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Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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'Having Fun with the Professors' : Gwen Harwood and Doctor Eisenbart
2017
single work
criticism
— Appears in: Australian Literary Studies , February vol. 32 no. 1 2017;'This essay examines the role of Gwen Harwood’s Eisenbart poems in helping to establish her career as a serious poet. It argues that Harwood had more trouble breaking into the male-dominated world of Australian poetry than is generally acknowledged, and that the Eisenbart poems, which centre on a fictional scientist, represent a turning point in her literary fortunes. In the 1950s, Harwood struggled to get the kind of attention she sought from a number of influential poetry editors and reviewers, many of whom were also academics. Chief among them for her were A. D. Hope, Vincent Buckley and James McAuley. Her Eisenbart poems, which both play up to and satirise the cultural icon of the god-professor, were an attempt to subvert expectations of so-called ‘lady poets’ and beat the ‘professors’ at their own game. They also gave literary expression to the debate between positivism and humanism that dominated some aspects of academic life in the 1950s, and to the anger and frustration Harwood experienced at repeated rejections of her work.'
Source: Abstract.
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The Poetry of Dobson, Harwood and Wright : 'Within the Bounds of Feminine Sensibility?'
1979
single work
criticism
biography
— Appears in: Meanjin , Spring vol. 38 no. 3 1979; (p. 334-349) Still the Frame Holds : Essays on Women Poets and Writers 1993; (p. 79-99) -
A Prodigious Dilemma: Gwen Harwood's Professor Eisenbart and the Vices of the Intellect
1973
single work
criticism
— Appears in: Australian Literary Studies , May vol. 6 no. 1 1973; (p. 77-82) -
Gwen Harwood and the Professors
1972
single work
criticism
— Appears in: Australian Literary Studies , May vol. 5 no. 3 1972; (p. 227-232) Native Companions : Essays and Comments on Australian Literature, 1936-1966 1974; (p. 197-203) -
Gwen Harwood -- The Poet as Doppelganger
1969
single work
criticism
— Appears in: Quadrant , March-April vol. 13 no. 2 1969; (p. 15-19)
-
Gwen Harwood and the Professors
1972
single work
criticism
— Appears in: Australian Literary Studies , May vol. 5 no. 3 1972; (p. 227-232) Native Companions : Essays and Comments on Australian Literature, 1936-1966 1974; (p. 197-203) -
A Prodigious Dilemma: Gwen Harwood's Professor Eisenbart and the Vices of the Intellect
1973
single work
criticism
— Appears in: Australian Literary Studies , May vol. 6 no. 1 1973; (p. 77-82) -
Gwen Harwood -- The Poet as Doppelganger
1969
single work
criticism
— Appears in: Quadrant , March-April vol. 13 no. 2 1969; (p. 15-19) -
The Poetry of Dobson, Harwood and Wright : 'Within the Bounds of Feminine Sensibility?'
1979
single work
criticism
biography
— Appears in: Meanjin , Spring vol. 38 no. 3 1979; (p. 334-349) Still the Frame Holds : Essays on Women Poets and Writers 1993; (p. 79-99) -
'Having Fun with the Professors' : Gwen Harwood and Doctor Eisenbart
2017
single work
criticism
— Appears in: Australian Literary Studies , February vol. 32 no. 1 2017;'This essay examines the role of Gwen Harwood’s Eisenbart poems in helping to establish her career as a serious poet. It argues that Harwood had more trouble breaking into the male-dominated world of Australian poetry than is generally acknowledged, and that the Eisenbart poems, which centre on a fictional scientist, represent a turning point in her literary fortunes. In the 1950s, Harwood struggled to get the kind of attention she sought from a number of influential poetry editors and reviewers, many of whom were also academics. Chief among them for her were A. D. Hope, Vincent Buckley and James McAuley. Her Eisenbart poems, which both play up to and satirise the cultural icon of the god-professor, were an attempt to subvert expectations of so-called ‘lady poets’ and beat the ‘professors’ at their own game. They also gave literary expression to the debate between positivism and humanism that dominated some aspects of academic life in the 1950s, and to the anger and frustration Harwood experienced at repeated rejections of her work.'
Source: Abstract.