AustLit
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Notes
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Dedication: For Bob, Jack and Jim
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Content indexing in process.
Contents
- Totemsi"We don't choose our own totem", single work poetry (p. 1-4)
- Languagei"Language is alienation", single work poetry (p. 7-9)
- Cape Lilacsi"'Cape Lilac, we call these.' In South Perth", single work poetry (p. 10)
- Returning to Looei"My grandfather was born here in 1858", single work poetry (p. 11-12)
- At Byron Bay 2001i"Rough tides have left teethmarks", single work poetry (p. 13)
- Adelaide Stonei"It's what you notice. Walls like jigsaw puzzles", single work poetry (p. 14)
- Reclaimi"My first visit to Limerick was the return", single work poetry (p. 15-16)
- Looking for Ancestors in Limericki"Take a myth with you, they said.", single work poetry (p. 17-18)
- Physalisi"Cape gooseberries in Tesco supermarket, London", single work poetry (p. 19)
- Rain in the Courtyardi"In this Adelaide autumn, late and wet", single work poetry (p. 20-22)
- Storiesi"The ending is easy", single work poetry (p. 23-25)
- The Ballad of Razor Wirei"Once it was simply ore in the ground", single work poetry (p. 29)
- Three Grotesquesi"The Future", single work poetry (p. 31)
- To a Politiciani"When I first pulled a thread", single work poetry (p. 36)
- Seven Refugee Poems, sequence poetry (p. 36-42)
- Illuminationi"Because I'm left-handed that's what I notice.", single work poetry (p. 37)
- Townscape With Refugeei"The young man stood near the bus shelter", single work poetry (p. 38)
- Metal Chairi"He was sitting alone on one of those metal chairs", single work poetry (p. 39)
- Terroristi"Glen was a teacher up at Woomera.", single work poetry (p. 40)
- Considerate Treatmenti"Stop right there. Who", single work poetry (p. 41)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Musicality as an Aesthetic Process of Filtering in Thomas W. Shapcott's Poetry
2017
single work
criticism
— Appears in: Advances in Language and Literary Studies , vol. 8 no. 5 2017;'How does music transcend individual experience? Is music the filter to purify everything? How does everything in the poet become music? Such questions are raised, now and then, by the conscious reader of poetry in general and that of the Australian poet Thomas W. Shapcott in particular. My present research-paper attempts to present an answer for these questions via probing the individuality of Shapcott's poetic experience and how does the poet's personal and experimental musicality as an artistic motif and aesthetic perspective play a key role in purifying language of its lies and its daily impurities. In the first place, my account is apt to find an aesthetic meaning for the action of transcending the individual experience in selected poems written by Shapcott. The philosophical and ritual thought of musicality is interplayed with the aesthetic power of poetry. Both aesthetic energies stem from the individual experience of the poet to transcend the borders of individuality and being absorbed and saturated in the wide pot of human universality. In other words, the poem after being filtered and purified musically and aesthetically is no longer an individual experience owned by its producer only, rather it becomes a human experience for its conscious readers. Music as a motif and meaning, regardless of its technical significance, is controversial in Shapcott's poetic diction. Music, here, is not a mere artistic genre; rather it is a ritualistic and philosophical thought. The paper is to investigate how Shapcott's musicality is constructed on aesthetics of balance and conformity in poetry and life.' (Publication abstract)
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Untitled
2008
single work
review
— Appears in: The Adelaide Review , 18 - 31 January no. 333 2008; (p. 30)
— Review of The City of Empty Rooms 2006 selected work poetry -
Tom Shapcott : The City of Empty Rooms
2007
2007
single work
review
— Appears in: Australian Poetry Review , vol. 2 no. 2007;
— Review of The City of Empty Rooms 2006 selected work poetry -
Untitled
2007
single work
review
— Appears in: Wet Ink , Spring no. 8 2007; (p. 58)
— Review of The City of Empty Rooms 2006 selected work poetry -
Poet Deploys Disjointed Rhythms and Harmonious Dissonances
2007
single work
review
— Appears in: The Weekend Australian , 15-16 December 2007; (p. 16-17)
— Review of The City of Empty Rooms 2006 selected work poetry
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Interim Report
2007
single work
review
— Appears in: Australian Book Review , June no. 292 2007; (p. 56)
— Review of The City of Empty Rooms 2006 selected work poetry -
Looking Back at Childhood with Unsentimental Eyes
2007
single work
review
— Appears in: The Canberra Times , 25 August 2007; (p. 18)
— Review of The City of Empty Rooms 2006 selected work poetry -
'So You Make a Shadow' : Australian Poetry in Review 2006-2007
2007
single work
review
— Appears in: Westerly , November vol. 52 no. 2007; (p. 81-98)
— Review of Vertigo (a Cantata) 2007 selected work poetry ; All the Time in the World 2006 selected work poetry ; The Escape Sonnets and Other Poetry 2006 selected work poetry ; Sometimes Gladness : Collected Poems, 1954 to 2005 2006 selected work poetry ; Ocean Island 2006 selected work poetry ; I'm Not Racist, But... : A Collection of Social Observations 2007 selected work poetry ; Excess Baggage and Claim 2007 selected work poetry ; The Passion Paintings : Poems 1983-2006 2006 selected work poetry ; Typewriter Music 2007 selected work poetry ; Fredy Neptune 1998 single work novel ; Lawrie and Shirley, The Final Cadenza : A Movie in Verse 2006 single work novel ; A Difficult Faith : Poems 2006 selected work poetry ; A Paddock in His Head 2007 selected work poetry ; The City of Empty Rooms 2006 selected work poetry ; Helen of Troy and Other Poems 2007 selected work poetry ; The Incoming Tide 2007 selected work poetry -
Poet Deploys Disjointed Rhythms and Harmonious Dissonances
2007
single work
review
— Appears in: The Weekend Australian , 15-16 December 2007; (p. 16-17)
— Review of The City of Empty Rooms 2006 selected work poetry -
Untitled
2008
single work
review
— Appears in: The Adelaide Review , 18 - 31 January no. 333 2008; (p. 30)
— Review of The City of Empty Rooms 2006 selected work poetry -
Musicality as an Aesthetic Process of Filtering in Thomas W. Shapcott's Poetry
2017
single work
criticism
— Appears in: Advances in Language and Literary Studies , vol. 8 no. 5 2017;'How does music transcend individual experience? Is music the filter to purify everything? How does everything in the poet become music? Such questions are raised, now and then, by the conscious reader of poetry in general and that of the Australian poet Thomas W. Shapcott in particular. My present research-paper attempts to present an answer for these questions via probing the individuality of Shapcott's poetic experience and how does the poet's personal and experimental musicality as an artistic motif and aesthetic perspective play a key role in purifying language of its lies and its daily impurities. In the first place, my account is apt to find an aesthetic meaning for the action of transcending the individual experience in selected poems written by Shapcott. The philosophical and ritual thought of musicality is interplayed with the aesthetic power of poetry. Both aesthetic energies stem from the individual experience of the poet to transcend the borders of individuality and being absorbed and saturated in the wide pot of human universality. In other words, the poem after being filtered and purified musically and aesthetically is no longer an individual experience owned by its producer only, rather it becomes a human experience for its conscious readers. Music as a motif and meaning, regardless of its technical significance, is controversial in Shapcott's poetic diction. Music, here, is not a mere artistic genre; rather it is a ritualistic and philosophical thought. The paper is to investigate how Shapcott's musicality is constructed on aesthetics of balance and conformity in poetry and life.' (Publication abstract)