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Ahmed, Shahed
- From Life Studies to Day by Day:Robert Lowell's Rendezvous with Memory as an “Imaginative Reconstruction”
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1 Department of English, Shahjalal University of Science & Technology, BD
1 Department of English, Shahjalal University of Science & Technology, BD
Source
Journal of Literature, Culture and Media Studies, Vol 5, No 9-10 (2013), Pagination: 27-44Abstract
Memory steers Robert Lowell's obsessive nature of self-interpretation-a Freudian therapeutic project-that governed most of his oeuvre. But rather than the therapeutic, a project of psychotherapy taken upon doctor's advice, Lowell's artistic purpose dominates most of his compositions of returns and reconstructions. Lowell introduced his Selected Poems by admitting that there are important differences between the poetic identity and the poet's personal identity: “My verse autobiography sometimes fictionalizes plot and particular” (vii). Memory here is a shaping power of the poet's artistic imagination incessantly reconstructed in the present. This imaginative reconstruction of memory, a recent appraisal, deviates from traditional self-analysis and assists to form an artistic poetic identity that guides his work to a coherent whole. This paper examines how the reconstructive process of memory is worked out through Life Studies (1959) to Day by Day (1977), the two ground breaking poetic works that watermarked the most creative part of Lowell's career, and explores how it helps create “an aesthetic effect.”Keywords
Memory, Psychoanalysis, Autobiography, Poetic Identity.References
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- Eugene O’Neill’s The Emperor Jones: An Overview of White Imprints and Desire
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Authors
Affiliations
1 Department of English, Shahjalal University of Science and Technology, BD
1 Department of English, Shahjalal University of Science and Technology, BD
Source
Journal of Literature, Culture and Media Studies, Vol 6, No 11-12 (2014), Pagination: 97-107Abstract
Eugene O’Neill’s The Emperor Jones (1920) is the first ever projection of a black protagonist on Broadway who carries the imprints of white ideals. While the playwright presents the title character Brutus Jones as a kleptocrat, he seems to corroborate the fact that the streetwise black Jones’ growing up in New York has a lot to do with his rule as a despot in the Island. This paper probes O’Neill’s projection of the American mercantile psyche as seen in the Island’s experience of colonial capitalism and the enactment of original sin in America by a journey through Brutus’ personal and racial memory lanes. This article also explores to what extent Jones is a by-product of American capitalist system which considers greed is good and money as the bottom line of success.Keywords
Eugene O’Neill, American Drama, Race, Capitalism, Kleptocracy, Blackface.References
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