研究是一个明显而令人惊讶的缺失。正如麦克海尔所说，“在许多经典的当代叙事理论专著中，在专业期刊上，在学术会议上[...]，诗歌因其近乎缺席而引人注目。“这个博士学位的关键组成部分将试图通过对英国和美国出现的一些当代英语叙事诗进行调查，来解决这种缺失。重点将放在叙事诗的书籍长度的作品。创意部分将包括一个诗歌集，探索和扩展一个预先存在的叙事。 我的创作部分将是一本围绕伊斯达尔女人故事的诗集。1970年11月，在挪威的伊斯达伦山谷发现了一具严重烧伤的妇女尸体。这不是一个通常由徒步旅行者经常光顾的地方，标签已经从她的衣服上取下。当警方调查她的死亡事件时，他们发现这名女子有一系列虚假身份和伪装。她仍然身份不明。诗集的中心将有一个很长的序列写在一个密切的第三人称的声音，这将利用事实和创造性的猜测，以构建一个诗叙事围绕一个无名女子的生活，死亡，以及周围的情况下，她的不可否认的身份。该序列将采取散文诗和自由诗的形式，并将利用传统的比喻从叙事史诗。在一篇关于吉尔摩的叙事十四行诗序列《归属》的文章中，布罗根列出了叙事史诗的惯例，包括以媒介物开始;对单个英雄人物的处理;以及包括作为英雄陪衬的次要人物（在施耐德，3）。这些都是我打算纳入的特征，我将借鉴我已经出版的叙事诗小册子的经验，真正的人类价值观（救生艇，2018）这是对英雄和利安德故事的重写。 我建议学习的两本书是玛吉·纳尔逊的《简：谋杀案》（2005）和玛莎·柯林斯的《蓝色阵线》（2006）。在布罗根对桑德拉吉尔伯特的研究中，她说这部作品参与了“一种互文性对话，最终记录了一个更大的故事”（布罗根，在施耐德，10），这两部作品都利用了发现的材料，在文本中注入了额外的叙事材料，而这些材料都是在说话者之后很久才推测出来的。这也是我在写作中打算采用的一种方法。在批评部分的第一章中，我将开始询问什么是“叙事诗”--一个在定义上引起一些分歧的术语。第一章将试图提出一个令人满意的定义，什么是叙事诗，作为一个地方，从哪里开始。接下来是对几部当代叙事诗作品的研究。鉴于创作成分背后的意图，我将研究通过诗歌探索预先存在的叙事的文本。这些文本将是前面提到的两个，以及红色部分（2007年），拉维尼娅格林劳的双重悲伤（2014年）和塔拉伯金的埃莉诺马克思的悲惨死亡（2017年）。 纳尔逊、柯林斯和伯金的文本都采用了对死亡的历史叙述，并使用了诗歌形式和个人推测的组合来扩展事实，因此将与我的创作成分联系在一起。虽然格林劳的作品是对特洛伊罗斯和克瑞西达神话的改写（具体灵感来自乔叟的《特洛伊罗斯和克瑞西德》以及薄伽丘的《费洛斯特拉托》），但它值得与纳尔逊和柯林斯的文本一起研究，因为它使用了互文性典故;格林劳的文本作为一种叙事性的重写，带有其前辈的影子。