FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W1588605894> ?p ?o ?g. }

• W1588605894 startingPage "29" @default.
• W1588605894 abstract "Hope Mirrlees (1887-1978), a British writer, was until recently perhaps best known for her fantasy novel Lud-in-the-Mist (1926), which attracted a cult following after its republication in the 1970s. She achieved a measure of celebrity as a result, attested to by the photograph of her, taken with her dog, published in a 1973 Travel and Leisure magazine with the caption: ? frequent guest over two decades, poet and novelist Hope Mirrlees and her pug, Fred, are very much at home in the foyer of the Basil [a Knightsbridge hotel].'1 Mirrlees also produced two other novels, a biography, several translations and a book of poetry. Early in her career she wrote what has only recently been hailed as 'modernism's lost masterpiece':2 a long, experimental poem Paris (1919), one of the first works published by Virginia and Leonard Woolfs Hogarth Press. The experimental style and the epic length of Paris fitted the Woolfs' vision for the Hogarth Press to publish 'paper-covered pamphlets or small books, printed entirely by our two selves, which would have little or no chance of being published by ordinary publishers.'3 In every aspect the poem treads new ground -it contains numerous French words and phrases, is interspersed with snatches of conversations, including direct speech, and does not conform to conventions of regular rhyme, stanzas, punctuation or typography. The Woolfs took immense care with the demands of Mirrlees's innovative layout; it was, by Leonard's account, 'printed with our own hands'- they produced 175 copies.* Paris sold well and reviews pointed to its modernity- The Athenaeum highlighted its relation to other modern works calling it 'immensely literary and immensely accomplished' and locating it as somewhere 'between Dada and the Nouvelle Revue Francaise.'5 Paris went out of print for many years and was not republished until 1973 (in a version revised by Mirrlees) in the Virginia Woolf Quarterly, the year after an article by Suzanne Henig on Mirrlees's oeuvre was published in that journal.6 Henig recognised both the importance of the totally overlooked poem and its resonances with other significant modernist works: 'this magnificent poem antedates The Wasteland (1922) and Ulysses (1922).' Despite Henig's essay, another thirty years passed before Paris was published again, this time in its original form, brought to critical attention by the scholar Julia Briggs who referred to it as 'a work of extraordinary energy and intensity, scope and ambition, written in a confidently experimental and avant-garde style.'? Briggs's commentary and detailed annotations, in Gender in Modernism, should mean that at last Paris will take its place as an important modernist work. The reading of Paris in this essay is framed by the concepts of the trace, what Derrida refers to as 'presence-absence,'8 and of travel and movement through time and space. Highly allusive, layered with literary, artistic, religious, historical and topical references- creating a kind of archaeology of the city- Paris creates a modernist postWorld War One view of the city, bringing it to life from fragments of past and present. As well as moving across centuries, the poem tracks an actual, temporal journey through the city. It takes place over twenty-four hours, commencing in daytime with a metro trip from the Left Bank under the Seine to the Jardin des Tuileries, on to various points on the Right Bank, observing Montmartre at night, before returning to the Left Bank at dawn when 'The sky is saffron behind the two towers of Notre-Dame' (I.444). Emerging from underground, the narrator, indicated as female- 'Vous descendez Madame?(}. 14)- begins her walk through the streets, a modernist flâneuse. Mirrlees as a figure in modernist cultural history had until recently almost vanished without trace, and there still remains more to reveal and consider about her life and influence if the full impact of her work is to be understood and evaluated. In bringing together the traces of Mirrlees's biography as an element of this paper, she emerges as a travelling modernist in a broad sense, moving across overlapping coteries, from the intellectual circles of Cambridge to literary London and lesbian Paris. …" @default.
• W1588605894 created "2016-06-24" @default.
• W1588605894 creator A5019449769 @default.
• W1588605894 date "2009-01-01" @default.
• W1588605894 modified "2023-09-23" @default.
• W1588605894 title "The poet and the ghosts are walking the streets: Hope Mirrlees – life and poetry" @default.
• W1588605894 hasPublicationYear "2009" @default.
• W1588605894 type Work @default.
• W1588605894 sameAs 1588605894 @default.
• W1588605894 citedByCount "0" @default.
• W1588605894 crossrefType "journal-article" @default.
• W1588605894 hasAuthorship W1588605894A5019449769 @default.
• W1588605894 hasConcept C124952713 @default.
• W1588605894 hasConcept C142362112 @default.
• W1588605894 hasConcept C164913051 @default.
• W1588605894 hasConcept C2776242748 @default.
• W1588605894 hasConcept C2776445246 @default.
• W1588605894 hasConcept C520712124 @default.
• W1588605894 hasConcept C52119013 @default.
• W1588605894 hasConcept C95457728 @default.
• W1588605894 hasConceptScore W1588605894C124952713 @default.
• W1588605894 hasConceptScore W1588605894C142362112 @default.
• W1588605894 hasConceptScore W1588605894C164913051 @default.
• W1588605894 hasConceptScore W1588605894C2776242748 @default.
• W1588605894 hasConceptScore W1588605894C2776445246 @default.
• W1588605894 hasConceptScore W1588605894C520712124 @default.
• W1588605894 hasConceptScore W1588605894C52119013 @default.
• W1588605894 hasConceptScore W1588605894C95457728 @default.
• W1588605894 hasLocation W15886058941 @default.
• W1588605894 hasOpenAccess W1588605894 @default.
• W1588605894 hasPrimaryLocation W15886058941 @default.
• W1588605894 hasRelatedWork W1184908774 @default.
• W1588605894 hasRelatedWork W160077066 @default.
• W1588605894 hasRelatedWork W183105726 @default.
• W1588605894 hasRelatedWork W2161545312 @default.
• W1588605894 hasRelatedWork W2296255860 @default.
• W1588605894 hasRelatedWork W2303963722 @default.
• W1588605894 hasRelatedWork W2319822225 @default.
• W1588605894 hasRelatedWork W245983101 @default.
• W1588605894 hasRelatedWork W2486243881 @default.
• W1588605894 hasRelatedWork W2578322006 @default.
• W1588605894 hasRelatedWork W260295998 @default.
• W1588605894 hasRelatedWork W2971306866 @default.
• W1588605894 hasRelatedWork W340490007 @default.
• W1588605894 hasRelatedWork W53191382 @default.
• W1588605894 hasRelatedWork W570990866 @default.
• W1588605894 hasRelatedWork W600943892 @default.
• W1588605894 hasRelatedWork W649565724 @default.
• W1588605894 hasRelatedWork W7536485 @default.
• W1588605894 hasRelatedWork W841969904 @default.
• W1588605894 hasRelatedWork W987319617 @default.
• W1588605894 hasVolume "35" @default.
• W1588605894 isParatext "false" @default.
• W1588605894 isRetracted "false" @default.
• W1588605894 magId "1588605894" @default.
• W1588605894 workType "article" @default.