Читать книгу A Companion to Contemporary British and Irish Poetry, 1960 - 2015 - Группа авторов - Страница 8

Paul Batchelor is an associate professor of English literature and creative writing at Durham University. He wrote his PhD on Barry MacSweeney's poetry at Newcastle University, and edited Reading Barry MacSweeney (NCLA/Bloodaxe, 2013). His poetry collections are The Sinking Road (Bloodaxe, 2008) and The Love Darg (Clutag, 2014). He reviews for the Times Literary Supplement.

Daniel Bourne is a poet, translator of poetry from Polish, editor, and professor of English and environmental studies at The College of Wooster in Wooster, Ohio, where he has taught creative writing and poetry since 1988. He attended Indiana University (Bloomington), where he received his Bachelor of Arts in comparative literature and history in 1979, and a Master of Fine Arts in creative writing in 1987. He was a Fulbright fellow in Poland between 1985 and 1987. Bourne is an editor and founder of the Artful Dodge literary magazine.

Prudence Chamberlain is a lecturer in creative writing at Royal Holloway, University of London. She is the author of The Feminist Fourth Wave: Affective Temporality (Palgrave Macmillan, 2017) and the coauthor of House of Mouse (KFS, 2016). Her poetry reviews have featured in Poetry Review, Hix Eros, and Shearsman Magazine, and her critical writing on feminism in both Gender and Education (2016) and Social Movement Studies (2014).

Ian C. Davidson is a poet and a critic. His recent poetry publications include Gateshead and Back (Crater, 2017), On the Way to Work (Shearsman, 2017), In Agitation (KFS, 2014), and The Tyne and Wear Poems (Red Squirrel, 2014). He edited the special Bill Griffiths issue for the Journal of British and Irish Innovative Poetry, and has published extensively on space and poetry and poetics. His recent critical work has examined relationships between mobility and writing in the work of Diane di Prima, George and Mary Oppen, Philip K. Dick, and Patrick Hamilton. After living in Wales for most of his life, he moved to Newcastle upon Tyne and then Dublin, where he works in UCD as professor of English, Drama and Film.

Hugh Dunkerley is reader in creative writing and contemporary poetry at the University of Chichester in the United Kingdom, where he runs the MA in creative writing. He is a critic and poet. His most recent poetry collections are Hare (2010) and Kin (both Cinnamon Press 2019).

Gareth Farmer is a lecturer in modern and contemporary literature at the University of Bedfordshire, United Kingdom. He is the coeditor of the open access Journal of British and Irish Innovative Poetry.

David Fuller is emeritus professor of English and former chairman of the Department of English Studies at the University of Durham. From 2002 to 2007, he was also the university's public orator. He has held a University of Durham Sir Derman Christopherson fellowship, and fellowships at the Huntington Library, the Centre for Reformation and Renaissance Studies of the University of Toronto, and the Yale Center for British Art. He is the author of Blake's Heroic Argument (Croom Helm, 1988), James Joyce's “Ulysses” (Harvester, 1992), Signs of Grace (with David Brown, Cassell, 1995), and essays on a wide range of poetry, drama, and novels from Medieval to Modern, including work on Chaucer, Spenser, Marlowe, Shakespeare, Ben Jonson, Blake, Shelley, Keats, T. S. Eliot, William Empson, and the theory and practice of criticism.

Wolfgang Görtschacher, senior assistant professor at the University of Salzburg, is the author of Little Magazine Profiles: The Little Magazines in Great Britain, 1939–1993 (1993) and Contemporary Views on the Little Magazine Scene (2000), owner‐director of the small press Poetry Salzburg, editor of the little magazine Poetry Salzburg Review, coeditor of the academic journal Moderne Sprachen, and the President of AAUTE (Austrian Association of University Teachers of English). He (co)edited So Also Ist Das/So That's What It's Like: Eine zweisprachige Anthologie britischer Gegenwartslyrik (2002), Raw Amber: An Anthology of Contemporary Lithuanian Poetry (2002), The Romantic Imagination: A William Oxley Casebook (2005), Fiction and Literary Prizes in Great Britain (2006), Ovid's “Metamorphoses” in English Poetry (2009), Mozart in Anglophone Cultures (2009), and Sound Is/As Sense (2016, with David Malcolm).

Ludmiła Gruszewska‐Blaim is associate professor of English and American literature at the University of Gdańsk. She specializes in cultural semiotics, (post)modernist poetics, and utopian studies. She is the author and (co)editor of books on twentieth‐ and twenty‐first century literature and cinema. Her book publications on poetry include Visions and Re‐visions in T. S. Eliot's Poetry (1996; in Polish); Essays on Modern British and Irish Poetry (2005; coedited with David Malcolm); Here/Now—Then/There: Traditions, Memory, Innovation in Modern British and Irish Poetry (2011; coedited with David Malcolm).

Małgorzata Grzegorzewska is a professor in the Institute of English Studies at the University of Warsaw. Her principal research interests lie in Shakespeare studies, Renaissance poetry, and the interrelations of drama, verse, and metaphysical and theological concerns.

Robert Hampson is professor of modern literature at Royal Holloway, University of London. During the 1970s, he coedited the poetry magazine Alembic. He coedited New British Poetries: The Scope of the Possible (Manchester UP, 1993); Frank O'Hara Now (Liverpool UP, 2010); Clasp: Late Modernist Poetry in London in the 1970s (Shearsman Books, 2016); and The Salt Companion to Allen Fisher (with cris cheek, Shearsman Books, 2019). His collection of poems, Reworked Disasters (KFS, 2013), was long‐listed for the Forward Prize.

Ralf Hertel is a professor of English literature at the University of Trier, Germany. He is the author of Making Sense: Sense Perception in the British Novel of the 1980s and 1990s (Brill Rodopi, 2005) and coeditor of Performing National Identity: Anglo‐Italian Cultural Transactions (with Manfred Pfister, Brill, 2008) and On John Berger: Telling Stories (with David Malcolm, Brill Rodopi, 2015).

Peter Hughes is a poet, painter, and the founding editor of Oystercatcher Press. He was born in Oxford in 1956, based in Italy for many years, and now lives on the Norfolk coast. He is the author of over a dozen books of poetry, which include Nistanimera, The Sardine Tree, The Summer of Agios Dimitrios, Behoven, and The Pistol Tree Poems. Nathan Thompson has described the latter as “flickering, intense, innovative and utterly mesmerizing.”

Peter Hühn was for many years a professor of British studies at the University of Hamburg. His principal interests include: English poetry of the sixteenth and seventeenth centuries, Modernism, Yeats, and contemporary poetry. He has also worked extensively in the field of narratology. His current research projects include: concepts of plot in the British and American crime novel of the eighteenth and nineteenth centuries and, in particular, the popular genre in the twentieth century; contemporary British and Irish poetry, postmodernist tendencies. A recent publication is Facing Loss and Death: Narrative and Eventfulness in Lyric Poetry (De Gruyter, 2016).

Jerzy Jarniewicz is a Polish poet, translator, and literary critic, who lectures in English at the University of Łódź. He has published 12 volumes of poetry, 13 critical books on contemporary Irish, British, and American literature and has written extensively for various journals, including Poetry Review, Irish Review, and Cambridge Review. He is the editor of the literary monthly Literatura na Świecie (Warsaw) and has translated the work of many novelists and poets, including James Joyce, John Banville, Seamus Heaney, Raymond Carver, Philip Roth, and Edmund White. His most recent works include two anthologies: Sześć Poetek Irlandzkich – Six Irish Women Poets (Biuro Literackie, 2012) and Poetki z Wysp – Women Poets from Britain (Biuro Literackie, 2015), which he selected and translated.

David Kennedy was senior lecturer in English and creative writing at the University of Hull, United Kingdom. He researched modern and contemporary poetry in English with special interests in elegy, ekphrasis, and experimental writing. He published articles in English, Irish Studies Review, and Textual Practice. He is the author of Necessary Steps: Poetry, Elegy, Walking, Spirit (Shearsman Books, 2007) and The Ekphrastic Encounter in Contemporary British Poetry and Elsewhere (Ashgate, 2012), and he is the coauthor of Women's Experimental Poetry in Britain 1970–2010: Body, Time and Locale (Liverpool UP, 2013). David Kennedy died in 2017.

Monika Kocot is assistant professor in the Department of British Literature and Culture at the University of Łódź, Poland. Her academic interests include: contemporary Scottish poetry, Native American prose and poetry, literary theory, literary criticism, and translation. She is the author of Playing Games of Sense in Edwin Morgan's Writing (Peter Lang, 2016) and coeditor of Języki (pop)kultury w literaturze, mediach i filmie (Wydawnictwo Uniwersytetu Łódzkiego, 2015). She is a member of the Association for Cultural Studies, the Association for Scottish Literary Studies, and the Polish Cognitive Linguistics Association. She is the President of the K. K. Baczyński Literary Society.

Jessika Köhler is a lecturer in English literature, specializing in Irish studies, at the University of Hamburg and the Leuphana University of Lüneburg. She is currently researching space and place in contemporary Irish poetry.

Tim Liardet is a professor of poetry at Bath Spa University, England, and a Poetry Book Society selector. Twice shortlisted for the T. S. Eliot Prize, for The World Before Snow (Carcanet) in 2015 and The Blood Choir (Seren) in 2006, Tim Liardet has produced 10 collections of poetry to date. He has also been long‐listed for the Whitbread Poetry Prize, and has received several Poetry Book Society Recommendations, a Poetry Book Society Pamphlet Choice, an Arts Council England Writer's Award, a Society of Authors Award, and a Hawthornden fellowship. His most recent collection is Arcimboldo's Bulldog: New and Selected Poems (Carcanet, 2018).

Jo Lindsay Walton took his Master's degree in social and political theory at Birkbeck, and is completing a PhD in creative writing at Northumbria University on finance and speculative fiction. His publications include the novel Invocation (Critical Documents, 2013). He coedits the poetry reviews journal Hix Eros and the poetry micropress Sad Press.

David Malcolm is a professor of English at SWPS University of Humanities and Social Sciences in Warsaw. He previously taught for twenty‐eight years at the University of Gdan&c.acute;sk. He has published extensively on British and Irish fiction and poetry. His translations of Polish and German literature have been published in Europe, the UK, and the USA. He is co‐organizer of the Between.Pomiędzy Festival of Literature and Theatre which has been held annually in Sopot, Poland, since 2010.

Erik Martiny has taught Anglophone literature, art, and film in Cork, Aix‐en‐Provence, Saint‐Germain‐en‐Laye, and Paris. He currently teaches preparatory school students at the Lycée Henri‐IV in Paris. His work has focused on literature and the visual arts. His articles appear in the TLS, The London Magazine, The Wallace Stevens Journal, and The Cambridge Quarterly. His book on the poetics of filiation, Intertextualité et filiation paternelle dans la poésie anglophone, was published in 2008. He has also written on the connections between film and fiction, having edited a volume of essays, Lolita: From Nabokov to Kubrick and Lyne (Editions Sedes, 2009). He also edited A Companion to Poetic Genre. His debut novel The Pleasures of Queueing (Mastodon Publishing) came out in 2018.

Will May is a senior lecturer in English at the University of Southampton. He is the author of Stevie Smith and Authorship (OUP, 2010) and Postwar Literature: 1950–1990 (Longman, 2010), and editor of The Collected Poems and Drawings of Stevie Smith (Faber, 2015) and the essay collection Reading F. T. Prince (Liverpool UP, 2015). He is currently writing a history of whimsy in Anglo‐American poetry.

Jennifer Militello has produced three collections of poetry with Tupelo Press, A Camouflage of Specimens and Garments (2016), Body Thesaurus (2013), named a finalist for the Alice Fay di Castagnola Award by Marilyn Hacker, and Flinch of Song (2009), winner of the Tupelo Press First Book Award, as well as the chapbook Anchor Chain, Open Sail (Finishing Line, 2006). Her poems have appeared in American Poetry Review, The New Republic, and The Paris Review. She teaches in the MFA program at New England College.

Alex Pestell's study Geoffrey Hill: The Drama of Reason was published by Peter Lang in 2016. He has edited John Wilkinson's Schedule of Unrest: Selected Poems (Salt, 2014) and written on Pound, Williams, Bunting, and Zukofsky. He lives in Berlin.

Marc Porée is professor of English literature at the École Normale Supérieure in Paris (PSL). As a romanticist, he has published numerous articles and chapters on the major Romantic poets. He also writes on British contemporary fiction and/or poetry and translates from English into French (Lord Byron, Joseph Conrad, Thomas de Quincey, Ann Radcliffe, R. L. Stevenson), chiefly for Gallimard. He occasionally contributes to the online review En Attendant Nadeau.

Glyn Pursglove retired from his position as a reader in English at Swansea University in 2015. He has published many books and articles on English poetry from the seventeenth century to the present. His most recent book was Oro Espanõl: Traducciones Inglesas de Poesía Espanõla de los Siglos Diecisés y Diecisiete (Ediciones Universidad de Valladolid, 2014).

Stephen Regan is professor of English at Durham University, where he is also the Director of the Centre for Poetry and Poetics. He is the author of two books on Philip Larkin, and he has written extensively on the work of W. B. Yeats, Seamus Heaney, and other Irish poets. His essays on modern poetry have appeared in The Cambridge History of English Poetry (2010), The Cambridge Companion to Twentieth‐Century English Poetry (2008), and The Oxford Handbook of Modern Irish Poetry (2012). He is editor of Irish Writing: An Anthology of Irish Literature in English 1789–1939 (Oxford UP, 2004), and also edited the new Oxford World's Classics edition of George Moore's Esther Waters (Oxford UP, 2012).

Alan Riach is professor of Scottish literature at Glasgow University, general editor of the collected works of Hugh MacDiarmid, author of Representing Scotland in Literature, Popular Culture and Iconography (2004) and coauthor of Arts of Resistance: Poets, Portraits and Landscapes of Modern Scotland (2009), described by the Times Literary Supplement as “a landmark book,” Arts of Independence: The Cultural Argument and Why It Matters Most (2014), and Arts and the Nation (2017). His books of poems include Homecoming (2009) and The Winter Book (both Luath Press, 2017).

Lacy Rumsey is associate professor of English at the École Normale Supérieure de Lyon. He has published extensively on British and American poetry, with a particular focus on rhythm. Recent essays include a reassessment of the free‐verse prosody of Walt Whitman's Leaves of Grass, an analysis of the meters of Louis MacNeice's The Burning Perch, and studies of contemporary British poets R. F. Langley and Jeff Hilson. He is currently completing a book on the prosody of free verse.

Martin Ryle is emeritus reader in English at the University of Sussex. His research interests include twentieth‐century Irish writing in English, and he has published articles on Paul Muldoon, John McGahern, and Derek Mahon. He is a member of the editorial advisory board of Green Letters.

Pilar Sánchez Calle is senior lecturer of English and American Literature at the University of Jaén, Spain. Her research focuses on contemporary English and North American literature, with special emphasis on the representation of gender, identity, and exile. Some of her publications include “No City of God: Urban Images in the Fiction of Nella Larsen and Jessie Fauset,” “Private Dreams, Public Realities: An Analysis of Female Characters in Ronald Firbank's The Flower Beneath the Foot,” and “The Artist as a Mongrel Girl: Mina Loy's Anglo‐Mongrels and the Rose.”

Robert Sheppard's two main literary critical works are The Poetry of Saying (Liverpool UP, 2005) and The Meaning of Form in Contemporary Innovative Poetry (Palgrave, 2016), though he has written a monograph on Iain Sinclair and edited a companion to the work of Lee Harwood. His poetry is partly collected in Complete Twentieth Century Blues (Salt, 2008) and selected in History or Sleep (2015), from Shearsman, who publish other works, including the collaboratively written volume of fictional poetry, Twitters for a Lark: Poetry of the European Union of Imaginary Authors (2017). He lives and writes in Liverpool, United Kingdom, and is emeritus professor of poetry and poetics at Edge Hill University.

John Sparrow is a poet and digital artist. He is interested in materiality and the use of forms as rhetorical devices, particularly as they relate to live performance, modular and reflexive writing, and generative texts. He likes to explore texts whose compositions are affected by external influences, and allow for chance and random processes to infiltrate the writing process. He is currently completing a PhD in generative digital poetics. He lives in Phoenix, Arizona, with his wife and cats.

Eleanor Spencer teaches in the Department of English Studies at Durham University, where she is also Vice Principal and senior tutor at St. Chad's College. She was previously a Frank Knox Memorial fellow at Harvard University, and is the editor of the New Casebooks on American Poetry since 1945 (Palgrave Macmillan, 2017).

Monika Szuba is lecturer in English literature at the University of Gdańsk, Poland. Her research, which mainly focuses on twentieth and twenty‐first century poetry, is informed by environmental humanities and phenomenological perspectives. She is the editor of Boundless Scotland: Space in Scottish Fiction (University of Gdańsk Press, 2015) and coeditor, with Julian Wolfreys, of The Poetics of Space and Place in Scottish Literature (Palgrave, 2019). She is the author of Contemporary Scottish Poetry and the Natural World: Burnside, Jamie, Robertson and White (Edinburgh UP, 2020).

Scott Thurston is reader in English and creative writing at the University of Salford. A poet and critic, he has written several volumes of poetry and published widely on innovative writing. He edited The Salt Companion to Geraldine Monk (2007) and compiled a book of interviews with innovative poets called Talking Poetics (Shearsman Books, 2011). Thurston also coedits the Journal of British and Irish Innovative Poetry and co‐organizes The Other Room poetry reading series in Manchester.

Juha Virtanen is lecturer in contemporary literature at the University of Kent. His monograph, Poetry and Performance During the British Poetry Revival 1960–1980: Event and Effect, was published by Palgrave Macmillan in 2017. His own poetry publications include Back Channel Apraxia (Contraband, 2014) and –LAND (Oystercatcher Press, 2016). He coedits DATABLEED together with Eleanor Perry.

Jean Ward is an associate professor at the Institute of English and American Studies of Gdańsk University, Poland. She specializes in religious poetry, is the author of Christian Poetry in the Post‐Christian Day: Geoffrey Hill, R. S. Thomas, Elizabeth Jennings (Peter Lang, 2009), has contributed to collections of critical essays both in English and in Polish, on Jennings's poetics and her relationship with other poets, including George Herbert, G. M. Hopkins, T. S. Eliot, and David Jones.

Daniel Weston is senior lecturer of English literature at the University of Greenwich. His monograph, Contemporary Literary Landscapes: The Poetics of Experience, was published by Ashgate in 2017. He has published work on modern and contemporary poetry, prose fiction, and non‐fiction, with particular emphasis on literary geographies and place writing.

David Wheatley is a reader in English and creative writing at the University of Aberdeen. He is the author of six collections of poetry, including The President of Planet Earth (Carcanet, 2017), and the author of the critical study Contemporary British Poetry (Palgrave, 2014). He has also edited the poetry of James Clarence Mangan (2003) and of Samuel Beckett (2009), for Gallery Press and Faber and Faber, respectively.

Tomasz Wiśniewski was for several years the Deputy Director for Research in the Institute of English and American Studies at the University of Gdańsk. He is a cofounder of the Between.Pomiędzy Festival, and the founder of the Beckett Research Group in Gdan&c.acute;sk. He has published Complicite, Theatre and Aesthetics (Palgrave Macmillan, 2016), and a monograph on Samuel Beckett (Universitas, 2006). He is a member of the editorial board of the global portal The Theatre Times and the literary quarterly Tekstualia.

Bartosz Wójcik is a translator, literary critic, and cultural manager. He has published scholarly papers on the works of, among others, Patience Agbabi, Jean Binta Breeze, Linton Kwesi Johnson, Kei Miller, Mutabaruka, Michael Smith, and Derek Walcott. He is the author of Afro‐Caribbean Poetry in English: Cultural Traditions (Peter Lang, 2015) and works at the Centre for the Meeting of Cultures in Lublin, Poland (spotkaniakultur.com).