Zeitschriftenartikel: „Larkin’s Poetry“

1

Rajamouly, K. „Philip Larkin’s Poetry“. Poetcrit 35, Nr. 1 (03.01.2022): 41–52. http://dx.doi.org/10.32381/poet.2022.35.01.5.

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2

Mole, Tom. „A New Source for Larkin’s ‘Poetry of Departures’“. Notes and Queries 64, Nr. 4 (03.10.2017): 673–74. http://dx.doi.org/10.1093/notesj/gjx160.

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3

Cauldwell, Richard. „Openings, rhythm and relationships: Philip Larkin reads Mr Bleaney“. Language and Literature: International Journal of Stylistics 8, Nr. 1 (Februar 1999): 35–48. http://dx.doi.org/10.1177/096394709900800102.

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Mr Bleaney is one of Philip Larkin’s most popular poems. In this article I discuss five recordings, by Larkin himself, of the first two sentences in free direct speech from a presumed landlady: ‘This was Mr Bleaney’s room. He stayed/The whole time he was at the Bodies, till/They moved him’. The recordings are similar in that they all project the opening as being in medias res; they differ, however, because across the five recordings Larkin places prominences in different locations and makes different choices of tone. The differences suggest that Larkin projects the direct speech into differing (imagined) preceding discourse contexts. But their different ways of being in medias res can also be regarded as ‘perfectly normal’ openings to the poem. The rhythms of the recordings of the two sentences are symptomatic of the fact that Larkin reads most of his poetry as non-poetic anecdotal discourse, thus subverting his wish to be perceived more as a poet than as a social commentator. The recordings also provide evidence for issues raised by critics: the relationship between landlady and tenant; the relationship between Larkin and his audience; the rhythm of the landlady’s speech; the meaning of moved him.

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Rajamouly, Dr K. „Time in T.V. Reddy’s Poetry with Reference to Thousand Haiku Pearls in Comparison with Larkin’s Poetry“. POETCRIT 32, Nr. 2 (20.06.2019): 28–37. http://dx.doi.org/10.32381/poet.2019.32.02.5.

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5

Bakir, Ardalan Luqman, und Khadeeja Saeed Ismail. „ANALYSIS OF THE CAUSES OF PHILIP LARKIN’S WOUNDS IN THE MIRROR OF FREUD’S PSYCHOANALYTIC THEORY“. Journal of Tikrit University for Humanities 30, Nr. 6, 2 (30.06.2023): 82–105. http://dx.doi.org/10.25130/jtuh.30.6.2.2023.25.

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Philip Larkin is one of the prominent post-modern poets who tackled with various themes in his poems. He approached his ideas directly or indirectly. This study aims to analyze selected poems of Philip Larkin as one of the most vital figures of English poetry. The analysis of the poems is achieved on the basis of Sigmund Freud’s psychoanalytic theory which is regarded as a great criterion used in modern English literature. Psychoanalysis is a well-known method that helps critics and readers to interpret and dive deep beneath the meanings of the lines of the poems to get familiar with the unconscious mind of poets. Sigmund Freud in his work The Interpretation of Dreams (1900) believes that poetry is the dream of poets and writers. So, the one who reads the literary work has to use psychoanalysis as a focal method and technique for finding and figuring out the hidden meanings and intentions of the writer within the work. Psychoanalysis, to a great extent, aids critics and readers to understand the conflict between Id, Ego and Superego as well the inner psyche of the writer in order to comprehend the reasons behind the writer’s actions and behaviors.

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Feldman, Sarah. „Symbolic Cognition in Poetic Experience: Re-representing the Paraphrase Paradox“. British Journal of Aesthetics 60, Nr. 3 (18.06.2020): 283–98. http://dx.doi.org/10.1093/aesthj/ayz063.

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Abstract This article considers an apparent tension between, on the one hand, a widespread belief among literature teachers that the appreciation of a poem involves an experience of form-content inseparability and, on the other hand, these same teachers’ use of paraphrase to encourage appreciation. Using Terrence Deacon’s model of art experience, I argue that the tensions of this ‘paraphrase paradox’ mirror tensions inherent in poetic experience. Section II draws upon work by Rafe McGregor, Peter Lamarque, and Peter Kivy to frame an approach to the form-content distinction, and to offer a brief overview of the paraphrase paradox. Sections III-IV summarize Deacon’s model of aesthetic experience, and argue that this model implies that poetic experience both triggers an impulse towards paraphrase, and frustrates this impulse. Section V looks at implications for the poetry teacher’s attempts to navigate the paraphrase paradox. Section VI tests these implications through an analysis of Philip Larkin’s poem ‘Faith Healing’.

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Marggraf Turley, Richard, und Jennifer Squire. „Haggard and woe-begone: The Arundels’ Tomb and John Keats’s ‘La Belle Dame Sans Merci’“. Romanticism 28, Nr. 2 (Juli 2022): 154–64. http://dx.doi.org/10.3366/rom.2022.0551.

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The first draft of Keats’s ‘La Belle Dame Sans Merci’ appears abruptly, seemingly from nowhere, in a letter of April 1819. In this famously inconclusive poem, the knight-at-arms, much like the geographic setting in which his psychological drama plays out, also seems to exist in uncoordinated, self-contained space. This essay seeks to connect the apparently mythical reference points in the ballad to actual places known to Keats. In particular, it examines the prompts and cues that Keats found around him in January and February 1819 during a visit to Chichester and Bedhampton. Our focus is on the imaginatively catalysing effigies of an alabaster knight and lady seen in Chichester cathedral – famous from Philip Larkin’s poem, ‘An Arundel Tomb’ – as well as on the topography of hills, lakes and meads that Keats encountered while staying at Lower Mill in Bedhampton. This essay, then, attempts a ‘placing’ of key elements of ‘La Belle Dame Sans Merci’ in Keats’s lived world. The act allows us to expand and deepen our sense of the complex relationship between physical, imaginative and emotional topographies in Keats’s poetry.

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Nikhilesh, Nikhilesh. „Critical Assessment of Poetry of Philip Larkin“. International Journal of English Literature and Social Sciences 7, Nr. 6 (2022): 200–205. http://dx.doi.org/10.22161/ijels.76.28.

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In the year 1922, Philip Larkin was born in Coventry, which is located in England. In addition to finishing with First Class Honors in English, he received his Bachelor of Arts degree from St. John's College, Oxford, where he also became friends with the author and poet Kingsley Amis. After completing his undergraduate degree, Larkin went on to pursue professional courses in order to become a librarian. He began his career in Shropshire and Leicester, continued it at Queen's College in Belfast, and ended it as the librarian at the University of Hull. He worked in libraries the whole of his life. Not only did Larkin produce volumes of poetry, but he also wrote and published two novels, Jill (1946) and A Girl in Winter (1947), as well as jazz music criticism, essays, and review articles. The latter were compiled into two books: All What Jazz: A Record Diary 1961-1968 (1970; 1985) and Required Writing: Miscellaneous Pieces 1955-1982. Both were published in 1970 and 1985 respectively (1984). Before his death in 1985, he was considered by many to be "England's other Poet Laureate." He was one of the most well-known poets to emerge from England in the decades after World War II. In point of fact, when the post of laureate became available in 1984, numerous poets and critics advocated for Larkin's election to the position; nevertheless, Larkin chose to stay out of the spotlight.

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Blake, Jason. „On Philip Larkin's poetry“. Acta Neophilologica 34, Nr. 1-2 (01.12.2001): 7–16. http://dx.doi.org/10.4312/an.34.1-2.7-16.

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Using his seemingly crass and apparently pessimistic "This Be the Verse" as a point of departure, this paper examines Philip Larkin's poetry with regard to the poet's own attitude towards the reader. His highly accessible poems, penned in common language, resulted in a reputation as both a 'poet of the people' and a 'philistine'. But for all its crudeness, Larkin's mode of writing always showed a keen awareness of the distancing aspects of modernism. In other words, he was not ignorant of the current political trends of his time, rather he was consciously writing against what he deemed elitist art. In conclusion, the paper returns to "This Be the Verse" and considers the moral import of Larkin's ironically acerbic "Get out early as you can, and don't have any kids yourself˝.

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Booth, J. „Why Larkin's Poetry Gives Offence“. English 46, Nr. 184 (01.03.1997): 1–19. http://dx.doi.org/10.1093/english/46.184.1.

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11

Hibbett, Ryan. „The Hughes/Larkin Phenomenon: Poetic Authenticity in Postwar English Poetry“. Contemporary Literature 49, Nr. 1 (2008): 111–40. http://dx.doi.org/10.1353/cli.0.0011.

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12

Scofield, Martin. „Refining the life: Philip Larkin's poetry reconsidered“. English Studies 79, Nr. 1 (Januar 1998): 33–47. http://dx.doi.org/10.1080/00138389808599112.

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13

Eddins, Dwight, und B. J. Leggett. „Larkin's Blues: Jazz, Popular Music, and Poetry“. South Atlantic Review 65, Nr. 1 (2000): 177. http://dx.doi.org/10.2307/3201940.

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14

Uddin, Mohammad Taj. „Note of Existentialism in the Poetry of Philip Larkin“. IIUC Studies 6 (19.10.2012): 97–110. http://dx.doi.org/10.3329/iiucs.v6i0.12251.

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Existentialism became popular in the twentieth century, and it captured virtually every form of human thought and expression, including the novel, the theatre, poetry, art and theology. Though this philosophy had no specific system or sets of systems, yet it got a wide range of responses due to contemporary social circumstances. Individuals of the 20th century had a problematic existence with anguish, uncertainty, fear, alienation and despair because of different negative socio-political and cultural events that affected every aspect of life in Europe. Philip Larkin belonged to the same century and most of his poems present the typical problems of existence of an individual in the contemporary society. With an aim of better understanding of the poetry of Philip Larkin this paper explores how the poet, while dealing with the themes of his poetry, reflects the mood and ideas of existentialist philosophers. Since philosophy is closely connected with literature, as with other branches of knowledge, this study may help the readers understand Larkins poetry from a new perspective. DOI: http://dx.doi.org/10.3329/iiucs.v6i0.12251 IIUC Studies Vol.6 2010: 97-110

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Ingelbien, R. „From Hardy to Yeats? Larkin's Poetry of Ageing“. Essays in Criticism 53, Nr. 3 (01.07.2003): 262–77. http://dx.doi.org/10.1093/eic/53.3.262.

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16

Foley, Andrew. „Poetry of Departures: The Endings of Philip Larkin's Poems“. English Academy Review 32, Nr. 1 (02.01.2015): 23–40. http://dx.doi.org/10.1080/10131752.2015.1034943.

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17

Jarvis, M. R. „Larkin with Poetry: English Association Conference Papers; Out of Reach: The Poetry of Philip Larkin“. English 46, Nr. 186 (01.09.1997): 260–64. http://dx.doi.org/10.1093/english/46.186.260.

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18

Nikhilesh & Prof. Indu Prakash Singh. „Alienation in The Poetry of Philip Larkin and British Poetry“. Creative Saplings 1, Nr. 9 (25.12.2022): 12–25. http://dx.doi.org/10.56062/gtrs.2022.1.9.184.

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It is said in the Norton Introduction to Literature that "poetry gives a vocabulary for emotion." Peter Howarth argues in his book British Poetry in the Age of Modernism that the social progress that has taken place in modern times has left obvious imprints upon the poetic form. This author is of the opinion that, as a result of advances in scientific knowledge, poetry has advanced, both in terms of its form and its meaning. In his book "The Use of Poetry and the Use of Criticism," Thomas Stern Eliot provides evidence in favour of this viewpoint by confirming that political and socio-historical existence may be analyzed via poetry. In doing so, Eliot anticipates Howarth's interpretation of this concept. When Philip Arthur Larkin says that he works as diligently as possible not just to analyze the social climate throughout his poems but also to discover measures to soothe the traumas endured in the second half of the twentieth century, one can really agree with him. This British poet places the social unrest that occurred during the World Wars in the forefront by adopting such a position, and from this point on, his attention is kept on the existential quest that was manifested in the post-war period when many British citizens were intrigued about their material renovation. This is because the poet believes that the conflicts between the sexes were the root cause of the social unrest.

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Du, Xiangyu. „The View of Death in Philip Larkins The Trees and The Building“. Communications in Humanities Research 20, Nr. 1 (07.12.2023): 147–51. http://dx.doi.org/10.54254/2753-7064/20/20231316.

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Philip Larkin was one of the most important poets in British poetry after the Second World War and one of the outstanding representatives of the Movement. Death is one of his core themes in his poetry. This article is designed to show Larkin s views and attitudes of death through the analysis his The Trees and The Building, employing New Criticism theory. Under the guidance of this perspective, this article shows that Larkin is preoccupied with death, but is not simply pessimistic and despairing in the face of death. Although the poem The Building is filled with sad and dark atmosphere, it is imbued with an implicitly positive attitude. The same is true of the poem The Trees. The Trees provokes the reader to think about life through the observation of trees blight. In the attitude toward death, facing death and discussing it calmly so as to realise the meaning and value of life, is perhaps the best way to overcome death.

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Gabbard, Krin. „Larkin's Blues: Jazz, Popular Music, and Poetry (review)“. Comparatist 26, Nr. 1 (2002): 158–60. http://dx.doi.org/10.1353/com.2002.0004.

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Anisimova, Alla, und Olga Ponedilchenko. „MULTILINGUAL SPECIFICS OF THE CONCEPT "LOVE" IN THE POETRY OF PHILIP LARKIN“. English and American Studies, Nr. 19 (02.05.2022): 15–22. http://dx.doi.org/10.15421/382202.

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The article examines the peculiarities of the presentation of the concept "love" in the poetry of Philip Larkin: lexical and semantic units that embody the concept of "love" in the poems of Larkin have been revealed. The novelty of the obtained results of the performed scientific article is that the selected works of Philip Larkin have been analyzed, a structured approach to their analysis is developed, the main carriers of culture and their functions are identified. The results of the study can be used in the comparative analysis of the linguistic and cultural aspects in the work of different authors. The research has been done in multilingual aspect.

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22

Reibetanz, John. „Lyric Poetry as Self-Posession: Philip Larkin“. University of Toronto Quarterly 54, Nr. 3 (März 1985): 265–83. http://dx.doi.org/10.3138/utq.54.3.265.

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23

NENNİ, Sibel. „ALIENATION IN THE POETRY OF PHILIP LARKIN“. Journal of International Social Research 13, Nr. 71 (01.01.2020): 73–86. http://dx.doi.org/10.17719/jisr.10682.

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Rodden, John. „“The Rope That Connects Me Directly with You”: John Wain and the Movement Writers' Orwell“. Albion 20, Nr. 1 (1988): 59–76. http://dx.doi.org/10.2307/4049798.

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No British writer has had a greater impact on the Anglo-American generation which came of age in the decade following World War II than George Orwell. His influence has been, and continues to be, deeply felt by intellectuals of all political stripes, including the Marxist Left (Raymond Williams, E. P. Thompson), the anarchist Left (George Woodcock, Nicolas Walter), the American liberal-Left (Irving Howe), American neoconservatives (Norman Podhoretz), and the Anglo-American Catholic Right (Christopher Hollis, Russell Kirk).Perhaps Orwell's broadest imprint, however, was stamped upon the only literary group which has ever regarded him as a model: the Movement writers of the 1950s. Unlike the above-mentioned groups, which have consisted almost entirely of political intellectuals rather than writers—and whose members have responded to him as a political critic first and a writer second—some of the Movement writers saw Orwell not just as a political intellectual but also as the man of letters and/or literary stylist whom they aspired to be.The Movement writers were primarily an alliance of poet-critics. The “official” members numbered nine poets and novelists; a few other writers and critics loomed on the periphery. Their acknowledged genius, if not leading publicist, was Philip Larkin, who later became Britain's poet laureate. Orwell's plain voice influenced the tone and attitude of Larkin's poetry and that of several other Movement poets, especially Robert Conquest and D. J. Enright. But Orwell shone as an even brighter presence among the poet-novelists, particularly John Wain and Kingsley Amis, whose early fictional anti-heroes were direct descendants of Gordon Comstock in Keep the Aspidistra Flying (1936) and George Bowling in Coming Up for Air (1939).

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Booth, James, Philip Larkin und Andrew Swarbrick. „Out of Reach: The Poetry of Philip Larkin“. Modern Language Review 92, Nr. 4 (Oktober 1997): 965. http://dx.doi.org/10.2307/3734241.

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Brebner, John A. „Philip Larkin and English Poetry by Terry Whalen“. ESC: English Studies in Canada 13, Nr. 4 (1987): 483–86. http://dx.doi.org/10.1353/esc.1987.0063.

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Schray, Kateryna A. Rudnytzky. „"To Seek This Place for What It Was": Church Going in Larkin's Poetry“. South Atlantic Review 67, Nr. 2 (2002): 52. http://dx.doi.org/10.2307/3201961.

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Hart, Henry. „Swarbrick, Andrew.Out of Reach: The Poetry of Philip Larkin.“ ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 9, Nr. 4 (Oktober 1996): 58–61. http://dx.doi.org/10.1080/0895769x.1996.10543164.

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Faldet, David, und Richard Hoffpauir. „The Art of Restraint: English Poetry from Hardy to Larkin“. Rocky Mountain Review of Language and Literature 46, Nr. 1/2 (1992): 84. http://dx.doi.org/10.2307/1347637.

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30

Waligóra, Agnieszka. „Tropy Chory. Przestrzeń w utworach Tomasza Pułki“. Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica 10 (18.12.2022): 116–31. http://dx.doi.org/10.24917/23534583.10.9.

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Artykuł jest próbą interpretacji wiersza Masmix Tomasza Pułki pod kątem relacji, jakie utwór nawiązuje z innymi lirykami poety (zwłaszcza tymi publikowanymi w przestrzeni cybernetycznej) oraz z dziełami Stanisława Barańczaka czy Philipa Larkina. Pod wpływem lektury kontekstowej ujawnione zostaje, że najistotniejszym tematem omawianego tekstu jest przestrzeń; ostatecznie szkic proponuje analizę wiersza w odniesieniu do Platońskiej i Derridiańskiej kategorii Chory.

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RUDDICK, BILL. „'Some ruin-bibber, randy for antique': Philip Larkin's response to the poetry of John Betjeman“. Critical Quarterly 28, Nr. 4 (Dezember 1986): 63–70. http://dx.doi.org/10.1111/j.1467-8705.1986.tb00047.x.

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32

Lucas, John, und John Powell Ward. „The English Line: Poetry of the Unpoetic from Wordsworth to Larkin“. Yearbook of English Studies 24 (1994): 331. http://dx.doi.org/10.2307/3507937.

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Sharrock, R. „Private Faces in Public Places: The Poetry of Larkin and Lowell“. English 36, Nr. 155 (01.06.1987): 113–32. http://dx.doi.org/10.1093/english/36.155.113.

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Perry, S. J. „“So unreal”: The Unhomely Moment in the Poetry of Philip Larkin“. English Studies 92, Nr. 4 (Juni 2011): 432–48. http://dx.doi.org/10.1080/0013838x.2011.574030.

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Gopinath, Praseeda. „‘One of those old-type natural fouled-up guys’: The belated Englishman in Philip Larkin's poetry“. Textual Practice 23, Nr. 3 (Juni 2009): 373–96. http://dx.doi.org/10.1080/09502360902782343.

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Scherr, Barry P. „Philip Larkin and the Stanza“. Studia Metrica et Poetica 9, Nr. 2 (31.12.2022): 7–62. http://dx.doi.org/10.12697/smp.2022.9.2.01.

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Philip Larkin, one of England’s finest poets among the generation that came of age during World War II, maintained a strong interests in the formal features of verse throughout his career. This article marks the first comprehensive overview of his highly varied and frequently original use of one such feature, the stanza. A set of tables provides overall data about the relative frequency of different stanza lengths – in his four published poetry collections, in poems that he either published or planned to publish but did not appear in one of those collections, and in the unpublished verse. He turns out to have been a strikingly innovative master of stanza form. If many poets rely heavily on the quatrain as their favored stanza, Larkin makes that only one of several stanza lengths that he turns to regularly. More importantly, he composes stanzas in innovative and imaginative ways. His forty sonnets – only eight of which appeared in his four collections – reveal a variety of rhyme schemes and, occasionally, unusual placement of the breaks between portions of the sonnet. In other poems, the rhyme schemes are often irregular, making the rhyme scheme difficult to detect, particularly in those cases when he employs highly approximate rhyme. Much of his verse is also marked by frequent enjambement, even between stanzas. He occasionally links his stanzas and sometimes creates a rhyme scheme that has a different number of lines than the actual stanza length, resulting in markedly complex compositions. In all, Larkin regularly uses his stanzas to highlights key aspects of a poem’s meaning, while the intricacy of many stanza structures forces his readers to consider poems more intently.

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Rajamouly, Dr Katta. „The Concept of Time in Larkin: An Indian Perspective“. POETCRIT 33, Nr. 1 (02.01.2020): 28–33. http://dx.doi.org/10.32381/poet.2020.33.01.5.

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38

Shears, Jonathon. „'Thou Breath of Autumn's Being': Voicing Masculinity in the Poetry of Late Life“. Journal of the British Academy 11s2 (2023): 95–116. http://dx.doi.org/10.5871/jba/011s2.095.

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This article argues that lyric poetry is a form suited to contesting dominant ideas about masculinity because of its thematic and formal preoccupations with voice. It argues that voice offers a different way of viewing the social constrictions that accompany male experiences of ageing to the well-known theory of the mask of ageing. Through a study of a long history of Western lyric verse, which includes writers such as William Shakespeare, Percy Bysshe Shelley, Alfred, Lord Tennyson, W. B. Yeats, Robert Frost and Philip Larkin, the article explores the significance of restricted breathing in relation to dominant norms of masculine reticence and the physiological deterioration of the vocal profile in age. It then explores the possibility of counter-voicings of masculinity in poems with intergenerational themes from a group of post-war British poets.

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Khalil, Ahmed Hussein. „Heroism and Anti-Heroism in the Poetry of Philip Larkin Find Amal Donqol“. مجلة کلیة الآداب بقنا 16, Nr. 20 (01.12.2006): 4–82. http://dx.doi.org/10.21608/qarts.2006.115252.

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Gargaillo, Florian. „Graffiti and the British Postwar Poem“. Genre 55, Nr. 2 (01.07.2022): 141–59. http://dx.doi.org/10.1215/00166928-10001378.

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Abstract This essay considers how British poetry responded to the rise of graffiti after World War II, using the work of Dannie Abse, Philip Larkin, and Tony Harrison as case studies. Poets of this era were awkwardly placed to discuss graffiti. The striking formal differences between the two genres made graffiti difficult to imitate and cannibalize. Moreover, poets occupied an ambiguous position vis-à-vis the establishment culture that graffitists wished to contest. Conscious of their difficult situation, poets took up a variety of approaches, each marked by distinctive paradoxes. Abse viewed graffiti with a distancing sociological eye, even as he recognized the limits of that perspective by stressing the culpability of each person, including himself, in widening social inequalities. Larkin approached graffiti with a mix of disdain at the defacement of public property and envy over the liberties that the graffitist could take against middle-class sensibilities. Harrison found himself pulled between sympathy for a social world that was once his own and a deeper sense of alienation now that his education and his work as a poet had set him apart from that community. Such paradoxes lend the poems a special value when set against a broader public discourse that tended to simply defend or condemn graffiti.

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Nahajec, Lisa. „Negation and the creation of implicit meaning in poetry“. Language and Literature: International Journal of Stylistics 18, Nr. 2 (Mai 2009): 109–27. http://dx.doi.org/10.1177/0963947009105340.

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Creating meaning through the use of negation is a cooperative process between speaker and hearer or writer and reader; at surface level, negation acts as an instruction that a proposition should be understood as an unrealized state, event or existence. However, this unrealized state of affairs appears to add no positive information to an ongoing discourse, and approaches based on an analysis of formal semantics and predicate logic are limited in their ability to account for how negated propositions are meaningful in discourse. A reader must infer the intended relevant meaning of a negated proposition based on the assumption that it functions explicitly to deny its opposite, positive counterpart. Further, in order to understand a negated proposition we must be able to conceptualize the positive proposition that is being denied, and this concept, though understood as an unrealized state of affairs, adds to the ongoing discourse both as a concept and as an expectation. A cognitive approach to the analysis of negation in natural language provides the tools to examine how readers and writers cooperate to make meaning. In this article, I use a cognitive stylistic approach, Text World Theory (Werth, 1999), as a framework in my analysis of a small selection of poems, 'The Tyre' (Simon Armitage), 'The Listeners' (Walter de la Mare) and 'Talking in Bed' (Philip Larkin) to explore how negation, as a pragmatic phenomenon, creates unrealized worlds, which far from being discarded are integral to the construction of meaning and effect.

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Sanni, Amidu Olalekan. „Al-Mutanabbi—Voice of the Abbasid Poetic Ideal, by Margaret Larkin“. Middle Eastern Literatures 14, Nr. 1 (April 2011): 89–90. http://dx.doi.org/10.1080/1475262x.2011.550481.

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Rapport, Nigel. „Writing on the body: The poetic life-story of Philip Larkin“. Anthropology & Medicine 7, Nr. 1 (April 2000): 39–62. http://dx.doi.org/10.1080/136484700109340.

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Francis, Matthew. „“A Difficult Home”: Work, Love and Community in the Poetry of W. S. Graham and Philip Larkin“. English Studies 94, Nr. 5 (August 2013): 535–61. http://dx.doi.org/10.1080/0013838x.2013.795734.

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Meljac, Eric. „Windows in George Herbert and Philip Larkin: A Study of Poetic Metaphor“. Journal of Language, Literature and Culture 65, Nr. 3 (02.09.2018): 187–99. http://dx.doi.org/10.1080/20512856.2018.1546653.

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김영수. „A Study of the Comparative Elements in the Poetry of Philip Larkin and Ted Hughes: Reality and Myth.“ Studies in English Language & Literature 38, Nr. 3 (August 2012): 19–37. http://dx.doi.org/10.21559/aellk.2012.38.3.002.

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Grafe, Adrian. „The Poetic Voice And The Voice Of Popular Music In Poems By Philip Larkin, Hugo Williams And Paul Muldoon“. Sillages critiques, Nr. 7 (01.04.2005): 141–54. http://dx.doi.org/10.4000/sillagescritiques.1150.

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Lavan, Rosie. „S. J. Perry, Chameleon Poet: R. S. Thomas & the Literary Tradition.Rory Waterman, Belonging and Estrangement in the Poetry of Philip Larkin, R. S. Thomas and Charles Causley“. Notes and Queries 64, Nr. 1 (02.02.2017): 195–97. http://dx.doi.org/10.1093/notesj/gjw279.

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GÜLEÇ, Serdar Cihan. „Margaret Larkin: Mütenebbî ve Abbasî Şiir İdealinin Sesi“. Abant İzzet Baysal Üniversitesi İlahiyat Fakültesi Dergisi, 07.04.2023. http://dx.doi.org/10.33931/dergiabant.1259866.

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This book review presents Margaret Larkin’s work, Al-Mutanabbī: Voice of the Abbasid Poetic Ideal. The work is a belles-lettres critique of a literary genre, the poetry of Al-Mutanabbī, which discusses the function of poetry in the Abbasid ideal. Larkin's interpretation of history, particularly medieval Islamic history, reveals the significance of contextualizing poetic activity in the 10th century Islamic court authority, as it is a disseminated media power and has an iconoclastic impact in the community, centralizing institutionalized power and supremacy. The author discusses several aspects of the poetic material in relation to the poet's life story, plight, and identity crisis, but also indicates its derivation from the political substructure, i.e., the Abbasid ideal. The political ideal is not a monolithic project; it requires an aesthetic vision and an attractive public image. According to Larkin's discernment, in achieving an Islamic empire discourse, the mobility of state power is grounded on the factor of charisma, the realm of which is poetry in the medieval Arab world. Larkin fills a scholarly gap in current literary studies.

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Das, Bapi. „existentialist bent in Philip Larkin’s poetry“. International journal of health sciences, 24.04.2022, 5819–23. http://dx.doi.org/10.53730/ijhs.v6ns1.6185.

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Philip Larkin reveals in his poetry the post-war mood and feeling that was predominant in lives of contemporary British people. Their existence was overshadowed by threat of mighty nuclear war that the world never saw before. Larkin himself experienced existential predicament of his countrymen as a representative of his time. He candidly reflected what he noticed and felt. The varied existentialist issues incorporated by Larkin lend his poetry a philosophical dimension. The present research paper focuses on anxiety, alienation, death from the perspective of two noted existentialist thinkers, Martin Heidegger and Jean-Paul Sartre.

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