Relevant bibliographies by topics / Armitage, Simon

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Academic literature on the topic 'Armitage, Simon'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Armitage, Simon"

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Jordán Enamorado, Miguel Ángel, and Paula Villalba Pérez. "Simon ARMITAGE, «Esto es uno que…»." Hermēneus. Revista de traducción e interpretación, no. 22 (February 5, 2021): 567–71. http://dx.doi.org/10.24197/her.22.2020.567-571.

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Simon Armitage es un reconocido poeta, novelista y dramaturgo inglés, nacido en Marsden (West Yorkshire) en 1963. Tras estudiar la carrera de Geografía, realizó sus estudios de posgrado en la Universidad de Mánchester, que culminaron con su tesis de máster sobre los efectos de la violencia televisiva en los delincuentes jóvenes. Hasta 1994 trabajó como agente de libertad condicional en Mánchester. Actualmente enseña poesía en la Universidad de Oxford. Para algunos, Armitage es la cara moderna, accesible e insoportable de la poesía, ya que su estilo combina los juegos de palabras, la jerga, la inmediatez y el ingenio sarcástico. Estas características son fácilmente reconocibles en su prolífica y variada producción literaria, que cuenta con títulos rápidos y enérgicos como «Zoom!» o «Kid», obras que reflejan el universo escolar y ponen de manifiesto lo que parece haberse convertido en uno de los objetivos principales de Armitage, acercar la poesía al gran público, evitando que se convierta en un producto minoritario o exclusivamente académico. Por esta razón, la poesía de Armitage aborda temas cotidianos y universales. Por ejemplo, los poemas recogidos en the Dead Sea Poems (2001) versan sobre diversos aspectos del ser humano, tales como las creencias, la confianza, la identidad y el autoconocimiento. Algunos de los textos que encontramos en esta colección, como «I say, I say, I say», sobre el que hablaremos en el siguiente apartado, ofrecen una imagen realista y conmovedora del mundo contemporáneo, dotándola de una gran intensidad imaginativa.
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Thain, Marion. "AN 'UNCOMFORTABLE INTERSECTION': THE MEETING OF CONTEMPORARY URBAN AND RURAL ENVIRONMENTS IN THE POETRY OF SIMON ARMITAGE." Worldviews: Global Religions, Culture, and Ecology 5, no. 1 (2001): 58–79. http://dx.doi.org/10.1163/156853501750191580.

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AbstractSimon Armitage defines his own position as a poet as on the border where urban and rural environments meet. I explore how the influence of this geographical location can be traced in Armitage's poetry, both in its content, and in its form. The paper ends with a consideration of Armitage's hybrid poetic voice and how this too reflects a borderland identity.
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Rob Roensch and Quinn Carpenter Weedon. "“Swimming through Bricks”: A Conversation with Simon Armitage." World Literature Today 91, no. 5 (2017): 24. http://dx.doi.org/10.7588/worllitetoda.91.5.0024.

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Tiep Looi, Siew. "Review of Simon Armitage, Pearl: A New Verse Translation." Southeast Asian Review of English 55, no. 1 (July 3, 2018): 103–9. http://dx.doi.org/10.22452/sare.vol55no1.15.

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Bourguignon, Tom. "Sir Gawain and the Green Knight by Simon Armitage." Comitatus: A Journal of Medieval and Renaissance Studies 39, no. 1 (2008): 322–24. http://dx.doi.org/10.1353/cjm.2008.0042.

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Teterina, Liliya. "ОN ONE FORM OF POETOLOGICAL REFLEXIVITY IN LYRICS OF GILLIAN ALLNUTT, CAROL ANN DUFFY, SIMON ARMITAGE." English and American Studies 1, no. 17 (December 22, 2020): 124–30. http://dx.doi.org/10.15421/382021.

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The aim of this paper was to consider one form of poetological reflexivity connected with the interaction of poetry with non-poetic discourses in the context of contemporary culture. Poetological reflexivity is understood here as foregrounding in poetry author’s contemplations dealing with the creative process, including such philological aspects as aesthetic criteria, normative cannons, relationship with the art of predecessors, interpretation of language expressive means, stylistic devices, poetic techniques (meter, rhyme, stanza, rhythmic modifiers) and others, incorporated into the texture of a poem. Such poems are often referred to as «metapoetic lyrics» or «metapoetry». Three poems by Gillian Allnutt, Carol Ann Duffy and Simon Armitage were analyzed from the point of view of language signs actualizing authors’ reflexivity concerning the relationship between poetic and non-poetic discourses. This problem, which has always been in the center of poets’ attention became especially acute today in the context of expanding mass media. The analysis of the poems revealed verbal and nonverbal markers of their authors’ reflexivity connected with the use of language means and discourse strategies of nonfiction registers, which appeared to be a productive resource for enrichment of poetic speech. These markers manifest themselves in a different way however all of them can be coordinated with their metapoetic function – expression of their authors’ understanding of poetry specifics.
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Gavins, Joanna, and Peter Stockwell. "About the heart, where it hurt exactly, and how often." Language and Literature: International Journal of Stylistics 21, no. 1 (February 2012): 33–50. http://dx.doi.org/10.1177/0963947011432052.

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Stylisticians were among the first to draw on the insights emerging from cognitive science in order to explore literary works. Recent years have witnessed a wider diffusion of the cognitive turn across literary scholarship, with developments into literary cultural studies and historiography. Unfortunately, this has sometimes been accompanied by a relative neglect of textuality and texture. In this article, we argue again for the necessary centrality of stylistics in literary scholarship, and the continuing requirement to make textuality an integral part of cognitive poetic exploration. We demonstrate the value of Text World Theory ( Gavins, 2007a , Werth, 1999 ) in requiring this integration as an inherent feature of the approach, in the process of exploring reading responses to an emotionally involving poem by Simon Armitage.
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Hélie, Claire. "“It’s my voice; that’s how I speak”: The Rhythms of Northern English in the Poetry of Simon Armitage." Études britanniques contemporaines, no. 39 (December 12, 2010): 157–70. http://dx.doi.org/10.4000/ebc.2817.

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Quinn, William A. "Anonymous. Pearl: A New Verse Translation. Translated by Simon Armitage. New York & London: Liveright (Norton), 2016. 153 pp." Translation Review 101, no. 1 (May 4, 2018): 65–69. http://dx.doi.org/10.1080/07374836.2018.1478503.

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Whiteley, Sara. "Talking about ‘An Accommodation’: The implications of discussion group data for community engagement and pedagogy." Language and Literature: International Journal of Stylistics 20, no. 3 (August 2011): 236–56. http://dx.doi.org/10.1177/0963947011413562.

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Community engagement is an important area of development both generally in Higher Education English departments and also in the disciplines of stylistics and cognitive poetics. Though claiming to be concerned with ‘real readers reading literature in the real world’ (Stockwell, 2002: 8), cognitive poetic and stylistic analyses could be biased towards the reading practices of academics (Miall, 2006). As a result, it is becoming increasingly popular for stylisticians to use empirical methods to investigate readers other than the analyst in their discussion of literary effect (e.g. Burke, 2010; Stockwell, 2009; Whiteley, 2011). This article examines extracts from group discussion data collected as part of the ‘Creative Writing in the Community’ project at the University of Sheffield. Five groups of readers were recorded discussing poems by contemporary British poet Simon Armitage. The groups consisted of cognitive poetic researchers, first-year undergraduate English students, and local reading groups respectively. I examine the style and content of their discussions in the light of existing research into the distinctions between ‘professional’ and ‘non-professional’ readers, and consider what the similarities and differences between their discourse could signal for university departments’ engagement with readers both within and outside of the classroom.
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Dissertations / Theses on the topic "Armitage, Simon"

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Trott, Emma Johanna Gill. "Environment, creativity and culture in the poetry of Jon Silkin and Simon Armitage." Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/20248/.

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This thesis approaches the poetries of Jon Silkin and Simon Armitage from the perspective of the ecological. By this I mean that the primary focus is on the poetic encounters with environments and the complex meshwork of ‘intra-actions’ (Karen Barad) between various material, organic, human and more-than-human ‘actants’ (Bruno Latour). The stylistic differences between these two post-War British poets do not suggest them as an obvious pairing, but this thesis develops a critical methodology that sustains difference within points of correspondence. Despite the contrasts, Silkin and Armitage are brought together in this thesis under two crucial parallels. The first is that both poets demonstrate an ethically-grounded environmental consciousness, yet neither is a ‘nature poet’. In quite individual ways, each poet grapples with the difficulties of approaching the more-than-human other without recourse to oppression or hierarchy. The second parallel is revealed by an exploration of each of the poets’ responses to catastrophes, in the past, present and future. Silkin’s experience as a Jew in twentieth-century Europe and as an observer of nuclear weapons deployment in Hiroshima and Nagasaki colour his understanding of history but also present the real possibility of such atrocities re-occurring. Armitage’s consciousness of climate change and a rapidly shifting, media-driven, consumer capitalist society produces poetry that responds to powerful environmental uncertainty. Silkin and Armitage each challenge rigid categories, such as animal/vegetable (Silkin) and life/non-life (Armitage). In both cases, the reader is engaged in the literary ecology and this presents the opportunity to develop new ethical frames and sustainable practices. The two poets’ works each reveal much about the nature of creativity and its complex, challenging relationship with environmental ethics. When brought into dialogue, the similarity and difference (which is the model of metaphor) between Silkin and Armitage is considerable.
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Taylor, Christian James. "Barbarian masquerade : a reading of the poetry of Tony Harrison and Simon Armitage." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/12075/.

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This thesis investigates Simon Armitage’s claim that his poetry inherits from Tony Harrison’s work an interest in the politics of form and language, and argues that both poets, although rarely compared, produce work which is conceptually and ideologically interrelated: principally by their adoption of an ‘un-poetic’, deliberately antagonistic language which is used to invade historically validated and culturally prestigious lyric forms as part of a critique of canons of taste and normative concepts of poetic register which I call barbarian masquerade. Harrison’s first collection The Loiners is analysed alongside Armitage’s debut Zoom! in order to demonstrate a shared antipathy towards traditional form and language, and this poetics of dissent is traced across a range of collections, showing that although Harrison’s writing is more obviously class-conscious or Marxist than Armitage’s ludic and ironic output, both poets’ deployment of masquerade reveals a range of shared aesthetic, poetic and political concerns. The final chapters of the thesis demonstrate the complexity of the two poets’ barbarian poetics by analysing Harrison’s militant secularism and Armitage’s denunciations of state violence, hate crime and social exclusion, and by showing that their masquerade writing transcends simple renegotiations of language, structure and style in its search for a public poetry defined by its engagement with, rather than withdrawal from, social, moral and political debate. The thesis ends by suggesting that Harrison’s influence on Armitage might apply to other New Generation poets and to more recent writers, whose work is invoked in order to suggest a continuity of politicised, barbaric writing.
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Hélie, Claire. "Les Nords poétiques, poétique du Nord (Basil Bunting, Ted Hughes, Tony Harrison et Simon Armitage)." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030156.

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Séparé du Sud pastoral, de la capitale londonienne et d’Oxbridge par une frontière moins géographique que culturelle, le Nord de l'Angleterre a une géographie variable en fonction des besoins du discours. Une constante discursive parcourt cependant la littérature sur la région : marqué par ses rudes conditions climatiques, jadis peuplé de barbares, en butte aux invasions et ravagé par la Révolution Industrielle, le Nord serait en marge de la sphère poétique. Or, à partir des années 1960, dans le cadre d'une redécouverte des marges de l'ex-empire et d’une dissolution des frontières nationales due à la mondialisation, le Nord revendique son droit à figurer à part entière au cœur de la carte poétique. Les poésies de Basil Bunting, de Ted Hughes, de Tony Harrison, et de Simon Armitage nous invitent à parcourir ces Nords géographiques, historiques, culturels, mais avant tout poétiques. Ces quatre poètes, nés dans le Nord, ont en commun d’avoir pris une distance, sinon physique, du moins intellectuelle, avec la région, ce qui leur a permis de poser un regard critique. Le mouvement nostalgique de retour à la terre natale amorce une réappropriation sur le plan de l’imaginaire de cet espace colonisé par des discours dépréciatifs. Les poètes y découvrent une source intarissable de créativité et partent en quête d’une langue qui résorbe l’écart entre nordicité et poéticité : l'impur accent barbare devient axiome poétique. Comment cette poésie du Nord met-elle en question l'anglicité et la tradition poétique anglaise en même temps qu'elle la structure ? Si « poésie du Nord » il y a, quelles en sont les réalisations dans la voix, le rythme et la forme poétiques ?
Divided from the pastoral South, London and Oxbridge by a frontier that is less geographical than cultural, Northern England has been constructed through shifting discourses. One discursive feature though has been constantly present in the literature on the region : since the place is forbidding (not the least because of its grim weather), since it used to be populated with barbaric tribes and provided a buffer against even more barbarian invasions, since it was devastated by the Industrial Revolution, the North is excluded from the poetic sphere. Yet since the 1960s, in a context of peripheries emerging from the former empire and of national frontiers disappearing due to globalisation, the North has claimed its right to hold a central place on the poetic map. Basil Bunting, Ted Hughes, Tony Harrison and Simon Armitage have participated in reconfiguring geographical, historical, cultural, but, most importantly, poetic Norths. The nostalgic return to the region where they were born and bred reads as a creative and critical reappropriation of a space that has been colonised by derogatory discourses. The poets discover an inexhaustible source of inspiration and set on a quest for a language that would bridge the gap between northerness and poetry : their impure barbarian accent becomes a poetic axiom. How does this Northern English poetry question Englishness and the English poetic tradition while constructing them ? If « Northern English poetry » does exist, how does it show in terms of poetic voice, rhythms and forms ?
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Esposito, Donato. "The artistic discovery of Assyria by Britain and France 1850 to 1950." Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/553.

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This thesis provides an overview of the engagement with the material culture of Assyria, unearthed in the Middle East from 1845 onwards by British and French archaeologists. It sets the artistic discovery of Assyria within the visual culture of the period through reference not only to painting but also to illustrated newspapers, books, journals, performances and popular entertainments. The thesis presents a more vigorous, interlinked, and widespread engagement than previous studies have indicated, primarily by providing a comprehensive corpus of artistic responses. The artistic connections between Britain and France were close. Works influenced by Assyria were published, exhibited and reviewed in the contemporary press, on both sides of the English Channel. Some artists, such as Gustave Doré, successfully maintained careers in both London and Paris. It is therefore often meaningless to speak of a wholly ‘French’ or ‘British’ reception, since these responses were coloured by artistic crosscurrents that operated in both directions, a crucial theme to be explored in this dissertation. In Britain, print culture also transported to the regions, away from large metropolitan centres, knowledge of Assyria and Assyrian-inspired art through its appeal to the market for biblical images. Assyria benefited from the explosion in graphical communication. This thesis examines the artistic response to Assyria within a chronological framework. It begins with an overview of the initial period in the 1850s that traces the first British discoveries. Chapter Two explores the different artistic turn Assyria took in the 1860s. Chapter Three deals with the French reception in the second half of the nineteenth century. Chapter Four concludes the British reception up to 1900, and Chapter Five deals with the twentieth century. The thesis contends that far from being a niche subject engaged with a particular group of artists, Assyrian art was a major rediscovery that affected all fields of visual culture in the nineteenth century.
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Books on the topic "Armitage, Simon"

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Simon Armitage. London: Salt, 2011.

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1963-, Armitage Simon, O'Brien Sean 1952-, and Harrison Tony 1937-, eds. Simon Armitage, Sean O'Brien, Tony Harrison. London, England: Penguin, 1995.

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Carol Ann Duffy Simon Armitage Pre1914 Poetry. Hodder Education, 2000.

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Armitage, Simon. Brotherton Prize Anthology: With a Preface by Simon Armitage. Carcanet Press, Limited, 2020.

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The Poetry Of Simon Armitage A Study Guide For Gcse Students. Faber & Faber, 2012.

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Book chapters on the topic "Armitage, Simon"

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Shaw, Katy. "Chapter 1 The (Spectral) Turn of the Century in Simon Armitage’s ‘Killing Time’ (1999)." In Hauntology, 25–42. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-74968-6_2.

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Armitage, Simon. "Close Encounters of the Verse Kind: On Meeting Tony Harrison." In New Light on Tony Harrison, 13–20. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266519.003.0002.

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In a personal and anecdotal chapter, Simon Armitage reflects on a number of encounters with the poetry of Tony Harrison and with Harrison himself. Armitage locates in Harrison's approach to writing a poetry that is "communicative, clear, local, but at the same time crafted, literary, and universal", a poetry at odds with and in defiance of the prevailing post-modern aesthetic of difficulty and obscurity. He celebrates Harrison's poetic autonomy which he associates with the poet's life outside academia, allowing Harrison see himself as a 'poet of the people', despite his scholarly intelligence and his life-long immersion in classical literature.
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Henry, M. Seiden. "A sad story, briefly told: a poem by Simon Armitage." In The Motive For Metaphor, 8–12. Routledge, 2018. http://dx.doi.org/10.4324/9780429482496-4.

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Randall, Martin. "‘A Wing and a Prayer’: Simon Armitage, Out of the Blue." In 9/11 and the Literature of Terror, 78–87. Edinburgh University Press, 2011. http://dx.doi.org/10.3366/edinburgh/9780748638529.003.0005.

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Greenwood, Emily. "Multimodal Twenty-First-Century Bards." In Epic Performances from the Middle Ages into the Twenty-First Century, 275–88. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198804215.003.0019.

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This chapter analyses the conceit of the poet as (Homeric) bard in the work of the contemporary British poets Simon Armitage and Alice Oswald. In both poets, the figure of the bard conjures up the immanence of live performance and raises both historical questions about the remainder of orality in contemporary adaptations of Homer and questions of vocality as these poems circulate across different media: live performances, poetry readings, audiobooks, multimedia recordings, and printed books. The Homeric bard furnishes a trope for thinking about the presence and absence of the poet’s voice in contemporary responses to the Homeric epics, as well as the significance of orality for conveying the immersive experience which lies at the heart of our imagined traffic with classical antiquity.
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Redmond, John. "Lyric adaptations: James Fenton, Craig Raine, Christopher Reid, Simon Armitage, Carol Ann Duffy." In The Cambridge Companion to Twentieth-Century English Poetry, 245–58. Cambridge University Press, 2007. http://dx.doi.org/10.1017/ccol052187081x.018.

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Graziosi, Barbara. "Performing Epic and Reading Homer." In Epic Performances from the Middle Ages into the Twenty-First Century, 16–30. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198804215.003.0002.

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There are two long-recognized obstacles to dramatic performances of epic. The first is scale and the second is portrayal of the gods. This chapter argues that both these features have been important for the definition of what literature is—i.e. what is characteristic of literature as opposed to the performing arts. The first section of the chapter offers a close reading of Aristotle, because he identified scale and the gods as issues that differentiate epic from tragedy, and because his Poetics was foundational for the later development of both literary criticism and performance studies. The second section of this chapter discusses the place of Homer in relation to both literature and the performing arts—by focusing again on scale and the gods, and the history of their reception. The final section considers Simon Armitage’s versions of the Iliad and the Odyssey for the theatre and for BBC Radio.
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