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This is just to say

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332 pages
Students majoring in English get acquainted with Williams' text in the course "introduction to Literary Studies". Some frequently asked questions are : "What makes it a poem ?" "Wouldn't anybody be able to write such a text ?" Some students indeed get personally involved. They respond to litterature, either in verse, or in prose, sometimes through rewriting texts and sometimes in the traditional way, through literary analysis and research. This book testifies to the fact that they indeed have something to say.
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THIS IS JUST TO SAY
2016.10.04.10:56:59
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L’harmattan hongrie tut
C K Collection dirigée par Enikő Sepsi
ISSN 20629850
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THIS IS JUST TO SAY tut A Collection of Creative Student-Responses
E  K G. K, D. N N, E W, F Á, H B E, K P, M K, M G, O D S T
Károli Gáspár University of the Reformed Church in Hungary L’Harmattan Publishing • Éditions L’Harmattan
Budapest • Paris 2016
2016.10.04.10:56:59
A kötet megjelenését az Emberi Erőforrások Minisztériuma megbízásábol az Emberi Erőforrás Támogatáskezelő Nemzeti Tehetség Programja támogatta (NTP-HHTD -15).
Publishing Director: Enikő Sepsi, Ádám Gyenes, Xavier Pryen
Series Editor: Enikő Sepsi
Károli Gáspár University of the Reformed Church in Hungary Kálvin tér 9 H-1091, Budapest, Hungary T: (+36-1) 455-9060
L’Harmattan Kiadó Kossuth Lajos utca 14–16. H-1053 Budapest, Hungary
L’Harmattan France 5-7 rue de l’Ecole Polytechnique 75005 Paris
Illustrated by: Molnár Klaudia
© Authors, editors, 2016 © Károli Gáspár University of the Reformed Church in Hungary, 2016 © L’Harmattan Publishing, 2016 © Éditions L’Harmattan, 2016
ISBN 978 2 343 09975 0
Volumes may be ordered, at a discount, from L’Harmattan Könyvesbolt Párbeszéd Könyvesbolt 1053 Budapest, Kossuth L. u. 14–16. 1085 Horánszky utca 20. Tel.: (+36-1)267-5979 Tel: (+36-1) 445-2775 harmattan@harmattan.hu parbeszedkonyvesbolt@gmail.com www.harmattan.hu www.konyveslap.hu
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TABLE OF CONTENTS
Introduction (K G. K) . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Preface (D. N N) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 About te Order of te Works (M K) . . . . . . . . . . . . . . . 13
PART I
H N: [So muc depends upon] . . . . . . . . . . . . . . . . . . . . . . 16 T V: S(e)oul Searcing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 V Z: he Suicidal heme in Hamlet from a Japanese Perspective . . . 23 M D: Poems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 S I: Translation Sifts in two Hungarian translations of Sakespeare’sA Midsummer Nigt’s Dream. . . . . . . . . . . . . . . . . . . 35 K P: Faster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 D G R: Kéz és lélek (fordította: Linszky Franciska). . . . . . 47 M K: he Representation of Time in ‘Sonnet 19’ by William Sakespeare and ‘On Time’ by Jon Milton . . . . . . . . . . . . . . . . . . . . . 62 F N: Poems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 S-N V: he comparison ofWen I consider ow my ligt is spent and Samson Agonistesby Jon Milton . . . . . . . . . . . . . . . . . . . 68 S R: he frozen astronaut . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 K Z: So Muc Depends Upon . . . . . . . . . . . . . . . . . . . . . . . . . 74 K J E: he Nun’s Priest’s Tale Dramatised version. . . . . . 74 K Z: Prolusion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 B P I: It Depends . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 V M: Early modern ideas of art in Jonson’s and Herrick’s poem . . . . . . 97 K Z: he Road . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 F-K M: Response to te conflict between Jonatan Edwards and te congregation of Nortampton. . . . . . . . . . . . . . . . . . . . . . 104
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PART II
P B: [Lost in te sea of capitalism] . . . . . . . . . . . . . . . . . . . 109 H B E: Lolita . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 K P: he nature of love depicted inhe Clod and te Pebble by William Blake and It is a Beauteous Evening, Calm and Freeby William Wordswort . 116 K J E: So Muc Depends Upon118. . . . . . . . . . . . . . . V L: Coleridge and Kwaidan . . . . . . . . . . . . . . . . . . . . . . . . . 119 F D: One tiny element . . . . . . . . . . . . . . . . . . . . . . . . . . 124 E S: [My life…]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 S N: A Letter to a Nigtingale . . . . . . . . . . . . . . . . . . . 125 S T F: A eart in terror . . . . . . . . . . . . . . . . . . . . . . 127 L A: So Muc Depends Upon . . . . . . . . . . . . . . . . . . . . . 129 F Á: he Motif of Violence as te Symbol of Mental Status – comparison of te works of Edgar Allan Poe, Henry James and Ambrose Bierce . . . . . . 130 M Z: Poems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134 P K: Jane Eyre as te representative of ustice in an unust age. . 136 J K: [So muc depends upon] . . . . . . . . . . . . . . . . . . . . . . 141 V D K: he rewriting of Belinda’s Toilet Preparations from he Rape of te Lockby Alexander Pope into te style ofA Sentimental Journeyby Laurence Sterne 142. . . . . . . . . . . . . . . . . . . . . . . . . . . . . M M: ”Because – I love hee” - Love ”Between Eternity and Time” in Emily Dickinson’s Poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 R Á: 4 orsemen of te apocalypse. . . . . . . . . . . . . . . . . . . . . 151 S D: Dickinson and Deat . . . . . . . . . . . . . . . . . . . . . . . . 152 K P: Poems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 M G: Squirrels158. . . . . . . . . . . . . . . . . . . . . . . . . . . . . B A C: Wy are te poetic tecniques unique in Walt Witman's and Emily Dickinson's poetry? . . . . . . . . . . . . . . . . . 160 S T F: Awakening . . . . . . . . . . . . . . . . . . . . . . . . . 166 H Z: Hester Prynne's 'Self-Reliance' . . . . . . . . . . . . . . . . . . . 169
PART III
S-N V: So Muc Depends Upon. . . . . . . . . . . . . . . . .181 S K: he Great Macine . . . . . . . . . . . . . . . . . . . . . . 182 H B E: he Compson family in William Faulkner'she Sound and te Furyand “hat Evening Sun” . . . . . . . . . . . . . . . . . . . . . . . . . . 184
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Á V: Poems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 I M: he Britis Aspects of te Paris Peace Conference. . . . . . . 192 F Á: Free Bird . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 K P: Free Bird205. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J LP: Attila József “Witout Hope”. . . . . . . . . . . . . . . . . . . . 207 S O: [So muc depends upon] . . . . . . . . . . . . . . . . . . 209 O D: he Importance of Poetry . . . . . . . . . . . . . . . . . 210 S Á: Wat if you were mine?214. . . . . . . . . . . . . . . . . . . . . . . . V M: he relationsip between matematics and music . . . . . . . . . 216 M K: Poems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 G K: Creative Writing –A Streetcar Named Desire220. . . . . . . . . . G K: he relationsip between language style and power . . . . . . . 224 F B: [So muc depends upon] . . . . . . . . . . . . . . . . . . . . . . 226 G B: he 14t Way of Looking at a Blackbird . . . . . . . . . . . . 227 B B: Identity issues in Holocaust literature: An Analysis of Address Unknownby Kressmann Taylor 228. . . . . . . . . . . . . . . . . . . . .
PART IV
H N: How to do tings wit dreams . . . . . . . . . . . . . . . . . . 234 H B E: he Journal of a Catapile . . . . . . . . . . . . . . . . . . . . 235 N B S: Canadian Culture as a Veicle for Teacing Englis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 M Ka: Poems . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 P E: Alfred Hitccock andLe Confessional256. . . . . . . . . . . . . . . . Z D: [so muc depends upon] . . . . . . . . . . . . . . . . . . . 263 J. K: Az Igazság egy Úttalan Vidék (fordította: Szanyi Tamás Ferenc)264. . . . . . . . . . . . . . . . . . . . . . . . . J LP: Response to a Hungarian work of art – Imre AmosWar. . . . 270 T V A: So muc depends upon… . . . . . . . . . . . . . . . . . . . 273 L R: 56’ and Canada – A brief istorical overview of te exodus . . . 274 V M: Poems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 G K: A ourney to ToxiCity. . . . . . . . . . . . . . . . . . . . . . . . 281 S L:he Old Man and te Sea. . . . . . . . . . . . . . . . . . 284as a film . F Á: Poems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290 B V: Reading Journal ofhe Remains of te Dayby Kazuo Isiguro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 V M: How old are you . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
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S B: Women of Saudi Arabia . . . . . . . . . . . . . . . . . . . . . 299 H A: Multiculturalism in Canada: A Researc Proect . . . . . . 306 S T F: he Passing . . . . . . . . . . . . . . . . . . . . . . . . . 312 F B: Code-switcing and language use . . . . . . . . . . . . . . . . . . 314 R F: Szándék (fordította: Velez Márk) . . . . . . . . . . . . . . . . . . 325 K N: So Muc Depends Upon . . . . . . . . . . . . . . . . . . . . . . . . 326
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William Carlos Williams
[his Is Just To Say]
I ave eaten te plums tat were in te icebox
and wic you were probably saving for breakfast
Forgive me tey were delicious so sweet and so cold
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