2020 Nobel Prize in Literature
https://www.youtube.com/watch?v=hLt5Gxn2Vds
American poet Louise Glück is the winner of the 2020 Nobel Prize in Literature. Louise Glück is a professor of English at Yale University. She made her debut in 1968 with a collection of poems called 'Firstborn.’ She has since then published twelve collections and some volumes of essays on poetry.
エール大学教授。12冊の詩集。詩のエッセイ集。詩論。
家族や子供時代が詩のトピックだと紹介しているのですが～。詩、詩集へのフォーカスは興味深いです！
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以下は英語版のウィキピディアより：https://en.wikipedia.org/wiki/Louise_Gl%C3%BCck
Form
Glück is best known for lyric poems of linguistic precision and austere tone. The poet Craig Morgan Teicher has described her as a writer for whom "words are always scarce, hard won, and not to be wasted".[46] The scholar Laura Quinney has argued that her careful use of words has put Glück into "the line of American poets who value fierce lyric compression," from Emily Dickinson to Elizabeth Bishop.[47] Glück's poems rarely use rhyme, instead relying on repetition, enjambment, and other techniques to achieve rhythm.リズムを使わないーー。繰り返しー。句またがり（英語: Enjambment）は、行末で区切るEnd-stopping（en:End-stopping）や、行の中間で休止するカエスーラと対照をなす。英語のEnjambmentという語はフランス語のenjambement（またぐ）からの直の借用である。
ウィリアム・シェイクスピアの『冬物語』の次の部分はかなり句またがりを使っている。
I am not prone to weeping, as our sex
Commonly are; the want of which vain dew
Perchance shall dry your pities; but I have
That honourable grief lodged here which burns
Worse than tears drown.
行が変わる時に、意味がこぼれ、読者の目は次の文を読むことを強いられる。それにより、読者をいらいらさせることも、あるいは、詩を、切迫または混乱の感覚を伴った「思考の流れ」らしくすることもできる。シェイクスピアは、初期の作品ではEnd-stoppingを使うことが多かったが、スタイルを発展させていくにつれ、句またがりの割合が増加した。
句またがりは、次の行までその行の意図を遅らせ、読者の期待をもてあそび、驚かすことも可能である。
On her white breast a sparkling cross she wore
Which Jews might kiss, and infidels adore.
-- アレキサンダー・ポープは『髪盗人』
「彼女の白き胸の上、輝く十字架に」で句またがりし、「ユダヤ人は接吻し、異教徒たちは崇拝したかもしれぬ」（大意）ときて、読書に「なぜ？」と思わせ、もう一度読み直すと、最初の行の「胸」が男女の区別のない「胸」ではなく、その上にある十字架にもキスしたくなるほど魅力的な「おっぱい」とわからせる、ユーモア効果の技法である。
Among scholars and reviewers, there has been discussion as to whether Glück is properly assessed as a confessional poet, owing to the prevalence of the first-person mode in her poems and their intimate subject matter, often inspired by events in Glück's personal life. The scholar Robert Baker has argued that Glück "is surely a confessional poet in some basic sense,"[48] while the critic Michael Robbins has argued that Glück's poetry, unlike that of confessional poets Sylvia Plath or John Berryman, "depends upon the fiction of privacy".[49] In other words, she cannot be a confessional poet, Robbins argues, if she does not address an audience. Going further, Quinney argues that, to Glück, the confessional poem is "odious".[47] Others have noted that Glück's poems can be viewed as autobiographical, while her technique of using mythology and inhabiting various personas renders her poems more than mere confessions. As the scholar Helen Vendler has noted: "In their obliquity and reserve, [Glück's poems] offer an alternative to first-person 'confession', while remaining indisputably personal".[50]
Themes
While Glück's work is thematically diverse, scholars and critics have identified several themes that are paramount. Most prominently, Glück's poetry can be said to be focused on trauma, as she has written throughout her career about death, loss, rejection, the failure of relationships, and attempts at healing and renewal. The scholar Daniel Morris notes that even a Glück poem that uses traditionally happy or idyllic imagery "suggests the author's awareness of mortality, of the loss of innocence".[24] The scholar Joanne Feit Diehl echoes this notion when she argues that "this 'sense of an ending'… infuses Glück's poems with their retrospective power", pointing to her transformation of common objects, such as a baby stroller, into representations of loneliness and loss.[51] Yet, for Glück, trauma is arguably a gateway to a greater appreciation of life, a concept perhaps most obviously explored in The Triumph of Achilles. The triumph to which the title alludes is Achilles' acceptance of mortality—which enables him to become a more fully realized human being.[52]
The relationship between the opposing forces of life and death in Glück's work points to another of her common themes: desire. Glück has often written explicitly about many forms of desire—for example, the desire for love and attention, for insight, or for the ability to convey truth—but her approach to desire is marked by ambivalence. Morris argues that Glück's poems, which often adopt contradictory points of view, reflect "her own ambivalent relationship to status, power, morality, gender, and, most of all, language".[53] The author Robert Boyer has characterized Glück's ambivalence toward desire as a result of "strenuous self-interrogation". He argues that "Glück's poems at their best have always moved between recoil and affirmation, sensuous immediacy and reflection … for a poet who can often seem earthbound and defiantly unillusioned, she has been powerfully responsive to the lure of the daily miracle and the sudden upsurge of overmastering emotion".[54] The tension between competing desires in Glück's work manifests both in her assumption of different personas from poem to poem and in her varied approach to each collection of her poems. This has led the poet and scholar James Longenbach to declare that "change is Louise Glück's highest value" and "if change is what she most craves, it is also what she most resists, what is most difficult for her, most hard-won".[55]
Another of Glück's poetic preoccupations is nature, the setting for many of her poems. Famously, in The Wild Iris, the poems take place in a garden where flowers have intelligent, emotive voices. However, Morris points out that The House on Marshland is also concerned with nature and can be read as a revision of the Romantic tradition of nature poetry.[56] In Ararat, too, "flowers become a language of mourning," useful for both commemoration and competition among mourners to determine the "ownership of nature as a meaningful system of symbolism".[57] Thus, in Glück's work nature is both something to be regarded critically and embraced. As the author and critic Alan Williamson has pointed out, it can also sometimes suggest the divine, as when, in the poem "Celestial Music", the speaker states that "when you love the world you hear celestial music", or when, in The Wild Iris, the deity speaks through changes in weather.[58]
Thematically, Glück's poetry is also notable for what it avoids. Morris argues that "Glück's writing most often evades ethnic identification, religious classification, or gendered affiliation. In fact, her poetry often negates critical assessments that affirm identity politics as criteria for literary evaluation. She resists canonization as a hyphenated poet (that is, as a "Jewish-American" poet, or a "feminist" poet, or a "nature" poet), preferring instead to retain an aura of iconoclasm, or in-betweenness".[59]因襲打破や中間のオーラを保っている。ユダヤ系アメリカ人詩人とかフェミニスト詩人、自然詩人という括り方ではなく～。
Influences
Glück has pointed to the influence of psychoanalysis on her work, as well as her early learning in ancient legends, parables, and mythology. In addition, she has credited the influence of Léonie Adams and Stanley Kunitz. Scholars and critics have pointed to the literary influence on her work of Robert Lowell,[60] Rainer Maria Rilke,[49] and Emily Dickinson,[61] among others.
https://www.youtube.com/watch?v=hLt5Gxn2Vds
American poet Louise Glück is the winner of the 2020 Nobel Prize in Literature. Louise Glück is a professor of English at Yale University. She made her debut in 1968 with a collection of poems called 'Firstborn.’ She has since then published twelve collections and some volumes of essays on poetry.
エール大学教授。12冊の詩集。詩のエッセイ集。詩論。
家族や子供時代が詩のトピックだと紹介しているのですが～。詩、詩集へのフォーカスは興味深いです！
Thank you for watching our video!
You can subscribe to our channel here: https://bit.ly/3c8Adi6
Visit https://www.thehindu.com/ for the latest updates, analysis, opinions, and more.
The Hindu is committed to keeping you up-to-date with information on the developments in India and the world. We promise to deliver quality journalism that stays away from vested interest and political propaganda. You can support us by subscribing to our digital offerings here: https://bit.ly/3emywiz
インドのYoutubeです。
Follow us:
Twitter: https://twitter.com/the_hindu
Instagram: https://www.instagram.com/the_hindu/
＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊
以下は英語版のウィキピディアより：https://en.wikipedia.org/wiki/Louise_Gl%C3%BCck
Form
Glück is best known for lyric poems of linguistic precision and austere tone. The poet Craig Morgan Teicher has described her as a writer for whom "words are always scarce, hard won, and not to be wasted".[46] The scholar Laura Quinney has argued that her careful use of words has put Glück into "the line of American poets who value fierce lyric compression," from Emily Dickinson to Elizabeth Bishop.[47] Glück's poems rarely use rhyme, instead relying on repetition, enjambment, and other techniques to achieve rhythm.リズムを使わないーー。繰り返しー。句またがり（英語: Enjambment）は、行末で区切るEnd-stopping（en:End-stopping）や、行の中間で休止するカエスーラと対照をなす。英語のEnjambmentという語はフランス語のenjambement（またぐ）からの直の借用である。
ウィリアム・シェイクスピアの『冬物語』の次の部分はかなり句またがりを使っている。
I am not prone to weeping, as our sex
Commonly are; the want of which vain dew
Perchance shall dry your pities; but I have
That honourable grief lodged here which burns
Worse than tears drown.
行が変わる時に、意味がこぼれ、読者の目は次の文を読むことを強いられる。それにより、読者をいらいらさせることも、あるいは、詩を、切迫または混乱の感覚を伴った「思考の流れ」らしくすることもできる。シェイクスピアは、初期の作品ではEnd-stoppingを使うことが多かったが、スタイルを発展させていくにつれ、句またがりの割合が増加した。
句またがりは、次の行までその行の意図を遅らせ、読者の期待をもてあそび、驚かすことも可能である。
On her white breast a sparkling cross she wore
Which Jews might kiss, and infidels adore.
-- アレキサンダー・ポープは『髪盗人』
「彼女の白き胸の上、輝く十字架に」で句またがりし、「ユダヤ人は接吻し、異教徒たちは崇拝したかもしれぬ」（大意）ときて、読書に「なぜ？」と思わせ、もう一度読み直すと、最初の行の「胸」が男女の区別のない「胸」ではなく、その上にある十字架にもキスしたくなるほど魅力的な「おっぱい」とわからせる、ユーモア効果の技法である。
Among scholars and reviewers, there has been discussion as to whether Glück is properly assessed as a confessional poet, owing to the prevalence of the first-person mode in her poems and their intimate subject matter, often inspired by events in Glück's personal life. The scholar Robert Baker has argued that Glück "is surely a confessional poet in some basic sense,"[48] while the critic Michael Robbins has argued that Glück's poetry, unlike that of confessional poets Sylvia Plath or John Berryman, "depends upon the fiction of privacy".[49] In other words, she cannot be a confessional poet, Robbins argues, if she does not address an audience. Going further, Quinney argues that, to Glück, the confessional poem is "odious".[47] Others have noted that Glück's poems can be viewed as autobiographical, while her technique of using mythology and inhabiting various personas renders her poems more than mere confessions. As the scholar Helen Vendler has noted: "In their obliquity and reserve, [Glück's poems] offer an alternative to first-person 'confession', while remaining indisputably personal".[50]
Themes
While Glück's work is thematically diverse, scholars and critics have identified several themes that are paramount. Most prominently, Glück's poetry can be said to be focused on trauma, as she has written throughout her career about death, loss, rejection, the failure of relationships, and attempts at healing and renewal. The scholar Daniel Morris notes that even a Glück poem that uses traditionally happy or idyllic imagery "suggests the author's awareness of mortality, of the loss of innocence".[24] The scholar Joanne Feit Diehl echoes this notion when she argues that "this 'sense of an ending'… infuses Glück's poems with their retrospective power", pointing to her transformation of common objects, such as a baby stroller, into representations of loneliness and loss.[51] Yet, for Glück, trauma is arguably a gateway to a greater appreciation of life, a concept perhaps most obviously explored in The Triumph of Achilles. The triumph to which the title alludes is Achilles' acceptance of mortality—which enables him to become a more fully realized human being.[52]
The relationship between the opposing forces of life and death in Glück's work points to another of her common themes: desire. Glück has often written explicitly about many forms of desire—for example, the desire for love and attention, for insight, or for the ability to convey truth—but her approach to desire is marked by ambivalence. Morris argues that Glück's poems, which often adopt contradictory points of view, reflect "her own ambivalent relationship to status, power, morality, gender, and, most of all, language".[53] The author Robert Boyer has characterized Glück's ambivalence toward desire as a result of "strenuous self-interrogation". He argues that "Glück's poems at their best have always moved between recoil and affirmation, sensuous immediacy and reflection … for a poet who can often seem earthbound and defiantly unillusioned, she has been powerfully responsive to the lure of the daily miracle and the sudden upsurge of overmastering emotion".[54] The tension between competing desires in Glück's work manifests both in her assumption of different personas from poem to poem and in her varied approach to each collection of her poems. This has led the poet and scholar James Longenbach to declare that "change is Louise Glück's highest value" and "if change is what she most craves, it is also what she most resists, what is most difficult for her, most hard-won".[55]
Another of Glück's poetic preoccupations is nature, the setting for many of her poems. Famously, in The Wild Iris, the poems take place in a garden where flowers have intelligent, emotive voices. However, Morris points out that The House on Marshland is also concerned with nature and can be read as a revision of the Romantic tradition of nature poetry.[56] In Ararat, too, "flowers become a language of mourning," useful for both commemoration and competition among mourners to determine the "ownership of nature as a meaningful system of symbolism".[57] Thus, in Glück's work nature is both something to be regarded critically and embraced. As the author and critic Alan Williamson has pointed out, it can also sometimes suggest the divine, as when, in the poem "Celestial Music", the speaker states that "when you love the world you hear celestial music", or when, in The Wild Iris, the deity speaks through changes in weather.[58]
Thematically, Glück's poetry is also notable for what it avoids. Morris argues that "Glück's writing most often evades ethnic identification, religious classification, or gendered affiliation. In fact, her poetry often negates critical assessments that affirm identity politics as criteria for literary evaluation. She resists canonization as a hyphenated poet (that is, as a "Jewish-American" poet, or a "feminist" poet, or a "nature" poet), preferring instead to retain an aura of iconoclasm, or in-betweenness".[59]因襲打破や中間のオーラを保っている。ユダヤ系アメリカ人詩人とかフェミニスト詩人、自然詩人という括り方ではなく～。
Influences
Glück has pointed to the influence of psychoanalysis on her work, as well as her early learning in ancient legends, parables, and mythology. In addition, she has credited the influence of Léonie Adams and Stanley Kunitz. Scholars and critics have pointed to the literary influence on her work of Robert Lowell,[60] Rainer Maria Rilke,[49] and Emily Dickinson,[61] among others.
