Relevant bibliographies by topics / Accessible poetry

Academic literature on the topic 'Accessible poetry'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Accessible poetry"

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Neira-Piñeiro, María del Rosario. "Children as Implied Readers in Poetry Picturebooks: The Adaptation of Adult Poetry for Young Readers." International Research in Children's Literature 9, no. 1 (July 2016): 1–19. http://dx.doi.org/10.3366/ircl.2016.0179.

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This article analyses Spanish poetry picturebooks for children and young adult readers based on adult poetry. It argues that the main changes that occur in the adaptation process involve the paratexts and literary communication, while the pictures play a prominent role in the creation of the new implied reader. The illustrations transform the original poems in many ways: they can describe, represent the poetic voice, add a story, introduce visual imagery or guide interpretation among other things. Finally, the article examines the pedagogical implications of these picturebooks and argues that they are a good resource for literary education, as they make great literature more attractive and accessible for children and young adults.
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Vydrin, Eugene. "Accessible Utopia: Animating Mimicry in Stevens's Theory of Poetry." Wallace Stevens Journal 42, no. 2 (2018): 191–206. http://dx.doi.org/10.1353/wsj.2018.0022.

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Abdullahi, Kadir Ayinde. "Poetic Style and Social Commitment in Niyi Osundare’s Songs of the Marketplace." Human and Social Studies 6, no. 2 (June 1, 2017): 73–83. http://dx.doi.org/10.1515/hssr-2017-0015.

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Abstract This essay studies some of the poetic devices employed by Osundare to project social commitment and vision in Songs of the Marketplace. It examines how the poet’s deployment of style makes his poetry more accessible to a larger audience than that of his predecessors. Like the oral traditional performance, his poetry employs rich Yoruba oral literary devices in a way that is unique and glaringly innovative. Osundare’s radical poetic style has a clearly defined concept and role. It is also central to the resolution of the polemics of governance and politics in society. The pervasive theme of the collections remains a serious concern for hope out of the decadent situation that has eaten deep into the fabric of our social existence.
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Roling, Bernd. "Victorious Virgin: Early Modern Mary Epics between Theological-Didactical and Epic Poetry (Virgo Victrix: Frühneuzeitliche Marienepik zwischen theologischem Lehrgedicht und Epos)." Daphnis 46, no. 1-2 (March 15, 2018): 30–64. http://dx.doi.org/10.1163/18796583-04601012.

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This paper deals with a neglected subgenre of biblical poetry, namely with epic poems on the life of the Blessed Virgin. After an introduction into the poetic treatment of Mary in early modern latin poetry in general, one single epic poem is discussed in detail, the Mariados libri tres of the Italian-German scholar Giulio Cesare Delfini. As it will be demonstrated, Delfini’s poem included long explanations of medico-theological problems, like the digestion of the Divine Virgin or her intellectual skills, which the poet treated in addition in separate glosses. As result the poem presents itself as hybrid between didactic and epic poetry. In addition the study contains as an Appendix a list of (approximately) all accessible Latin poems, written between 1550 and 1650, on the incarnation and birth of Christ.
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Patzner, Claire. "Tawara Machi’s Bisymmetrical Self." Columbia Journal of Asia 1, no. 2 (December 9, 2022): 37–42. http://dx.doi.org/10.52214/cja.v1i2.10137.

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Tawara Machi is one of the most famous contemporary Japanese poets after the success of her collection of poetry titled Salad Anniversary. This collection of poetry utilized vivid imagery of everyday activities and revitalized the traditional Japanese tanka poetic form. While literary critics often view her poetry as anti-feminist writing that relies heavily on the “waiting woman” trope popularized by early tanka poetry, I argue that her work is multi-dimensional and expands on this trope. Although her writing involves more passive feminism than famous Japanese feminist poets such as Hiromi Itō, it should not be dismissed as docile or unprogressive. Critics also claim her poetry is flat and one note, likely due to its accessible language and short format. However, I believe that her poems are more layered than one might think and that critics should re-examine her work, despite its overwhelming mainstream popularity. In this short essay, I analyze a selection of Tawara’s poems from her collection Salad Anniversary and prove their duality and nuance.
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Elliott, Jackie. "Early Latin Poetry." Brill Research Perspectives in Classical Poetry 2, no. 4 (March 30, 2022): 1–131. http://dx.doi.org/10.1163/25892649-12340006.

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Abstract This analysis explores aspects of the extant fragmentary record of early Roman poetry from its earliest accessible moments through roughly the first hundred and twenty years of its traceable existence. Key questions include how ancient readers made sense of the record as then available to them and how the limitations of their accounts, assumptions, and working methods continue to define the contours of our understanding today. Both using and challenging the standard conceptual frameworks operative in the ancient world, the discussion details what we think we know of the best documented forms, practitioners, contexts, and reception of Roman drama (excluding comedy), epic, and satire in their early instantiations, with occasional glances at the further generic experimentation that accompanied the genesis of literary practice in Rome.
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Blake, Jason. "On Philip Larkin's poetry." Acta Neophilologica 34, no. 1-2 (December 1, 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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Dias, Patrick. "Commentary: How and Why Does Poetry Matter? And What Do We Do About That?" LEARNing Landscapes 4, no. 1 (April 1, 2010): 21–27. http://dx.doi.org/10.36510/learnland.v4i1.357.

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While there is a long and widely held belief that poetry matters and is a necessary component of the school curriculum, such convictions are at odds with the way poetry is taught and the general antipathy that students, especially in secondary school, hold towards it. Such disregard is well established among most school teachers who have been similarly schooled and consequently distrust their own competence as readers of poetry and unwittingly perpetuate such insecurity. Teachers need to act with some urgency to determine why poetry is such a valuable cultural and social good, and consider the easily accessible means by which poetry can be enthusiastically embraced by their pupils.
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Zou, Luwei. "Creative Heritage of A.S. Pushkin in the Literary Courses of Chinese Schools and Universities." Philology & Human, no. 4 (December 3, 2022): 179–83. http://dx.doi.org/10.14258/filichel(2022)4-13.

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The article is devoted to the creative heritage of A.S. Pushkin in the practice of teaching literature in China. In modern Pushkin studies, the teaching of the poet's works in the literary courses of schools and universities has not been given enough attention, and the study of the practice of teaching his poetic, prosaic and dramatic works in China is being carried out for the first time. Based on the information collected in the article, it was revealed that Pushkin's teaching in Chinese educational institutions took place in several stages. This allows us to trace the evolution of the study of topics, issues, and the ideological content of the poet's works included in the curriculum. At the turn of the 20th-21st centuries. Chinese primary and middle school students are accessible to Pushkin's poetic works, while they are often asked to compare similar images in Chinese poetry and Pushkin, and there covers all genres and all the main topics of the poet's work in teaching practice in Chinese universities. The article also reveals an interesting trend in Pushkin's teaching – the actualization of those facets of his heritage that help to comprehend modern times.
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Kozlov, Vladimir I., and Oksana S. Miroshnichenko. "RUSSIAN POETIC CANON: READERS’ VIEW." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 7, no. 3 (September 1, 2022): 72–83. http://dx.doi.org/10.18522/2415-8852-2022-3-72-83.

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The article analyses the survey on Russian poetic canon conducted by the Prosodia Poetry Media in 2021. The results of the survey help to deal with the general doubts about the very necessity to raise this topic today, and applicability of the concept itself. The survey, which comprises more than 20 questions, revealed different stands of the general readers, students, and experts, as well as poets themselves in their attitude to the established poetic canon, to its scope and range, to the question of who and how replenish it, and to the ways of its popularization. According to two thirds of respondents, the Russian poetic canon is limited to the names of one hundred poets. Among the criteria for particular poets belonging to canon, the respondents put forward recognition in the community of poets, and only then – among contemporaries and scholars. It was also allowed to the respondent to offer his/her own list of names of poets meant to be in the canon. At the same time, the majority of the respondents are still ready to entrust the compilation of the poetic canon to knowledgeable poetry experts. It is quite obvious that the canon is meaningful for readers, moreover, its popularization and professional study make it more accessible for the audience, which longs for getting acquainted with the heritage of Russian poetry.
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Dissertations / Theses on the topic "Accessible poetry"

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Turley, Paul. "The Poetic Invitation Exploring manifold experience in easy poems." Thesis, 2018. http://hdl.handle.net/2440/120156.

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Poetry can sometimes be seen as a difficult art form available or of interest only to those who are willing to understand complex illusions and arcane language. However there are poems, that I call easy, that offer themselves to prospective readers in simple and straightforward language. I argue that while easy poems offer little resistance to the reader’s initial engagement with the text, they are as multi-layered and complex as ‘hard’ poems. This exegesis explores how a poem can be hard or easy and how easy poems can be explored seeking richness and manifold experience.
Thesis (MPhil) -- University of Adelaide, School of Humanities, 2019
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Books on the topic "Accessible poetry"

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Whitman, Walt. Cao ye ji. Beijing: Ren min wen xue chu ban she, 1987.

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Whitman, Walt. Leaves of grass: The first (1855) edition. New York: Penguin Books, 2005.

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Whitman, Walt. Hojas de hierba. Buenos Aires: Longseller, 2002.

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Whitman, Walt. Leaves of grass. New York: Modern Library, 1993.

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Whitman, Walt. Leaves of grass: The original 1855 edition : bold-faced thoughts on the power and pleasure of self-expression. New York: Sterling Pub., 2010.

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Whitman, Walt. Hojas de hierba. [Madrid]: [Espasa], 1999.

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Whitman, Walt. Leaves of grass. Oxford: Oxford University Press, 1990.

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Whitman, Walt. Leaves of grass. Oxford: Oxford University Press, 2008.

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Whitman, Walt. Leaves of grass. New York: New American Library, 2000.

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Whitman, Walt. Leaves of Grass. Waiheke Island: The Floating Press, 2009.

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Book chapters on the topic "Accessible poetry"

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Pulec, Jiří. "Robert Konečný a jeho písemná pozůstalost v univerzitním archivu." In Filosofie jako životní cesta, 73–87. Brno: Masaryk University Press, 2019. http://dx.doi.org/10.5817/cz.muni.p210-9458-2019-4.

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In January 2018, Masaryk University archives obtained an extensive written estate of Robert Konečný (1906–1981), an associate professor of philosophy and professor of psychology at Masaryk University, the pioneer of health-care psychology in Czechoslovakia, a poet and author, and a major figure of resistance to Nazism. Robert Konečný’s personal files, which belong among the best preserved items in the university archives, were organized and made accessible during 2018. Extensive correspondence mainly includes collections of letters from key figures of Czech literature, philosophy and psychology. A remarkable part of the estate consists of texts of Konečný’s lectures and speeches as well as documents on his educational activity in radio and television broadcasting. The files also represent a valuable source for the study of resistance to Nazism in Moravia. An extensive set of manuscripts, typescripts and prints from the fields of psychology, philosophy and literature can serve as a basis for the preparation of Konečný’s bibliography.
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Trousdale, Rachel. "“Tell me the Truth”." In Humor, Empathy, and Community in Twentieth-Century American Poetry, 40–66. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192895714.003.0002.

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Auden’s late-thirties light verse and serious poetry use humor to construct a community of readers and fellow-poets. His humor and his poetics are programmatically anti-Fascist, rejecting the notion of the poet as “exceptional person” and treating literary tradition as potentially malleable and inclusive. For Auden, humor is both individuating and a way to identify like-minded people; more unusually, when it is based on potentially accessible literary knowledge, it also invites outsiders to join the poet’s community. Humor and laughter turn out to provide ways to extend the profound, life-changing intersubjectivity of love—the empathy we feel for our beloved—to a community beyond the dyad of lovers.
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Izenberg, Oren. "How to Know Everything, Oren Izenberg." In The Poetry of Emily Dickinson, 83–107. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190651190.003.0004.

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Poetry’s critics and defenders have tended to agree that whatever the achievements of the art may be, knowledge (in the “ordinary” philosophical sense) is not among them. This chapter mounts a defense of the epistemic ambitions of Emily Dickinson’s poetry. It offers an extended comparison between Dickinson’s poetry and the “Cosmoscope,” the imaginary tool offered in David Chalmers’s Constructing the World. The Cosmoscope allows Chalmers to consider what basic truths would be required to make an entire universe of truths accessible to reason. By highlighting the parallels between Chalmers’s basic classes of truth and Dickinson’s recurrent poetic emphases on descriptive precision, phenomenological sensitivity, formal indexicality, and thematic totality, the chapter aims to show that Dickinson understands her poems as assays in knowledge seeking within a knowable world—and to suggest that we should evaluate them accordingly.
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Jahanbegloo, Ramin. "Tradition and Innovation." In Talking Poetry, 87—C22.P6. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192869180.003.0023.

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Abstract In literature or visual arts, classical or no classical, the number of people who are interested in these things is limited. Democracy, unfortunately, levels everything. The claims of popularity are forever pitched against the claims of significance. Importance of complexity in a certain sense is marginalized. The popular becomes accessible. Even the classical music is also sometimes tempted to do that. After all, the classical is music through sound and film and other forms of music are also music through sound. In India, tradition and change have never been seen as a binary. In India change is located within tradition rather than outside tradition, seldom separately.
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Mattison, Mike, and Ernest Suarez. "The Origins of Poetic Song Verse." In Poetic Song Verse, 15–44. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496837271.003.0002.

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This chapter considers how verse practices associated with blues-based poetry and music during the first half of the twentieth century helped set the stage for understanding the larger synergy between poetry and rock. The blues’ and the new American poetry of the 1950s and 1960s shared a sense of (sometimes jolting) authenticity that appealed to Bob Dylan and other young songwriters. The chapter discusses how several basic elements in blues music and contemporary poetry combined to make the blues an effective mechanism for poetic expression. Poetry’s turn towards more accessible language and the blues’ origins in the sound of the human voice—as well as each genre’s emphasis on the confessional, the local, and the fantastic—helped rock absorb poetic language and techniques and provided a catalyst for Dylan and others to change rock into a more lyrically and sonically sophisticated art form.
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Wickham-Smith, Simon. "Didactic Poetry of Danzanravjaa." In Sources of Mongolian Buddhism, 190–204. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190900694.003.0009.

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The work of the nineteenth-century monk, poet, and scholar Danzanravjaa (1803–1856) offers a philosophically profound, yet imagistically accessible, teaching on Buddhist practice. In presenting the central ideas of Buddhism in the language of the nomadic herders among whom he lived, Danzanravjaa communicated the experience of meditation, of cause and effect, and of the important social effects of spiritual practice, in the language of travel, landscape, and the natural world. Danzanravjaa’s approach, both to Buddhism and to his students, is reflected today in the renewed popularity of his work.
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Johnson, Thomas H., Matthew DuPee, and Wali Shaaker. "The Afghans’ and Taliban’s Use of Poetry and Taranas1." In Taliban Narratives, 107–70. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190840600.003.0007.

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Poetry has long been a central pillar of Afghan Literature and the Taliban have used it extensively in their IO campaign. Poetry is important to the Taliban and Afghans in general because it is essentially a spoken, not written art, so it accessible to the illiterate, especially rural Afghan population. The chapter examines a wide variety of Taliban poetry and also poetry written by those sympathetic to the Taliban. Each poem also includes an explanation of the story associated with it. An analysis of Taliban poetry to those of moderate Afghan poets. The chapter also focuses on 8 or poetic chants that have traditionally played an important role in the communication of local afghans. Numerous chants and their associated stories are examined that often reflect the manipulation by the Taliban of Afghan traditions, narratives, collective memory of events, and culture. These chants focus on themes such as: Taliban victory is inevitable, Islam can never be defeated, the Taliban are national heroes, Afghans have a long history in defeating invading foreign “infidels”, and all Afghans have an obligation to join the jihad to defeat invaders and apostates.
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Attridge, Derek. "Classical Greece to Ptolemaic Alexandria: Writers and Readers." In The Experience of Poetry, 55–82. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198833154.003.0004.

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When the Phoenician alphabet was adapted for use in Greece remains a matter of debate, but the impact of writing on poetry appears most clearly around the end of the sixth century BC when papyrus rolls became more common. However, it was not until the establishment of Alexandria as a major centre of Greek culture in the later fourth century that the reading of poetry on the written page became the norm. This chapter focuses on the experience of poetry in Alexandria in this period. With the loss of the musical dimension of Greek lyric, poetry became more exclusively a matter of the speaking voice, and the epigram became a favoured genre. The extensive collection of papyrus rolls in the Library of Alexander made the work of earlier writers accessible and encouraged highly allusive verse. These qualities are best demonstrated in the poetry of Callimachus, one of whose poems is discussed as an example of the dramatic recreation of performance in a work designed to be read.
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Hills, David. "The Uses of Obstruction, David Hills." In The Poetry of Emily Dickinson, 145–81. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190651190.003.0006.

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It is said that metaphor and other forms of figurative language exist to afford people an access they otherwise lack to objects they are eager to understand. In two important poems Dickinson stands this familiar conception on its head, suggesting that figures of speech exist to obscure, obstruct, and soften our view of objects that are entirely too accessible already. This view of metaphor’s work comes as a surprise, given Dickinson’s reputation for vehemence, bluntness, and imagistic violence. This chapter explores Dickinson’s professed motives for metaphor, puts them to work in the interpretation of representative poems, and reflects on their relation to familiar structural features of her work: the hymn forms, the telegraphic diction, the slant rhymes, the dashes.
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Trousdale, Rachel. "Laughter and Knowledge in Contemporary Poetry." In Humor, Empathy, and Community in Twentieth-Century American Poetry, 219–52. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192895714.003.0008.

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Twenty-first-century poets use humor to examine and convey different kinds of knowledge—cultural, scientific, and emotional. Laughter in the work of poets like Raymond McDaniel, Stephanie Burt, Cathy Park Hong, Albert Goldbarth, Kim Rosenfield, Jamaal May, Patricia Lockwood, and Lucille Clifton prompts us to examine competing epistemologies. These poets examine how we exchange the material of laughter, and expose the ways that affective responses can determine what we think we know. They show how laughter can re-shape our sense of canons and render unfamiliar material accessible, expanding our literary knowledge and the sympathetic capacities that knowledge carries with it. They demonstrate how laughter breaks down categories like “science” and “literature,” expanding the kinds of knowledge that we value as “fact.” At the same time, they warn that laughter’s power to heal trauma or mediate other minds is limited, and that we should not trust humorous insights too far.
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