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Zeitschriftenartikel zum Thema "Poets, english – fiction"
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Prasad, Amar Nath. „The Non-fictions of V.S. Naipaul: A Critical Exploration“. Creative Saplings 1, Nr. 8 (2022): 1–11. http://dx.doi.org/10.56062/gtrs.2022.1.8.168.
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V. S. Naipaul is an eminent literary figure in the field of modern fiction, non-fiction, and travelogue writing in English literature. He earned a number of literary awards and accolades, including the covetous Nobel Prize and Booker Prize. His non-fiction e.g., An Area of Darkness, India: A Wounded Civilization, The Loss of El Dorado, India: A Million Mutinies Now and Beyond Belief are a realistic portrayal of the various types of religion, culture, customs, and people of India. As an author, the main purpose of V. S. Naipaul is to deliver the truth; because poets are the unacknowledged legislators of mankind. The fact that V. S. Naipaul has presented in his non-fiction is more authentic and realistic than that of his fiction. Nonetheless, it is fictional work that is elaborately explored, discussed, and analyzed in abundance. On the other hand, his non-fiction, by and far, remains aloof. In the last few decades, non-fictions are also taking the ground strongly. Now non-fiction writings are being analyzed, elucidated, and explored based on various theoretical principles of literary criticism. V. S. Naipaul carried the new genre to new heights and achievements. He is of Indian descent and known for his pessimistic works set in developing countries. He visited India several times, like Pearl S. Buck and E. M. Forster. So, his presentation of Indian religion, society, culture, and politics are very realistic. His vision and ideas are very close to the modern thoughts and visions of both the east and the west.
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Makarichev, F. V. „USING FILMS AT THE LESSONS OF ENGLISH TO EXPAND STUDENTS’ VOCABULARY (LIVING AND DEAD WORDS IN THE FILM “DEAD POETS SOCIETY”)“. Bulletin of Udmurt University. Series History and Philology 31, Nr. 3 (13.07.2021): 514–20. http://dx.doi.org/10.35634/2412-9534-2021-31-3-514-520.
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The article discusses the use of the authentic film at the lessons of English to expand the vocabulary of students. Working with the vocabulary of the feature film "Dead Poets Society" allows to see the possibilities of using each of the three functional styles - official, scientific and poetic styles. Lexical analysis of the speech of the main characters of the film - the official and scientific language of the director and teachers of the school and the poetic language of the teacher of literature Keating - helps to reveal the character of each personage. Particular attention is paid to Latinisms in the speech of teachers, as an element of the academic tradition in European culture, as well as the language of fiction prose and poetry, which is included in the film through quoting poems by romantic poets. Contrasting the dry, "dead" language of the director and his supporters and Keating's "living word" creates dramatic tension and helps to better understand the essence of the depicted conflict. As a consolidation of the studied vocabulary, written creative work is proposed, expanding not only the lexical reserve, but also the general cultural training of students.
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Ziemann, Zofia. „It’s a writer’s book. Anglojęzyczni pisarze czytają Schulza (na potęgę)“. Schulz/Forum, Nr. 11 (03.12.2018): 153–66. http://dx.doi.org/10.26881/sf.2018.11.14.
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The long awaited publication of Madeline G. Levine’s retranslation of Schulz’s fiction has sparked new interest in the reception of Schulz in English-speaking countries. In Poland, the general view seems to be that the author has not received the attention he deserves. Based largely on a review non-specialized periodicals from 1963–2018, the paper presents a strong and lasting trend in the reception of the English Schulz, namely the admiration of hosts of fellow authors: writers of high-brow and popular fiction, poets and playwrights from the whole anglophone world, form Australia to Canada. Examining their reviews of Schulz’s stories, interviews and articles promoting their own work, and intertextual references to Schulz which some of them employed, the paper adds some a new names to the small handful of Schulz-loving anglophone authors of whom Polish scholars have been aware so far.
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Dr. V.S. Bindhu, Rincy Philip,. „EXPLORING THE MYTHICAL INNER LIFE OF A BROKEN METROPOLIS: A COMPARISON OF GYAN PRAKASH’S MUMBAI FABLES AND JEET THAYIL’S NARCOPOLIS“. Psychology and Education Journal 58, Nr. 1 (01.02.2021): 4476–78. http://dx.doi.org/10.17762/pae.v58i1.1537.
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Jeet Thayil is a versatile figure in Indian Literature whose contributions to world literature includes many poems, novels and music. His song collection include Gemini (1992), Apocalypso (1997), English (2004), These Errors Are Correct (2008). He also edited many books, which includes Divided Time: India and the End of Diaspora, The Bloodaxe Book of Contemporary Indian Poets and 60 Indian Poets. He is famous for his first novel Narcopolis, which is set in Mumbai. This work is shortlisted for Man Booker Prize for fiction in 2012.Gyan Prakash is another important figure in modern historic India whose handouts lead India through a focus of wealth and secured life. He is also a professor of history and included as a member of subaltern studies. Prakash’s writings mainly focus on problems of post colonialism. His famous work is Mumbai Fables: A History of an Enchanted City. This paper tries to find out the history of Mumbai Metropolis with the comparison study of Jeet Thayil’s Narcopolis and Gyan Prakash’s Mumbai Fables. Both these works shows the hidden history of Mumbai with its both positive and negative structures.
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Burcar, Lilijana. „Old Aesthetics, New Ethics“. Acta Neophilologica 56, Nr. 1-2 (08.12.2023): 91–106. http://dx.doi.org/10.4312/an.56.1-2.91-106.
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The depiction of the class struggle features prominently in the American canon of the first half of the 20th century. However, the emphasis has been almost exclusively on prose fiction to the exclusion of the works of poets such as Claude McKay, one of the central figures of the early Harlem Renaissance and the leading figure among socially engaged English-speaking poets at the time. The article redresses this imbalance by drawing attention to McKay’s socially engaged sonnets, which helped to expand the horizons and culturally empower the exploited poor in America (and by extension the proletariat in England) to resist and overcome racist ideology in their common struggle for universal social justice. McKay makes use of a traditional, highly aestheticized sonnet form, while giving it a new ethical premise and fresh impetus.
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Sardalova, Luisa Ramzanovna, Zarina Ismailovna Gadaborsheva und Satsita Adamovna Aliyeva. „Aesthetic Education of Students in Foreign Language Lessons in Secondary School as a Component of Multicultural Education“. SHS Web of Conferences 172 (2023): 01011. http://dx.doi.org/10.1051/shsconf/202317201011.
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The article discusses various ways and means of implementing aesthetic education in the classroom and during non-school hours. The authors note that a special place in the education of an aesthetic personality is occupied by art, which embodies the aesthetic category of beauty. For this purpose, excerpts from works of fiction (for example, poems) and other works of art (paintings, movies, etc.) are used to work on language material. The main goal is to form a taste for the beautiful, the ability to read aloud and listen attentively to the poems of English poets, and then express your impression and share your thoughts, repeat or learn lexical and grammatical material. One of the inexhaustible sources of spiritual development of students is poetry. In addition, in foreign language lessons, poetic works are studied for practical purposes: for the formulation and improvement of pronunciation, illustration and memorization of grammatical material, the development of listening and speech skills. Familiarization of students with English and American literature provides an excellent opportunity for the development of their philological flair and literary taste. This allows them to feel the value of the word, responsibility when operating with the word, sharpens their ability to understand and feel the subtle nuances of the word in each language.
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Zarei, Rouhollah. „The Persian Face of Edgar Allan Poe“. Edgar Allan Poe Review 23, Nr. 1 (2022): 23–36. http://dx.doi.org/10.5325/edgallpoerev.23.1.0023.
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Abstract This article examines the reception of Edgar Allan Poe in modern Persian literature with regard to his fiction and theory of writing. There have been scattered pieces written on Poe’s influence on Iranian poets and writers in Persian or English, but this article aims to offer a fairly comprehensive picture of Poe in Iran in general with a focus on his influence or affinities with two leading Iranian authors, Sadeq Hedayat and Sadeq Chubak, as far as female characters are concerned. The article at first surveys how Poe was introduced into Persian literature and then it studies personal, social, political, and historical backgrounds in classical and modern Persian literature that determined men’s taking a misogynous approach. A comparative study of representative works of Hedayat and Chubak reveals conscious alignment with Poe’s ideas. Confessionary monologues, gloomy atmosphere, and the lack of proper dialogues between men and women mark their writings. The article concludes that although patriarchy has been responsible for these two writers’ failures to overcome gender stereotypes, their acquaintance with Edgar Allan Poe had its impact on aggravating such tendencies.
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Rogacheva, Natalia A., und Anastasiia O. Drozdova. „NABOKOV’S REFLECTION ON HIS OWN AND OTHERS’ WORKS IN THE SHORT NOVEL “VASILIY SHISHKOV” AND POEM “THE POETS”“. Tyumen State University Herald. Humanities Research. Humanitates 6, Nr. 2 (2020): 64–78. http://dx.doi.org/10.21684/2411-197x-2020-6-2-64-78.
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The problem of Nabokov’s artistic identity is relevant for contemporary literature studies. The researchers interpret writer’s estimation of his Russian works differently: in his American years, Nabokov (1) created a new artistic identity (A. Dolinin) and started a new career (N. Cornwell) or (2) developed his general themes (B. Boyd), targeted at English readers. The unique status of the texts written in French is defined by their “phantom” nature (M. Malikova) and the “final work with the literature legacy” (A. Babikov). In our research, the problem of Nabokov’s identity is analyzed for the first time in its connection with the methods of creation of the “phantom” fictional world. Our research subject includes the poem “The Poets” and the short story “Vasiliy Shishkov”. The texts are considered within the literary-critical and artistic contexts. The purpose of this article is to determine how the reflection of one’s own and other people’s creativity is built in these works, taking into account that perceptual imagery serves as tools for aesthetic assessment for Nabokov. The main research method in the work is structural-semiotic analysis: perceptual images are characterized by the variety of their localization, by the method of creation and distribution, by their attitude to the background, etc. The structural-semiotic approach to the analysis of literary texts has revealed the value of “phantom” or “distinctness” in Nabokov’s artistic optics. The intensity of sensations is directly related to the status of the subject of perception and to its position in the hierarchy of fictional worlds (Vasily Shishkov is the fiction of the narrator, the narrator is the fiction of the emigrant writer Nabokov). The impossibility of reliable perception, its continuity and limitation within the framework of an entire era or individual life are assessed by Nabokov as important conditions for creative development, especially significant in a situation of reflection on a new addressee art creation.
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Balaji, K., und M. Narmadhaa. „Recrimination of Shikandi in Devdutt Pattanaik’s Shikhandi and Other Tales They Don't Tell You“. Shanlax International Journal of English 11, Nr. 3 (01.06.2023): 22–25. http://dx.doi.org/10.34293/english.v11i3.6211.
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Indian Writing has turned out to be a new form of Indian culture and voice in which idea converses regularly. Indian writers-poets, novelists, essayists, and dramatists have been making momentous and considerable contribution to world Literature since pre-Independence era, the past few years have witnessed a gigantic prospecting and thinking of Indian English writing in the global market. Sri Aurobindo stands like a huge oak spreading its branches over these two centuries. He is the first poet in Indian writing English who was given the re-interpretation of Myths. Tagore is the most eminent writer he translated many of his poems and plays into English who wrote probably the largest number of lyrics even attempted by any poet. The word “myth” is divided from the Greek word mythos, which simply means “story”. Mythology can refer either to the study of myths or to a body or a collection of myths. A myth by definition is “true” in that it. The same myth appears in various versions, varies with diverse traditions, modified by various Hindu traditions, regional beliefs and philosophical schools, over time. Devdutt Pattanaik is an Indian Mythologist who distinguishes between mythological fiction is very popular as it is fantasy rooted in familiar tradition tales. His books include Myth =Mithya: A Handbook of Hindu Mythology, Jaya: An illustrated Retelling of Mahabharata; Business Sutra: An Indian Approach to Management; Shikandi: And other Tales they Don’t Tell you; and so on.
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Carder, Austin. „L’état Naissant: On Celan's Microliths They Are, Little Stones: Posthumous Prose“. boundary 2 50, Nr. 4 (01.11.2023): 117–29. http://dx.doi.org/10.1215/01903659-10694211.
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Abstract Microliths They Are, Little Stones: Posthumous Prose (2020) represents the culmination of Pierre Joris's fifty-year effort of translating the work of Paul Celan into English. The book contains a small library: aphorisms, fiction, dialogues and notes for dramatic works, theoretical prose, interviews, as well as illustrations. This review essay primarily focuses on notes and drafts toward an unfinished essay called “On the Darkness of Poetry.” It is a major statement of Celan's poetics and still stands as an unmet challenge to poets writing today. Its unfinished state should not be considered a liability but read instead as a formal argument (albeit unintended) that “the alleged thought- or language-scheme of the poem is never ‘finished.’”
Dissertationen zum Thema "Poets, english – fiction"
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Wirkus, Timothy Paul. „The Ingenious Narrator of Poe's Dupin Mysteries“. BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/3018.
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Scholarship on Edgar Allan Poe's Dupin stories consistently focuses on the stories' influence on the genre of detective fiction. One of the foundational genre elements pioneered by Poe in these tales is the sidekick/narrator. Throughout detective fiction, the less-intelligent sidekick has become a standard fixture, a convenient trope in foregrounding the brilliant machinations of the detective's mind. The attention the literature gives to the narrator of the Dupin tales is almost universally in terms of the sidekick/narrator figure as a trope of detective fiction; in this way, it seems that Dupin's companion has come to be read in terms of what he has in common with his successors, the Watsons and Archie Goodwins of mystery stories, rather than more strictly on the terms of what makes him unique. This thesis examines the ways in which the narrator alternately highlights (in subtle ways) and attempts to obfuscate (in equally subtle ways) his role as the fictional author of the tales. The narrator's role as writer complicates the reading of Dupin as the autonomous master of his own narrative, and as the narrator himself as a generic, dim-witted sidekick. In this way, Dupin and the narrator occupy flip sides of the same narrative coin—Dupin serves as the showman, and the narrator, the invisible author. As contrasting, complementary doubles of one another, they perform the function of collaborative authors, each one equally essential to the production of the tales. Similarly, this reevaluation of the narrator/sidekick as an author figure brings out ways in which the narrator's genius parallels and matches the genius of Dupin.
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Lehan, James Philip. „A rhetorical aspect of Edgar Allan Poe's short fiction: A reader response approach“. CSUSB ScholarWorks, 1995. https://scholarworks.lib.csusb.edu/etd-project/1217.
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Little, Jean A. „Poe's Entangled Fiction: Quantum Field Theory in "The Colloquy of Monos and Una" and "The Mystery of Marie Rogêt"“. BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/6009.
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When seen among the constellation of Edgar Allan Poe's works culminating in Eureka, "The Colloquy of Monos and Una" and "The Mystery of Marie Rogêt," take on an important role as vehicles for scientific contemplation. Similar to early quantum physicists, such as Einstein and Schrödinger, Poe uses macro-level analogies to explore the unity of individual entities, which becomes an important tenet of his explanation of the universe. His thought experiments also resemble those of modern physics in their approach to reality as probabilistic, an idea that finds its echo in quantum field theory, which distinguishes between observed particles and their underlying existence as vibrations in a field rather than distinct units. In this thesis, I use specific examples from "Monos and Una" to demonstrate that the barrier between individuals blurs when viewed from the perspective of a unified field. I also examine ways that "Marie Rogêt" expands the idea of a unified field in terms of entangled individuals and correlated events, and pushes against the Newtonian deterministic tradition. In the context of Poe's body of work, these stories depart from the aesthetic that characterizes many of his most widely-read stories, in that their exploration of the scientific seems to overtake the narrative. However, their composition, which leaves some readers dissatisfied, expertly comments on the dichotomy between the observed and the real, and the role that narrative plays in interpreting experience.
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Rawlins, Isabel Bethan. „Counting planes“. Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001816.
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This collection of prose-poems and flash fiction, together with a few short stories, shows how romantic relationships colour our perspectives on the world. The collection has echoes throughout of speakers' voices, theme, imagery and tone. There is a narrative logic too, but working on a subtle level of echo and resonance
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Steyn, Herco Jacobus. „Protean deities : classical mythology in John Keats’s ‘Hyperion poems’ and Dan Simmons’s Hyperion and The fall of Hyperion“. Diss., 2011. http://hdl.handle.net/10500/4908.
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This dissertation concurs with the Jungian postulation that certain psychological archetypes are inclined to be reproduced by the collective unconscious. In turn, these psychological archetypes are revealed to emerge in literature as literary archetypes. It is consequently argued that science fiction has come to form a new mythology because the archetypal images are displaced in a modern, scientific guise. This signifies a shift in the collective world view of humanity, or a shift in its collective consciousness. It is consequently argued that humanity’s collective consciousness has evolved from mythic thought to scientific thought, courtesy of the numerous groundbreaking scientific discoveries of the past few centuries. This dissertation posits as a premise that Pierre Teilhard de Chardin’s supposition of humanity’s collective consciousness evolving towards what he calls the Omega Point to hold true. The scientific displacement of the literary archetypes reveals humankind’s evolution towards the Omega Point and a cosmic consciousness.English Studies
M.A. (English)
Bücher zum Thema "Poets, english – fiction"
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Sebastian, A. J. Critical essays on Naga poets & fiction writers in English. Kohima: Don Bosco College, 2016.
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Lithgow, John. The Poets' Corner. New York: Grand Central Publishing, 2007.
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1930-, Pinter Harold, Godbert Geoffrey und Astbury Anthony, Hrsg. 100 poems by 100 poets: An anthology. New York: Grove Press, 1987.
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Ackroyd, Peter. Chatterton. Moskva: Agraf, 2000.
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Bojarska, Anna. Biedny Oskar, czyli, Dwa razy o miłości. Warszawa: TCHU, 2003.
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The temple. New York: Grove Press, 1988.
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His arms are full of broken things. London: Viking, 1997.
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Parris, P. B. His arms are full of broken things. London: Penguin, 1998.
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Memoirs of a master forger. London: Gollancz, 2008.
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Anthony, Burgess. Abba Abba. London: Faber, 1987.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Poets, english – fiction"
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Sloistova, Maria S. „Edmund Gosse and the History of English Classical Poetry:Science or Art?“ In “The History of Literature”: Non-scientific sources of a scientific genre, 487–98. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-487-498.
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The present paper focuses on the history of the rise of classical poetry in the17th century England by Edmund Gosse, the outstanding British 19th century critic, writer and poet. The author aims at analyzing Gosse’s work as a scientific monograph, on the one hand, and fiction, on the other hand. In his history of the rise of English classical poetry Gosse sheds light upon the life and work of twelve poets: E. Waller, J. Denham, W. Davenant, A. Cowley, S. Godolphin, J. Cleveland, R. Wild, W. Chamberlayne, T. Stanley, H. Vaughan, A. Marvell, J. Dryden. The paper deals with the scientific methods used by Gosse in his work and its fictional elements such as his personal point of view, a variety of stylistic devices, etc. The author of the present paper draws a conclusion on the combination and interaction of a work of science and that of fiction in Gosse’s book.
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Haltrin-Khalturina, Elena V. „From the English Renaissance Literary History: Sherry, Puttenham, Spenser, and Shakespeare on Fictions“. In “The History of Literature”: Non-scientific sources of a scientific genre, 132–58. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-132-158.
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A survey of academic histories of literature published in the 19th and 20th centuries in different countries reveals that, while thoroughly covering the English Renaissance poetics, the scholarship allows for a variety of views on Tudor literary theory and on what constitutes literary canon. Considering this variety of views, we also have to be aware of two different perspectives on the large body of literary art of the 16th-century: the present-day and the Elizabethan. Drawing on a substantial number of sources, we offer a general account of influential theoretical (poetological and rhetorical) works known in the 16th-century Great Britain, including those written in English. Also of note are educational treatises, “mirror” literature, and metaliterary comments withing literary works. Authors of those treatises used to interpret fiction as something feigned, counterfeit — an attitude informing ludic passages in Spenser and Shakespeare. Whereas the techniques of fashioning fictions by way of employing figures of feigned/counterfeit representation were addressed in detail by such critics as R. Sherry and G. Puttenham, the poets — Spenser and Shakespeare — seemed to be testing these techniques in practice. Our study pays particular attention to methods used by Spenser and Shakespeare when creating simulated, fictional reality.
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Wilkinson, Ben. „Coda: 40 Sonnets (2015) and Zonal (2020)“. In Don Paterson, 115–20. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800855373.003.0008.
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The Coda summarises the book’s findings by reiterating the stylistic developments of Paterson’s poetry to date, alongside its increasingly sophisticated realisation of poetry as a unique mode of knowledge. It argues that Paterson’s achievement in Rain is to have produced poems that clearly distinguish poetry from other modes of intellectual enquiry, infusing both thought and feeling in a more openly intuitive means of improvising truth. The Coda then turns to examine Paterson’s further experimentation with the sonnet form in his seventh collection, 40 Sonnets, arguing that the book cements Paterson’s standing as one of the most significant English-language poets currently writing, who shows that poetic form is precisely what you make of it. The Coda concludes by briefly addressing Paterson’s eighth volume, Zonal (2020), an experiment in science fiction and fantastic autobiography.
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Kopley, Emily. „A Room of One’s Own, Woolf’s “little book on poetry”“. In Virginia Woolf and Poetry, 107–35. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198850861.003.0004.
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In several essays concurrent with her major experimental works of the 1920s, Woolf proclaims that the novel will usurp the tools and the place of poetry. Most important among these essays is the book-length A Room of One’s Own (1929). Here Woolf identifies the lack of poet foremothers available as models to women writers. She urges young women to fill this gap by writing not poetry per se, but rather prose whose greatness qualifies it as “poetry.” Woolf wants to gain for prose, and by extension women writers, the prestige historically accorded to verse. This chapter sketches the historic link among English Studies, poetry, and patriarchy. This link contributed to Woolf’s vision of the novel as the democratic, feminist alternative to poetry. It also spurred her subtle challenge in A Room of One’s Own to Sir Arthur Quiller-Couch, who had doubted women’s ability to write poetry. This chapter concludes by considering the real women poets who inspired Woolf’s fiction of Judith Shakespeare.
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West, John. „‘A great Romance feigned to raise wonder’“. In Stuart Succession Literature, 114–31. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198778172.003.0007.
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Historians have recently explored afresh the conflict and uncertainty surrounding the succession of William and Mary of Orange to the English throne. But literary criticism has offered relatively little analysis of its poetry. This chapter sets examples of verse panegyric on the succession alongside pamphlet literature, particularly focusing on a neglected succession poem by Elkanah Settle. The chapter argues that imagery of literature—poetry, fiction, and romance—in pamphlet polemic registered an understanding of the succession as an event that was either a remarkable true fiction or an illegal fabrication. This alignment of literary invention and constitutional innovation affected panegyric negatively because poets were unable or unwilling to use the form to offer advice to the new regime. A reading of A View of the Times by Settle shows a novel though ultimately frustrated attempt to retrieve for panegyric a role in shaping rather than merely reflecting contemporary politics.
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Wright, Julia M. „‘How Mute their Tongues’: Irish Gothic Poetry in the Nineteenth Century“. In Irish Gothic, 46–62. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399500555.003.0003.
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This chapter begins by considering the lack of a canon of Irish Gothic verse as an effect of two scholarly occlusions—a focus on the nation in nineteenth-century Irish poetry, and an emphasis on prose fiction in discussions of nineteenth-century Gothic literature. Both reinforce the elite status of poetry, as in the British canon where Gothic poetry is typically only allowed to slide in on the coat-tails of canonical poets. This chapter proposes a body of Irish Gothic poetry, that, like the English Gothic, begins with Thomas Gray’s “Elegy Written in a Country Churchyard” (1751), but launches a very different graveyard tradition that draws on concerns about national sovereignty and the silencing of poets. That tradition begins with iterations of Gray, but then mixes with Irish, Germanic, and Nordic folklore to develop a more broadly northern European Gothic while remaining centered on burial and the graveyard, on through into prison poetry in the second half of the century. This Irish Gothic verse tradition is dominated less by supernatural tropes than by dehumanising gestures. The chapter refers to a wide range of verse, but focuses on poetry by Thomas Dermody, James Orr, William Drennan, Thomas Moore, James Clarence Mangan, Jane Wilde, Dora Sigerson, and Oscar Wilde.
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Tang, Yan. „Ye Si (也斯) (1949–2013)“. In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2039-1.
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Leung Ping-kwan, MH (pen name: Ye Si) was an influential writer, essayist, and scholar in Hong Kong. He became a freelancer in the 1960s, and later obtained his Bachelor’s degree in English at Hong Kong Baptist University. In 1978, he was admitted to the Department of Comparative Literature at the University of California, San Diego. He completed the doctoral degree in 1984. His dissertation is entitled ‘Aesthetics of Opposition: A Study of the Modernist Generation of Chinese Poets, 1936–1949’. After returning to Hong Kong, he taught in the Department of English Studies and Comparative Literature at the University of Hong Kong. In 1998, he became a professor in the Chinese Department at Lingnan University in Hong Kong. Later on, he worked as the Director of the Centre for Humanities Research at Lingnan University, teaching film, comparative literature, and modernism among other subjects. As a prolific writer and scholar, he has published fiction, poetry, essays, as well as academic works on films, comparative literature, Chinese modernism, and literature in Hong Kong. He died on 5 January 2013.
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Hyman, Wendy Beth. „Poetry and Matter in the English Renaissance“. In Impossible Desire and the Limits of Knowledge in Renaissance Poetry, 27–52. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198837510.003.0001.
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Chapter 1, “Poetry and Matter in the English Renaissance” traces the crucial relationship between poetics and philosophical materialism in the early modern period, explaining why erotic verse so readily lent itself to confronting questions about the nature of being and of knowledge. This chapter shows that for Renaissance poets—informed by Lucretius’ great analogy between atoms and alphabetic letters—there is poetic form in elemental matter. The writing of poetry was therefore often understood as a physical practice, while poetry itself was understood as ontologically complex and efficacious. As terms such as “figuration” reveal, poetic making has both metaphorical and literal elements, which come especially to the fore in the ubiquitous blazons depicting the face of the beloved. Within the syntax of materialist poetics, foretelling the decay of the love object is therefore tantamount to a kind of deconstruction or unmaking—making poetry actually “do” the work of time. Multiple traditions, from Aristotelian hylomorphism to idealizing Petrarchism, had prepared the way for the female body to function as a proxy for embodied matter which poets could “figure,” “make,” or “undo.” This chapter presents the object of erotic poetry becoming just that: a fictional construct subjected to the recombinatory shaping of the godlike poet. As later chapters will develop, the paradoxical loneliness of the carpe diem invitation emerges from this troubling strategy, for it is an invitational form addressed to an entity it has forever exiled as metaphysically other. This chapter thus provides both a theoretical framework and historical background for the project’s larger claims.
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Loksing Moy, Olivia. „The Cloistered Cleric: Confessional, Confinement, and Hopkins’s Poetics of Wavering“. In The Gothic Forms of Victorian Poetry, 210–57. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474487177.003.0005.
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This chapter unifies Gothic tropes of the preceding three chapters (overhearing, the thrall of confinement, and fluctuating bodies) by considering the private writings of G.M. Hopkins. Hopkins’s poems voice the harrowing celebration of violence and the suffering of religious bodies, from priests to nuns. He literalizes the cloister as a site of trauma through the trappings of Catholic life. Read against the anti-Catholic subtext of 1790s Gothic novels and their caricatures of the Inquisition, Hopkins transforms the exaggerated, fictional Gothic figure of the foreign evil monk in British nineteenth-century literature by instead bringing home the real-life experience of an English Catholic priest. His spiritual, devotional verses in fact recruit and embody Gothic literary forms to convey the convergence of his English identity and Catholic faith. Reading Hopkins in such a way both reveals and overturns the powerful anti-Catholic stereotypes that Victorian poetry inherited from Gothic fiction.
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Shishkova, Irina A. „Mary Shelley’s “Frankenstein” and the Topos of an Artificial Body in Peter Ackroyd’s Novel “The Casebook of Victor Frankenstein”“. In Artificial Body in the World Intellectual and Artistic Culture, 300–316. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0719-9-300-316.
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The article is devoted to the creation of Mary Shelley’s novel “Frankenstein, or the Modern Prometheus” which has been enjoying scholars’ attention in various fields of knowledge for more than 200 years. This work will evaluate the degree of influence popular science fiction books, read by the great English poets, Shelley and Byron, as well as Mary Shelley herself and her sister Claire Clairmont, had on the plot development of the novel in question (Villa Diodati, 1816, Switzerland). In the process of research, it was revealed how a nineteen-year-old woman could create such a complex work, and which scientists, besides Erasmus Darwin, served as prototypes of the protagonist. It is argued that such a highly intellectual author as Mary Shelley was aware of the latest achievements of European science of her time as well as of those positive-negative factors of it that were inevitably brought to the life of society. The author of the article focuses on the fact that Mary Shelley’s youthful passion for gothic novels affected themes, motifs and the system of images of her “Frankenstein”. In addition, this paper examines the functioning features of an artificial body topos in Peter Ackroyd’s novel “The Casebook of Victor Frankenstein” (2008). If Mary Shelley did not describe in detail the process of inanimate matter resuscitation, then in “The Casebook of Victor Frankenstein” Peter Ackroyd paid close attention to this when depicting everyday activities of a scientist who is unable to curb his own pride and envy of others’ success.
Konferenzberichte zum Thema "Poets, english – fiction"
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Pilar, Martin. „EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE“. In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s28.06.
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The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
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Pilar, Martin. „EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE“. In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s10.06.
Der volle Inhalt der QuelleAnnotation:
The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.