Danijela Kambaskovic-Sawers

Danijela Kambaskovic-Sawers is Assistant Professor, Shakespeare and Renaissance Studies at University of Western Australia in Perth. She also coordinates on-line courses on Shakespaere and Medieval studies for Macquarie University and Open Universities Australia. Her aim is to infect as many people as possible with the No Future Without the Past Virus. Danijela migrated from the Former Yugoslavia in 1999. She is the winner of the 2008 ACT David Campbell Memorial Poetry Prize, writes in two languages, reads several more and specialises in poetry translation. She has published two collections of poetry in Serbian (Atlantis, 2006 and Journey, 2008) (selections in English version have appeared in Sydney's Masthead), and is now working on Internal Monologues, her collection in English. She has started the philosophical school of feminine feminism, which preaches equality of minds but not bodies, and considers history her playpen.

Danijela Kambaskovic-Sawers Reviews Graveyard Poetry: Religion, Aesthetics and the Mid-eighteenth-Century Poetic Condition

This book examines ‘Graveyard poetry’, a critical appellation described by its author, Eric Parisot (Australian Research Council Discovery Early Career Research Award Fellow, University of Queensland) as an imperfect, but serviceable and (grudgingly) accepted construct, commonly used to discuss the work of a group of eighteenth-century British poets meditating on death and Christian salvation, and doing so in close proximity of the dead, usually in a crypt or at a graveyard. If this cruelly crude summary sounds like it describes a simple enough phenomenon, think again: Parisot’s book shows clearly that everything about this category – the names of the artists who should be included in it, including Robert Blair, Edward Young, Thomas Grey, John Ogilvie, John Cunningham, Thomas Wharton (to name but a few), different characteristics of their work, the different sentiments addressed or evoked, and the effects the works had on contemporary readers and readers in our own time – can be questioned, contested or excluded. And it often is.

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Iseult to Tristan

1 A sudden wind brought the cold: I took my coat out of its shroud and closed my face against the icy dust. I put my hands inside my pockets and found you there.   2 Tiredness has a way …

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Sing to me of the woman, plaintive Muse,

Sing to me of the woman, plaintive Muse, the one with chalkdust in her shoes Let her spin Medusa’s curly premises and weave a syllogism of stone Give me words not my own but the steel and dust, and bone. …

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The Williad

Sing to me of the woman, plaintive Muse,

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