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

• 批准号: AH/X003809/1
• 负责人: Stephen Ely
• 金额: $ 16.29万
• 依托单位: University of Huddersfield
• 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
• 来源: https://gtr.ukri.org/projects?ref=AH%2FX003809%2F1
• 关键词: Ted; Hughes; Expressionism; Encyclopaedic; Range

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）是二十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、翻译集、戏剧集、故事集、剧本、与艺术家的合作以及实验作品。在这个范围内，他采用了多种风格、模式和语体，这些风格、模式和语体被不同地识别为神话、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、自然与风景、宗教、神秘学、哲学和自传）以及他所讨论的主题（活力/暴力、生态、男性/女性关系、悲伤、内疚和丧亲以及问题）的意义和目的（仅举几例）体现了类似的普遍性。休斯作品的百科全书式多样性引起了与作品本身一样多种多样的学术反应，但在这种丰富性和多样性中，有时会有一种感觉，休斯的本质缺失了——休斯作品的真正独特之处是什么，使他脱颖而出作为一个大诗人？他的主要成就在哪里？本研究将通过将休斯的主导模式确定为表现主义并论证他最好、最具特色和最重要的作品是用表现主义模式写成的来回答这个问题。这项研究将把表现主义理解为一种广泛的艺术运动或趋势，在这种运动或趋势中，艺术家在强烈的、有远见的主观性的影响下，致力于表达他或她所看到的真相，这种主观性植根于一种非常重要的“内在”。 -生活'。对于表现主义艺术家来说，自然主义、印象主义或现实主义对主题的表现是不够的，导致他们运用一系列技术——夸张、扭曲、象征、抽象、类型学——来寻求表达“真相”。休斯作为表现主义诗人也将允许更精确地识别他的次要模式，对他的成就进行整体概述，并使对休斯的一些限制性解释或误解受到挑战。例如，尽管该研究将考虑休斯与第一任妻子西尔维娅·普拉斯和后来的伴侣阿西亚·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造成的创伤性影响，但该研究将避免还原传记的阅读和使用将表现主义视为休斯的主导模式，以批评相当粗糙的“神话”/“挽歌”二元关系（“神话”=晦涩的、象征性的、神秘的、 “坏”；“挽歌”=个人的、感人的、容易理解的、“好”），这些词最近开始出现在休斯的研究中。这项研究还将催生休​​斯动物和自然诗歌的新方法，其中许多诗歌（例如《风》、《派克》和《狼嚎》）并非简单地源自“经验丰富的乡下人”的精确观察正如人们经常暗示的那样，但其特点是表现主义典型的变革性和说教性的主观性。这项研究还将挑战休斯作为一个狭隘的“小英格兰”当权人物（谄媚的桂冠诗人、粗花呢渔夫和“传统”自然诗人）的普遍观念，表明他是一位积极参与社会和文化的、具有全球地位的国际艺术家最后，该研究将促进教学资源的开发以及相关的现场和在线研讨会（“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，挑战当前自传模式和“相关”第一人称抒情诗的限制性主导地位。与研讨会相关的将是一场全国竞赛，成功的参赛作品将出版在选集中：《有远见的主体性：来自表现主义诗歌研讨会的诗歌》