Mary Ann Caws

Biographic Data

ID391818
NAMEMary Ann Caws
GIVEN NAMESMary Ann
FAMILY NAMECaws
SIGNATURECAWS M A
AFFILIATIONSEnsemble Studio Theatre (United States)
VERIFIEDNo
TOTAL WORKS48
TOTAL CITATIONS6
AUTHOR COUNT47
EDITOR COUNT1
FIRST PUBLICATION YEAR1964
LATEST PUBLICATION YEAR2021
H-INDEX2

  • The Edinburgh Companion to the Prose Poem

    Mary Ann Caws, Michel DelvilleBOOKThe Edinburgh Companion to the…2021

  • We Haven't Left the Body: An Interview with Mary Ann Caws

    Mary Ann Caws, Dawne MccanceARTICLEMosaic2017

    Monday, February 5, 2001 was a cold, snowy day in New York City. Dawne McCance (DM) conducted this interview with Mary Ann Caws (MAC) in front of a warm fire in the Princeton Club. Mosaic is honoured to publish this interview, which originally appeared in the September 2001 issue of Mosaic (34.3)

  • High Noon

    Édouard Glissant, Mary Ann CawsARTICLECallaloo2013

    High Noon* Édouard Glissant Translated by Mary Ann Caws (bio) Then the sun, this single kingdom. Which was the earth of childhood, and stillis, so simply. All this wounded time, finally coming to the secret of the saltborn by an island. Such a large ambition, wanting to speak of time. Each oneonly stretches out this space in himself, where its word repeats, its lightresounds.I have seen my island on its south wind. The salt of the poem finally la…

  • Xii

    Édouard Glissant, Mary Ann CawsARTICLECallaloo2013

    XII* Édouard Glissant Translated by Mary Ann Caws (bio) As one among the bright trees, reborn in the south wind,It’s the last night, tomorrow the stone on the stoneWill choose itself. And like one who sculpts a bone of blue sulfur.He was singing the bitter night open to the salt and a womanSadder than in the bonfire the nubile body of the sunWhen the fire of the sun, itself dying, is changingWithin the day and its burning. Mary Ann Caws Mary Ann …

  • Acclamation

    Édouard Glissant, Mary Ann CawsARTICLECallaloo2013

    Acclamation* Édouard Glissant Translated by Mary Ann Caws (bio) It was the salt in the cauldron of time. All that remains is the dark urn ofwords. Is there a morning? Certainly the darkness is of good presage, —whenthe words gleam on the doorstep of the house. In this kingdom of our hands. [End Page 854] Click for larger view View full resolution J’espère en la parole des paysages. Sketch of Édouard Glissant by Sylvie Sema. Handwritten inscriptio…

  • Xi

    Édouard Glissant, Mary Ann CawsARTICLECallaloo2013

    XI* Édouard Glissant Translated by Mary Ann Caws (bio) And you the salt of the kingdom of my hands, here. I am as one,Stupefied, who plunges in the sea, watching them perishAround him the night and the shores, the discourseOf torches, flowering, and the flood falling silent.And which is reborn in the first morning. He knowsThe sparkling night, the bonfires, the only fruit. Mary Ann Caws Mary Ann Caws is Distinguished Professor of English, French,…

  • X

    Édouard Glissant, Mary Ann CawsARTICLECallaloo2013

  • The First Day

    Édouard Glissant, Mary Ann CawsARTICLECallaloo2013

    The First Day* Édouard Glissant Translated by Mary Ann Caws (bio) The teller measures his word in immeasurable radiance. He goes, throughsolitude itself, to sing the earth, and those who suffer it. He offers the word notto those whom it delights, who are elated by it: but to the bodies burned bytime: thickets, people compelled, bare villages, the many on the shore. When this wise sailor, this speaker of measure, is ended by his song, it giveshim …

  • Black Salt

    Édouard Glissant, Mary Ann CawsARTICLECallaloo2013

    Black Salt* Édouard Glissant Translated by Mary Ann Caws (bio) Dedicated: to the sea For the salt it signifies.Again the brilliance and the bitternessDistress of lights on its expanse. Profusion. The theme, as pure idea,knots itself with foam, with salting. Monotony: untiring sound the crysplits open.There is—on the delta—a river where the word builds up, the poem—and where the salt is purified. Mary Ann Caws Mary Ann Caws is Distinguished Profes…

  • A Note on Pistou Provençal

    Mary Ann CawsARTICLEContemporary French and…2010

  • The Sense of a Life: Re-assessing Simone de Beauvoir

    Mary Ann CawsARTICLEWomen a Cultural Review2010References: 1

    Violently differing views on Simone de Beauvoir clash—how not? Our own obsessional reading of and about her is all the more enhanced by her look and manner(s) of dressing, and her affairs, but, above all, by her towering intelligence and pioneering spirit. This piece tries to deal with as many aspects of her being and seeming and appearance to others, as critics and as readers, as behoves such a vital spirit

  • The Reception of Virginia Woolf in Europe

    Helen Southworth, Mary Ann Caws et al.ARTICLETulsa Studies in Women s Literature2004

    Virginia Woolf Among Writers and Critics: The French Intellectual Scene, Pierre-Eric Villeneuve 2. The French Reception of Virginia Woolf: An 'Etat Present' of 'Etudes Woolfiennes', Carole Rodier 3. Translating Virginia Woolf into French, Francoise Pellan 4. A Virginia Woolf, with a French Twist, Mary Ann Caws German 5. The German Reception and Criticism of Virginia Woolf: A Survey of Phases and Trends in the Twentieth Century, Ansgar and Vera Nu…

  • Traduire Ostinato

    Mary Ann CawsARTICLECritique2003

  • Surrealist Painters and Poets: An Anthology

    Mary Ann CawsBOOKSurrealist Painters and Poets2002

  • Picasso's Weeping Woman: The Life and Art of Dora Maar

    Julie L'Enfant, Julie L’Enfant et al.ARTICLEWoman s Art Journal2002

  • Break of Day

    Allan Pero, Andre Breton et al.ARTICLESouth Atlantic Review2000

  • The Surrealist Look: An Erotics of Encounter

    Katharine Conley, Mary Ann CawsARTICLESubStance1998

    Long, intense years of immersion in the poetry and art of the Surrealist climate endow Mary Ann Caws' responses with what the Surrealists would have called authenticity -- a rare quality. Her present meditation offers a fresh view of unusual value in her stress on the element of the Baroque in Surrealists' works. I would say that Caws enters her thoughts on the history of Surrealism with perfect pitch; both eye and ear alert to every nuance, and …

  • Visual Culture: Images and Interpretations

    Mary Ann Caws, Norman Bryson et al.ARTICLESouth Atlantic Review1995

    We can no longer see, much less teach, transhistorical truths, timeless works of art, and unchanging critical criteria without a highly developed sense of irony about the grand narratives of the past, declare the editors, who also coedited Visual Theory: Painting and Interpretation (1990). The field of art history is not unique in finding itself challenged and enlarged by cultural debates over issues of class, ethnicity, nationality, sexual orien…

  • Surrealism and Women

    Mara Witzling, Mara R Witzling et al.ARTICLEWoman s Art Journal1994

    These sixteen illustrated essays present an important revision of surrealism by focusing on the works of women surrealists and their strategies to assert positions as creative subjects within a movement that regarded woman primarily as an object of masculine desire or fear.While the male surrealists attacked aspects of the bourgeois order, they reinforced the traditional patriarchal image of woman. Their emphasis on dreams, automatic writing, and…

  • Maddening the Subjectile

    Jacques Derrida, Mary Ann CawsARTICLEYale French Studies1994Cited by: 2

  • Edmond Jabès: Sill and Sand

    Mary Ann CawsARTICLEL' esprit créateur/ L' Esprit…1992Cited by: 1

    Edmond Jabès: Sill and Sand Mary Ann Caws (Ici, commence la lettre annoncée, promise. Ce qui est à dévoiler, à communiquer, l’écrirai-je, le transmettrai-je? Feuillet vierge sur lequel nous nous penchons: le même.) (SS 346)1 S ILL, because it opens into and out of the window, as the door. Upon it, we hesitate. As over the poetry of Edmond Jabès, as over his great Livre des questions, because the desert and its silence is everywhere in all he writ…

  • The Art of Interference: Stressed Readings in Verbal and Visual Texts

    Elaine E Whitaker, Mary Ann CawsARTICLESouth Atlantic Review1991

  • Women of Bloomsbury

    Pamela H Simpson, Mary Ann CawsARTICLEWoman s Art Journal1991

  • Under-reading at noon: Leconte de Lisle's ‘Midi’

    Open AccessMary Ann CawsCHAPTERNineteenth-Century French Poetry1990

    Midi, roi des étés, épandu sur la plaine, Tombe en nappes d'argent des hauteurs du ciel bleu. Tout se tait. L'air flamboie et brûle sans haleine; La terre est assoupie en sa robe de feu. L'étendue est immense, et les champs n'ont point d'ombre, Et la source est tarie où buvaient les troupeaux; La lointaine forêt, dont la lisière est sombre, Dort là-bas, immobile, en un pesant repos. Seuls, les grands blés mûris, tels qu'une mer dorée, Se déroulen…

  • Joseph Cornell: L’invention de la boîte surréaliste

    Mary Ann CawsARTICLEÉtudes françaises1990

    L'invention