Relevant bibliographies by topics / Extant poems

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Extant poems'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Extant poems"

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Christensen, Joel P. "Revising Athena’s Rage: Cassandra and the Homeric Appropriation of Nostos." Yearbook of Ancient Greek Epic Online 3, no. 1 (May 23, 2019): 88–116. http://dx.doi.org/10.1163/24688487-00301004.

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Abstract This article approaches the relationship between the Odyssey’s nostos and other Nostoi from the perspective of the epic’s treatment of Cassandra. In doing so, I emphasize two perspectives. First, rather than privileging either “lost” poems or our extant epic as primary in a “vertical” relationship, I assume a horizontal dynamic wherein the reconstructed poems and the Odyssey influenced each other. Second, I assume that, since little can be said with certainty about lost poems, references to other traditions attest primarily to the compositional methods and the poetics of our extant poem. After outlining the major narrative features of the story of Cassandra that were likely available to Homeric audiences, I argue that the suppression of her story in the Odyssey is both part of the epic’s strategy to celebrate Odysseus and Penelope and a feature of the enforcement of a male-dominated ideology.
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Townend, Matthew. "Contextualizing the Knútsdrápur: skaldic praise-poetry at the court of Cnut." Anglo-Saxon England 30 (December 2001): 145–79. http://dx.doi.org/10.1017/s0263675101000072.

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It is generally recognized that during the reign of Cnut the Danish king's court came to represent the focal point for skaldic composition and patronage in the Norse-speaking world. According to the later Icelandic Skáldatal or ‘List of Poets’, no fewer than eight skalds were remembered as having composed for Cnut: Sigvatr Þórðarson, Óttarr svarti, Þórarinn loftunga, Hallvarðr háreksblesi, Bersi Torfuson, Steinn Skaptason, Arnórr Þórðarson jarlaskáld, and Óðarkeptr. Comparing this list with the extant poetic remains, one arrives at the following collection of skaldic praise-poems (some fragmentary) in honour of Cnut: Sigvatr Þórðarson's Knútsdrápa; Óttarr svarti's Knútsdrápa; Hallvarðr háreksblesi's Knútsdrápa; Þórarinn loftunga's Ho˛fuðlausn and Tøgdrápa; and (probably) a fragment by Arnórr jarlaskáld. Of the other poets cited in Skáldatal, no verse in honour of Cnut is extant by Bersi Torfuson, and none at all by Steinn Skaptason and Óðarkeptr.
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Jia, Jinhua. "The Yaochi ji and three Daoist Priestess-Poets in Tang China." NAN NÜ 13, no. 2 (2011): 205–43. http://dx.doi.org/10.1163/156852611x602629.

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AbstractThis article examines the only extant compilation of Tang dynasty women's poetry, the Yaochi xinyong ji (Collection of new songs from Turquoise Pond), fragments of which have been rediscovered among the Dunhuang manuscripts in Russian library holdings. The study first discusses the compilation, contents, and poets of this collection, and then focuses on the works of three Daoist priestess-poets, Li Jilan, Yuan Chun, and Cui Zhongrong whose writings form the major part of this anthology. It investigates their poetry and reviews relevant sources to conduct a comprehensive examination of the lives and poems of the three poets, and concludes that they represented a new stage in the development of Chinese women's poetry.
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Nikolaev, S. I. "«Grand Hopes» of the Russian Poetry in N. I. Novikov’s Historical Dictionary of Russian Writers." Russkaya literatura 2 (2020): 35–39. http://dx.doi.org/10.31860/0131-6095-2020-2-35-39.

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In his Essay on the Historical Dictionary of Russian Writers (1772), N. Novikov states that certain writers entertain or have entertained high hopes for the future of the Russian literature. And while as far as the playwrights (Ya. B. Knyazhnin and D. I. Fonvizin) were concerned, Novikov’s hopes came true, in the case of the poets they seemed to have fallen short: the poems either haven’t survived at all, or only a negligible number has reached us, or the extant poems haven’t lived up to the hopes. Novikov, however, was pursuing a different goal: in his opinion, Russian literature did not stand still, but remained in constant flow, and new authors who were about to appear were expected to make it glorious. Rather than address just the past and the present, Novikov’s Historical Dictionary was also an attempt to predict the future.
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Nielsen, Rosemary M., and Robert H. Solomon. "Horace and Hopkins: The Point of Balance in Odes 3.1." Ramus 14, no. 1 (January 1985): 1–15. http://dx.doi.org/10.1017/s0048671x00005026.

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In May of 1868, less than two years after Gerard Manley Hopkins left the English Church to become a Roman Catholic and after eight months spent teaching at Newman's Oratory School in Birmingham, the classical scholar burned nearly all of his poetry; he called the act ‘the sacrifice of my innocents’. Austin Warren describes Hopkins as feeling caught through his life between conflicting desires to be a pdet and to be a saint. This strain and the anxieties it produced appear in his later poems, such as ‘The Wreck of the Deutschland’ and ‘Heaven Haven’, and in his journals and letters. In the latter he describes the emotional effect he wanted poems to have upon readers: some poems must, Hopkins asserted, ‘explode’ within the reader. Intensifying the psychological reaction of the readers of literature was one of Hopkins's aims when he created poetry, just as it was a goal when he wrote redactions of the speeches in Shakespeare's tragedies or when he chose from among variant readings for Greek drama. In September 1868, when he entered the priesthood as a Jesuit, Hopkins began a new life of personal intensity and, perhaps to his own surprise, a second poetic career. But a number of poems survived the destruction. One is his translation of Horace's Odes 3.1, the longer of the only two extant translations of complete Latin poems. As with A. E. Housman's sole surviving translation of a Latin ode, Horace's 4.7, this one reveals a profound identification with Horace, a subtle understanding of the original poem, and an intense revelation of the mind of the English writer during the period of translating. The emotional intensity, technical virtuosity and psychological richness of the translation make Hopkins's version of 3.1 a significant poem for scholars of English and classical poetry.
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Bowie, E. L. "Early Greek elegy, symposium and public festival." Journal of Hellenic Studies 106 (November 1986): 13–35. http://dx.doi.org/10.2307/629640.

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This paper is chiefly concerned with the circumstances in which early Greek elegy was performed. Section II argues that for our extant shorter poems only performance at symposia is securely attested. Section III examines the related questions of the meaning ofelegosand the performance of elegies at funerals. Finally (IV) I try to establish the existence of longer elegiac poems intended for performance at public festivals.
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Zhang (張月), Yue. "Tao Yuanming’s Perspectives on Life as Reflected in His Poems on History." Journal of Chinese Humanities 6, no. 2-3 (May 11, 2021): 235–58. http://dx.doi.org/10.1163/23521341-12340102.

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Abstract Studies on Tao Yuanming have often focused on his personality, reclusive life, and pastoral poetry. However, Tao’s extant oeuvre includes a large number of poems on history. This article aims to complement current scholarship by exploring his viewpoints on life through a close reading of his poems on history. His poems on history are a key to Tao’s perspectives with regard to the factors that decide a successful political career, the best way to cope with difficulties and frustrations, and the situations in which literati should withdraw from public life. Examining his positions reveals the connections between these different aspects. These poems express Tao’s perspectives on life, as informed by his historical predecessors and philosophical beliefs, and as developed through his own life experience and efforts at poetic composition.
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Underwood, Verne M. "Feigned Praise: Authorship Problems in the Extant Poems of John Milton, Sr." Milton Quarterly 35, no. 1 (March 2001): 44–49. http://dx.doi.org/10.1111/1094-348x.00005.

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George, A. R. "Enkidu and the Harlot: Another Fragment of Old Babylonian Gilgameš." Zeitschrift für Assyriologie und vorderasiatische Archäologie 108, no. 1 (July 16, 2018): 10–21. http://dx.doi.org/10.1515/za-2018-0002.

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Abstract This article presents a newly deciphered Old Babylonian fragment of the Epic of Gilgameš. The passages of text preserved on it tell of Enkidu’s encounter with the prostitute and of his arrival in the city of Uruk, and clarify the relationship between other sources for the same episode. The perceived difference between the Old and Standard Babylonian poems’ treatment of Enkidu’s seduction disappears. The extant versions can be reconciled in a single narrative, common to all versions, that holds two different weeks of sexual intercourse. The different narrative strategies deployed in describing them are one of the ways in which the poem explores Enkidu’s psychological development as he changes from wild man to socialized man.
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Cowan, Robert. "OF GODS, MEN AND STOUT FELLOWS: CICERO ON SALLUSTIUS' EMPEDOCLEA (Q. FR. 2.10[9].3)." Classical Quarterly 63, no. 2 (November 8, 2013): 764–71. http://dx.doi.org/10.1017/s0009838813000232.

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Cicero's letter to his brother Quintus from February 54 is best known for containing the sole explicit contemporary reference to Lucretius’ De rerum natura, but it is also notable as the source of the only extant reference of any kind to another (presumably) philosophical didactic poem, Sallustius’ Empedoclea (Q. fr. 2.10(9).3= SB 14): Lucretii poemata, ut scribis, ita sunt: multis luminibus ingenii, multae tamen artis. sed, cum ueneris. uirum te putabo, si Sallusti Empedoclea legeris; hominem non putabo.Lucretius’ poems are just as you write: they show many flashes of inspiration, but many of skill too. But more of that when you come. I shall think you a man, if you read Sallustius’ Empedoclea; I shan't think you a human being.
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Dissertations / Theses on the topic "Extant poems"

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Huw, Maredudd ap. "A critical examination of Welsh poetry relating to the native saints of North Wales (c. 1350-1670)." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391018.

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Payne, Robin John. "An edition of the 'Conduct of Life' based on the six extant manuscripts with full commentary, complementary critical and codicological analysis, notes and introduction." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/283562.

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The Conduct of Life, also known as the Poema Morale, is a verse-sermon that has been largely ignored by literary histories, and despite the longevity of its textual tradition its various texts have never been the subject of extended study. This dissertation brings together the seven manuscript versions of the text, which date from the end of the twelfth to the end of the thirteenth centuries, and re-examines them individually and as a cohort exhibiting variance. It therefore offers a revealing indicator of how continuity and change actually operated through the interaction between preceding tradition and scribes and audiences. This is achieved through a three-fold analysis of the verse sermon which highlights the fluidity of the manuscript culture during this period and the willingness of scribes to adapt texts to suit new purposes, to create differences due to dialect and comprehension, or copy variants from a now lost exemplar. First, an edition of the text, based on the version found in Cambridge, Trinity College MS B. 14. 52, folios 2r-9v , explores, through the accompanying notes, the themes, style and phraseology which not only reflect the influence of earlier English literary and hortatory texts but also represent a living tradition which found popularity within diverse writing and social environments. Secondly, a diplomatic edition of each text is presented, preceded by an introduction to the text, grammar and dialect, with full codicological and palaeographic notes. Finally, a parallel text edition bears witness to the copying and reshaping of the text throughout its history. It is accompanied by extensive linguistic notes which highlight the adaptation and textual variance between each version of the Conduct of Life. Each new variant has not only been read in relation to the other versions of the same work but also in relation to the manuscript context it newly occupies as a result of its transmission. Each copy reshapes the material within an established structure of rhythm and metre and, therefore, the dissertation concludes that the sermon is recreated as a series of individual texts, which might be individually analysed, because each is different, particularly within their specific physical and historical moments. This fluidity or mouvance suggests for the Conduct of Life and, for that matter, the texts that preceded it in the historical narrative of the twelfth century that there is no authentic text; that the instability of the manuscript 'tradition' moves from manuscript to manuscript.
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Books on the topic "Extant poems"

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Beneath stars long extinct: Poems. Pasadena, CA: Red Hen Press, 2010.

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Egatz, Ron. Beneath stars long extinct: Poems. Pasadena, CA: Red Hen Press, 2010.

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Egatz, Ron. Beneath stars long extinct: Poems. Pasadena, CA: Red Hen Press, 2010.

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Mistrorigo, Alessandro. Phonodia. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-236-9.

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This essay focuses on the ‘voice’ as it sounds in a specific type of recordings. This recordings always reproduce a poet performing a poem of his/her by reading it aloud. Nowadays this kind of recordings are quite common on Internet, while before the ’90 digital turn it was possible to find them only in specific collection of poetry books that came with a music cassette or a CD. These cultural objects, as other and more ancient analogic sources, were quite expensive to produce and acquire. However, all of them contain this same type of recoding which share the same characteristic: the author’s voice reading aloud a poem of his/her. By bearing in mind this specific cultural objet and its characteristics, this study aims to analyse the «intermedial relation» that occur between a poetic text and its recorded version with the author’s voice. This «intermedial relation» occurs especially when these two elements (text and voice) are juxtaposed and experienced simultaneously. In fact, some online archives dedicated to this type of recording present this configuration forcing the user to receive both text and voice in the same space and at the same time This specific configuration not just activates the intermedial relation, but also hybridises the status of both the reader, who become a «reader-listener», and the author, who become a «author-reader». By using an interdisciplinary approach that combines philosophy, psychology, anthropology, linguistics and cognitive sciences, the essay propose a method to «critically listening» some Spanish poets’ way of vocalising their poems. In addition, the book present Phonodia web archive built at the Ca’ Foscari University of Venice as a paradigmatic answer to editorial problems related to online multimedia archives dedicated to these specific recordings. An extent part of the book is dedicated to the twenty-eight interviews made to the Spanish contemporary poets who became part of Phonodia and agreed in discussing about their personal relation to ‘voice’ and how this element works in their creative practice.
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Michelson, Max. The extant poetry and prose of Max Michelson, imagist (1880-1953). Lewiston, N.Y: Edwin Mellen Press, 2000.

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Moss, Jeff. Bone poems. New York: Workman Pub, 1997.

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Moss, Jeffrey. Bone poems. New York: Scholastic, 1998.

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Moss, Jeffrey. Bone poems. New York: Workman Pub., 1997.

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Dinothesaurus: Prehistoric poems and paintings. New York: Atheneum Books for Young Readers, 2009.

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Florian, Douglas. Dinothesaurus: Prehistoric poems and paintings. New York: Atheneum Books for Young Readers, 2009.

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Book chapters on the topic "Extant poems"

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Hassett, Constance W. "Christina Rossetti and the Triumph of Revision." In Poetry in the Making, 149–54. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198784562.003.0007.

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Christina Rossetti is well known for subjecting her poems to what Jerome McGann calls ‘severe prunings’, the most conspicuous of her strategies for achieving her characteristically spare lyricism. She isolates the two stanzas of ‘Bitter for Sweet’ from a longer draft; she retrieves the two stanzas of ‘The Bourne’ from a shapeless 12-stanza poem. The extant Rossetti Notebooks, now at the Bodleian and the British Libraries, reveal intensely careful work—an adroit verbal change here, a rhythmic adjustment there—on the poems that eventually appear in Goblin Market (1862) and The Prince’s Progress (1866). For Rossetti, a manuscript ‘fair copy’ seldom remains pristine. The revisions to a poem such as ‘My Dream’ show that the deft revision that produces Rossettian understatement in her poems also produces their fine exuberance.
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Thévenaz, Olivier. "Sapphic Echoes in Catullus 1–14." In Roman Receptions of Sappho, 119–36. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198829430.003.0007.

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This chapter argues that a pattern of Sapphic allusions in the first fourteen poems of Catullus’ poetry book constitute a hitherto neglected unity similar to that which scholarship now recognizes as a group of allusions to the Greek epigrammatist Meleager in the same Catullan corpus. This Sapphic pattern, inter alia, confirms the importance of Sappho as a model author for Catullus. The argument emerges from a close examination of Catullus’ first fourteen poems, particularly poems 2, 3, 6, 8, and 11, as well as Catullus’ epithalamial poem 62, in comparison with Sappho poem 1, her fragments 105b (Voigt), and 137, whose metrical form of Alcaics (uniquely among extant Sapphic fragments) paves the way for an investigation into the institution of ancient symposia and the theme of friendship in Greek and Roman poetry.
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Phillips, Catherine. "Hopkins and the Lost Beloved." In Poetry in the Making, 167–87. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198784562.003.0008.

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This chapter examines the development of two poems by Gerard Manley Hopkins: the first, ‘A Voice from the World’, was written as a response to Christina Rossetti’s ‘The Convent Threshold’ and Dante Gabriel Rossetti’s ‘The Blessed Damozel’. The extant fragments of Hopkins’s poem suggest his undergraduate poetic ambition to rival the Rossettis in tackling metrical and emotional complexities. The second poem examined is ‘Binsey Poplars’, which belongs to 1879, when Hopkins was a parish priest in Oxford. In it Hopkins struggles to express deep feelings about the destruction of nature, absorbing ideas from poems written by his father, R. W. Dixon, and John Clare. ‘Binsey Poplars’ is also of interest at present because a new holograph, with unique readings, has recently been purchased at auction by the Bodleian. In examining both poems, the chapter explores the concatenation of sources of inspiration and something of Hopkins’s development in handling emotional subjects.
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Hadjimichael, Theodora A. "The Peripatos." In The Emergence of the Lyric Canon, 133–70. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198810865.003.0005.

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Chapter 4 analyses the importance of the Peripatos in the canonizing process of lyric, and the analysis demonstrates a degree of continuity between fifth- and fourth-century reception and evaluation of lyric poetry. The aim of the Peripatetics was to register, memorialize, and study the Greek culture by accumulating written records and creating learned treatises. Close analysis of several fragments shows that the Peripatetic library also possessed texts of lyric, which were used to prepare the peri-treatises on the lyric poets. The Peripatetic lyric agenda is ultimately a classicizing agenda that was inherited by comedy and Plato, as the Peripatetics do not devote much scholarly energy to the representatives of the New Music. The overall analysis shows that Aristotle’s Lyceum became a centre for literary study that viewed poems as cultural and anthropological sources, and extant fragments from their treatises reveal that the Peripatetics also dealt with problems of authorship and authenticity.
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Lindheim, Sara H. "Introduction." In Latin Elegy and the Space of Empire, 1–26. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198871446.003.0001.

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The introduction provides an overarching view of the book’s questions, texts, and theoretical concerns. It moves from a concrete detailing of the physical extent of geographical space the Roman empire added in the late Republic and in the Augustan age to a consideration of the effects that such an expansive increase in territory might have on a people’s worldview, relying on theories of cartography and the psychoanalytic theories of Jacques Lacan in conjunction with questions about how Romans conceptualized their world and what light the (no-longer-extant) late first-century BCE or early first-century CE map of Agrippa can shed on it. The emphasis of the inquiry is on the subject in Latin elegy (including Catullus) in poems that turn out to be chock full of geographical references. The book traces the different ways in which, and the varying consequences with which, the elegiac subject encounters the space of empire depending on gender in the works of Catullus, Propertius, Tibullus, and Ovid.
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Fielding, Ian. "The authorship of Sulpicia." In Constructing Authors and Readers in the Appendices Vergiliana, Tibulliana, and Ouidiana, 186–97. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198864417.003.0012.

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This chapter explores a model of collaborative authorship for the Sulpicia elegies in the Appendix Tibulliana ([Tib.] 3.8–18). These poems represent the largest corpus of extant women’s writing in Latin from pre-Christian antiquity—but their authenticity is doubted by some. Such doubts are partly prompted by the presentation of Sulpicia—especially the switch to the third person in 3.8, 3.10, 3.12. It is argued here, however, that Sulpicia would have been required partially to conceal her authorial identity; attention is drawn to the evidence of the place of Roman women at recitationes in Pliny’s Epistles. It is suggested that Sulpicia’s poetry may originally have been recited by a lectrix. The possibility is considered that Sulpicia’s poems might have been written in partnership with other members of her household. Finally, a reading of [Tib.] 3.13 shows Sulpicia reaching out to the literary community of which she was not allowed full membership, and inviting women readers to engage with her in collaboration.
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Graziosi, Barbara. "1. Looking for Homer." In Homer: A Very Short Introduction, 4–10. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780199589944.003.0002.

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The first extant sources that mention Homer by name date to the sixth century BCE: from them, we can establish that the Greeks considered him an outstanding poet of great antiquity, but that they knew nothing certain about him. ‘Looking for Homer’ explains that there was no agreement about Homer’s birthplace or life and there were doubts about which poems, exactly, he had composed. As views about poetry changed, so did definitions of ‘Homer’. To this day, some classicists see the Iliad and the Odyssey as the work of one exceptional poet, or perhaps two, while others postulate a drawn-out process of re-composition in performance over generations.
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Van Anglen, K. P. "Thoreau’s Epic Ambitions: “A Walk To Wachusett” and the Persistence of the Classics in an Age of Science." In The Call of Classical Literature in the Romantic Age, 153–92. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474429641.003.0007.

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The piece is the earliest example in Thoreau of a prose genre now known as the excursion, which combines a brief autobiographical account of an experience of nature with broader philosophical meditations on the natural world. Moreover, in “A Walk to Wachusett,” Thoreau also uses quotations from and allusions to Virgil's own earliest extant poems (the eclogues) to recreate in prose the tension found throughout Virgil's poetry between the themes of the pastoral and those of epic. Thoreau also thereby allies his own literary career to the progression first followed by Virgil, from pastoral to georgic to epic, known as the cursus honorum. This renders problematic any simple notion that he became a scientist later in his career. Rather, his interests in natural science merged with his original goal of writing epic poetry, in his treatment of Pliny the Elder's Natural History.
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Bush, Olga. "Integrating Aesthetic and Politics: The Mawlid Celebration in the Alhambra." In Reframing the Alhambra. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474416504.003.0006.

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The book closes with a study of the only extant Nasrid account of the Alhambra, Ibn al-Khaṭïb's text on the mawlid, the commemoration of the birth of the Prophet. The chapter begins with a comparative analysis of mawlid celebrations in other medieval Muslim courts focusing on the role of processions and threshold spaces, such as discussed in chapter 2. Ibn al-Khaṭïb also describes a royal tent, now lost, but refrained here, in light of chapter 4, as a case of textile architecture. The key to the analysis of the text, then, is the inter-medial relationship between the temporary tent and the permanent buildings as a ceremonial setting. This temporal dimension was thematized in the "poems of the hours" recited to measure the time of the event, elucidated here in connection with the poetic figures studied in chapter 3; as an instance of the relationship between static and kinetic elements introduced in chapter 1 ; and, further, with respect to the political and ideological dimensions of the ceremonial. Ibn al-Khaṭïb's account thus testifies to the inter-medial conception of space: an integrated aesthetic experience of architecture, poetry and textiles in the court ceremonial of the Alhambra.
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Dufallo, Basil. "Catullan Wanderings." In Disorienting Empire, 156–98. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197571781.003.0005.

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A symbol of disorientation par excellence, the Cretan Labyrinth has become an emblematic image of Catullus’s longest extant work, his “epyllion,” poem 64, on the marriage of Peleus and Thetis. Chapter 4 argues that due to this depiction and others like it of wandering and roaming in the spaces of Rome’s ever-growing empire, Catullus’s oeuvre represents the culminating example of the Republican poets’ interest in becoming lost as a theme related to expansion. After tracking the theme in the fragmentary “neoteric” poets Cinna, Calvus, Caecilius, and Varro of Atax, this chapter proceeds via a series of specific Catullan examples. In poem 22, Catullus underscores the disorientation of the erring self as a special concern by calling attention to each person’s self-delusional error (20). Catullus depicts a disorienting epic-style journey to Asia Minor, a site of Roman expansion, in another “epyllion” on the eunuch priest of Cybele, Attis (poem 63). Poem 61 represents the roaming, androgynous marriage god Hymen as responsible for producing youths to guard Rome’s imperial borders. The wandering course of the Argonauts in poem 64 again directs attention toward Rome’s imperial ambitions in the Greek East, while the fearful errores of the Cretan Labyrinth link the myth of Theseus to the Argonautic story so as to make wandering an ambiguously unifying theme of the poem as a whole. Such geographical movements become unstable analogs in Catullan verse for internal transitions from love to hate, erotic and familial attachment to isolation and abandonment, and even male to female.
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Conference papers on the topic "Extant poems"

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Rahma, Abdul Monem S., Maha A. Hmmood Alrawi, and Nada Ahmed G. "A Novel Coding and Discremenation (CODIS) Algorithm to Extract Features from Arabic Texts to Discriminate Arabic Poems." In 2018 1st Annual International Conference on Information and Sciences (AiCIS). IEEE, 2018. http://dx.doi.org/10.1109/aicis.2018.00033.

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Uchima, H., J. Serra, I. Marin, JA Colan Hernandez, I. Iborra, D. Luna, E. Domenech, et al. "EVALUATION OF SLING FIBERS AND TWO PENETRATING VESSELS (TPVS) FOR GUIDING EXTENT OF THE TUNNEL AND MYOTOMY DURING POSTERIOR POEM IN A WESTERN COHORT." In ESGE Days. © Georg Thieme Verlag KG, 2020. http://dx.doi.org/10.1055/s-0040-1704462.

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