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Journal articles on the topic 'Plays; Poetry'
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1
Roby, Kinley E., and Jewel Spears Brooker. "Approaches to Teaching Eliot's Poetry and Plays." Theatre Journal 42, no. 4 (December 1990): 531. http://dx.doi.org/10.2307/3207748.
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Griffin, Edward M. "William Alfred's Hogan's Goat: Power and Poetry in Brooklyn." Prospects 19 (October 1994): 451–89. http://dx.doi.org/10.1017/s0361233300005184.
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William alfred's verse play Hogan's Goat, recounting the four days in April and May, 1890, when Matt Stanton gets his big chance to become mayor of Brooklyn, was New York's surprise hit of 1965–66. Directed by Frederick Rolf and starring Faye Dunaway (before Bonnie and Clyde), Ralph Waite (before The Waltons), and Barnard Hughes (before Da), it opened in November, 1965, at the American Place Theatre and ran during the next eighteen months for 607 performances there and at the East 74th Street Theatre, winning the 1965–66 Theatre Club Gold Medal for best play and gaining Alfred the 1965 Drama Desk – Vernon Rice award. Selected for inclusion in Otis L. Guernsey's Best Plays yearbook (and chosen best play of 1965), it also appears in John Gassner and Clive Barnes's Best American Plays series, Harold Clurman's anthology Famous American Plays of the 1960s, and Francis Griffith and Joseph Mersand's Eight Ethnic American Plays. In 1971, the play was produced on PBS television.
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Le Thi Thuy, Vinh. "A teaching procedure of reading comprehension of romantic poetry in high school textbooks from theory to asthetic signals." Journal of Science Educational Science 65, no. 9 (September 2020): 3–13. http://dx.doi.org/10.18173/2354-1075.2020-0087.
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How to teach reading effectively is a frequently discussed topic in the field of reading comprehension. For romantic poetry, a specific genre of literary writing, how to read, recognize, and decode poetic imagesto interpret the ideas of poets, has many significant meanings. This paper will apply aesthetic signal theory, which plays an important role in resolving the relationship between the linguistic and semantic aspects of a textto establish a teaching procedure for reading comprehension of romantic poetry in high school textbooks. With this process, teachers will have scientific grounds for decoding romantic poetry.
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Jiajing, Song. "Affinity and Influence of Federico García Lorca on the Poetry of Dai Wangshu." Sinología hispánica 7, no. 2 (January 14, 2019): 133. http://dx.doi.org/10.18002/sin.v7i2.5734.
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As one of the most representative modern poets in China, Dai Wangshu not only contributs a lot to the development of the modern Chinese poetry, but also plays an important role in introducing western poetics to China. Dai’s translation of western poetry has a profound influence on his poetic creation. Dai, throughout his poetic career, was at first influenced by the French romanticism, then was fascinated by the French symbolism and post-symbolism. The years of Disaster, a collection of poems in his later years, however, demonstrates an inclination to the Spanish modernist poetry, especially to the poems of Federico García Lorca, one of the most representative poets of the Generation of 27. This paper focuses on analyzing the characteristics of the works of these two poets, Dai Wangshu and Lorca, and is intended to make a comparative study of the affinities and similarities in their poetic beliefs and practice and the Lorca’s deep influences on Dai’s poetic creation, thus filling the blank in this field.
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Клещина and Natalya Kleshchina. "Poetry in Teaching English." Socio-Humanitarian Research and Technology 4, no. 1 (March 17, 2015): 41–43. http://dx.doi.org/10.12737/10324.
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English poetry plays an important role in teaching English
as personal focused approach application method. This paper
considers the poetry value and poetry teaching purposes, such as
learner’s increase of cultural and intercultural awareness and pronunciation
skills. The poetry can be also used in teaching grammar,
lexis, reading and translation. In conclusion this work offers some
ways for effective use of poetry in teaching English.
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Folkart, Barbara. "Poetry as Knowing." TTR : traduction, terminologie, rédaction 12, no. 1 (February 26, 2007): 31–55. http://dx.doi.org/10.7202/037352ar.
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Abstract Poetry as Knowing — Like the pure sciences, poetry is first and foremost a cognitive instrument, one of the most rigorous modes of knowing that exist. Everything about it is shaped by the search for insight, or even truth. Poets are no more in the business of "making pretty" than molecular biologists or computer nerds; they put us into un-mediated contact with the grid of the world, force us to dig deeper than ever before into the amorphous business of being. This they do by "making it new". Poetry is a "counter idiomatic" practise, one that grates against the words of the tribe, its received ideas and its verities. And "form" — whether "free" or forged out of constraints — plays an all-important part in making it new for us. Form is decorative only to the illiterate. For the competent receiver, it is acutely, intensely functional. By giving it form, making it new, forcing us out of the lexicalized varieties that have gone stale on us, poetry makes us feel our way to new truths, or to a gut knowledge of old ones. Hence the maïeutic function of poetry. The very fact that poetry is so intolerant of the already-said is what explains the irreplicability or what Berman referred to as la lettre and makes the poem refractory to translation. Yet, most practitioners conceive of translation as a way of replicating what's already there. It's hard to imagine a more anti-poetic stance.
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Farmer, David John. "Practical Leadership in Public Administration: The Practicality of Poetry." Public Voices 14, no. 2 (January 5, 2017): 9. http://dx.doi.org/10.22140/pv.4.
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Can practical understandings about the human elements of leadership in Public Administration be gained from poetic literature? This paper argues that it can, supporting the view of a minority of theorists like Leo Strauss and Dwight Waldo. It analyzes four examples of such poetic utility in two Shakespearean plays – Henry V and Richard III. First, it analyzes how the winning-warrior leader Henry V is used in some business schools to teach MBWA (management by walking about). Second, it shows how the poetry in this play facilitates understanding the unconscious of public policy leadership. Third, it analyzes the relevance of text and sub-texts of the losing-warrior leader Richard III. Fourth, it analyzes the depth that Sigmund Freud explained in Richard III, including insights about what is explained as stronzi. The relevance is suggested for Public Administration theory and practice in such ways as upgrading its reflection about leadership.
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Harrison, S. J. "MENANDER'S THAIS AND CATULLUS' LESBIA." Classical Quarterly 65, no. 2 (June 17, 2015): 887–88. http://dx.doi.org/10.1017/s0009838815000026.
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Menander's lost comedy Thais with its famous protagonist, the hetaira lover of Ptolemy I Soter and perhaps Alexander himself, was plainly well known at Rome, and is alluded to several times in Latin poetry of the Augustan and later periods, as Ariana Traill has shown. My purpose here is to argue that the literary characterisation of Thais in Menander's play underlies certain aspects of Lesbia as presented in the poetry of Catullus; that Catullus' poetry uses the plays of Menander has been demonstrated by Richard Thomas, arguing that Catullus 8 shows clear traces of Demea's monologue in the Samia (325–56).
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Shamsuddin, Salahuddin Mohd, and Siti Sara Binti Hj Ahmad. "Theatrical Art in Classical European and Modern Arabic Literature:." International Educational Research 1, no. 1 (June 14, 2018): p7. http://dx.doi.org/10.30560/ier.v1n1p7.
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No doubt that Classical Arabic Literature was influenced by Greek Literature, as the modern Arabic literature was influenced by European Literature. The narrative poetry was designed for the emergence of theatrical poetry, a poetry modeled on the model of the story with its performance in the front of audience. This style was not known as Arabic poetry, but borrowed from the European literatures by the elite of poets who were influenced by European literatures looking forward to renew the Arabic poetry. It means that we use in this article the historical methodology based on the historical relation between European and Arabic literature in the ancient and modern age.
The first who introduced the theatrical art in Arab countries was Mārūn al-Niqqāsh, who was of a Lebanese origin. He traveled to Italy in 1846 and quoted it from there. The first play he presented to the Arab audience in Lebanon was (Miser) composed by the French writer Molière, in late 1847.
It is true that the art of play in Arabic literature at first was influenced by European literatures, but soon after reached the stage of rooting, then the artistic creativity began to emerge, which was far away from the simulation and tradition.
It is true also that European musical theatres had been influenced later by Arabic literature and oriental literatures. European musical theatres (ʿAlāʾ al-Dīn and the magical lamp), the play (Māʿrūf Iska in Cairo) and the musical plays of (Shahrzād) are derived from (One thousand and one Nights).
This study aims to discover the originality of theatrical art in modern Arabic literature. Therefore it is focused on its both side: Its European originality and its journey to Arab World, hence its artistic characteristics in modern Arabic literature. We also highlight its journey from the poetic language to the prose.
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Viljoen, H. "Breyten Breytenbach en die Simbolisme - ’n voorlopige verkenning." Literator 13, no. 1 (May 6, 1992): 15–28. http://dx.doi.org/10.4102/lit.v13i1.720.
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This article is an attempt to outline the difference between Breytenbach's poetic method and that of the Symbolists. Although it touches on aspects of the symbolist poetic method like the rich suggestiveness, the creation o f a meaningful alternative world (and the effort of doing this), it focuses mainly on Breytenbach’s use of metaphor to create an impossible alternative world in a poem, only to relativize and destroy it again in the end. This process is illustrated in an analysis of poem 8.1 from Lotus. This analysis also shows up five well-known cardinal traits of Breytenbach’s poetry, viz. its carnality, the universal analogy between body, cosmos and poetry and the great emphasis on journeys, discoveries and transformations by means of language. It is also claimed that the Zen-Buddhisi Void plays an analogous role in Breytenbach's poetry to the theory of correspondances in the Symbolists: it is a rich source of metaphor. Breytenbach's poetry shows a strong duality between the present world and a meaningful alternative sphere. Being in and of this alternative sphere only aggravates the poet’s isolation (a typically symbolist trait), making him literally and figuratively an exile, as exile poems like "tot siens, kaapstad" (see you again, cape town) and "Walvis in die berg" (Whale on the mountain) and, of course, his prison poetry, clearly show.
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Hartman, Michelle. "Short Arabic Plays." American Journal of Islam and Society 21, no. 4 (October 1, 2004): 121–23. http://dx.doi.org/10.35632/ajis.v21i4.1758.
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Like most of the other anthologies edited by Salma Khadra Jayyusi, ShortArabic Plays is a collection of translated Arabic literary works focusedaround one particular genre. This anthology, part of Jayyusi’s Project forthe Translation of Arabic (PROTA), will bring attention to a dynamic, butunderstudied, genre of Arabic literature. This diverse collection consists of20 short plays by 15 playwrights, demonstrating the breadth of the genreand its interest not only to scholars and specialists, but also to those concernedwith literature more generally.One problem with this particular anthology, however, is that Jayyusi’sseven-page editor’s introduction barely manages to explain the impetusbehind the project, make her acknowledgments and outline the majorthemes in short plays in general – let alone contextualize the plays includedin this volume. Although it includes short biographies of the editor, contributors,and translators (after a brief glossary of Arabic words), there are nointroductions to the individual works or even such bibliographic indicationsas their original titles and dates of publication. In contrast, other anthologiesby Jayyusi – for example, Modern Arabic Poetry: An Anthology (ColumbiaUniversity Press: 1987) and Anthology of Modern Palestinian Literature(Columbia University Press: 1992) – are accompanied by useful and lengthyintroductions written by Jayyusi herself, as well as brief introductions toeach individual contribution.Likewise, the anthology most closely related to this one, ModernArabic Drama: An Anthology, coedited with Roger Allen ...
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Shihab Hamad, Phd, Shireen. "Multicultural and Cosmopolitan Identity in Relation to Cross-Cultural Conversation in Arab-American Poetry: Naomi Shihab Nye." Journal of Education College Wasit University 1, no. 21 (January 18, 2018): 415–38. http://dx.doi.org/10.31185/eduj.vol1.iss21.249.
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The poetry of Naomi Shihab Nye exemplifies the complexities of identity issues operating in a culture that is fraught with racial and political intensity. Although the poet has repeatedly mentioned the impact of her experience in Palestine on the formation of her poetic vision and consciousness, she does not resist -or separate herself from- the influence of American literary tradition and culture. Her multicultural identity embraces the two cultures by presenting the amalgamation of both Arab heritage and American experience. Thus, Nye's poetry shows how this Arab-American identity develops to be cosmopolitan as she sees herself as a "citizen of the world". This cosmopolitanism plays an important role in cross-cultural conversation which is based on acceptance and respect of difference. Her poetry is a message to all people and other hyphenated literary writers to celebrate their difference and use it to connect the various cultures in the world.
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Matevosyan, Armine, and Anna Melkonyan. "Repetition in Walt Whitman’s “A Passage to India”." Armenian Folia Anglistika 6, no. 1-2 (7) (October 15, 2010): 83–88. http://dx.doi.org/10.46991/afa/2010.6.1-2.083.
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The article investigates the stylistic device of repetition which plays an underlying role in Whitman’s poetry. It brings rhythm and harmony to the poetry and helps convey higher moral values – wisdom, morality, various human states of mind and moods. Repetition with its various manifestations is a unique feature in Whitman’s poetry and it is impossible to imagine the great poet without his grand individual language. Undoubtedly, his poetry is the height of the art of repetition.
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Coats, Karen. "The Meaning of Children's Poetry: A Cognitive Approach." International Research in Children's Literature 6, no. 2 (December 2013): 127–42. http://dx.doi.org/10.3366/ircl.2013.0094.
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Critical attention to children's poetry has been hampered by the lack of a clear sense of what a children's poem is and how children's poetry should be valued. Often, it is seen as a lesser genre in comparison to poetry written for adults. This essay explores the premises and contradictions that inform existing critical discourse on children's poetry and asserts that a more effective way of viewing children's poetry can be achieved through cognitive poetics rather than through comparisons with adult poetry. Arguing that children's poetry preserves the rhythms and pleasures of the body in language and facilitates emotional and physical attunement with others, the essay examines the crucial role children's poetry plays in creating a holding environment in language to help children manage their sensory environments, map and regulate their neurological functions, contain their existential anxieties, and participate in communal life.
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Rule, Audrey C., and Ksenia S. Zhbanova. "Changing Perceptions of Unpopular Animals Through Facts, Poetry, Crafts, and Puppet Plays." Early Childhood Education Journal 40, no. 4 (April 3, 2012): 223–30. http://dx.doi.org/10.1007/s10643-012-0520-2.
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Esposito, Thomas. "Echoes of Ecclesiastes in the Poetry and Plays of T. S. Eliot." Logos: A Journal of Catholic Thought and Culture 24, no. 2 (2021): 98–123. http://dx.doi.org/10.1353/log.2021.0010.
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Khan, Kehkashan. "RHYTHMIC BEAUTY IN THE PLAYS OF RENAISSANCE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3397.
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The Theatres were very much in vogue in the Elizabethan England. For the spectators, theatres were not merely places of amusement & entertainment but also of social gathering & instruction. Both Marlowe & Shakespeare are great dramatists & poets of Elizabethan age. Their poetry & music lend a unique power & beauty to their plays.Marlowe, the predecessor of Shakespeare, infused his own soul into his characters like a lyric poet. He is regarded as the Morning Star of Song & the first & foremost lyricist of English Stage. He poetized the English dramas. His play Doctor Faustus reads more like a poem than a drama. His passage on Helen is one of the loveliest of lyrics. In its idealization of beauty, in its riot of colour, in its swift transition from one myth to another, in music & melody, in its passionate exuberance & abundance the passage remains unsurpassed.
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Xerri, Daniel. "‘Poems look like a mathematical equation’: Assessment in poetry education." International Journal of English Studies 16, no. 1 (June 28, 2016): 1. http://dx.doi.org/10.6018/ijes/2016/1/235261.
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<p>This article considers the influence that assessment exerts on poetry education. By means of research conducted in a post-16 educational context in Malta, it shows that teachers’ and students’ practices in the poetry lesson are determined by the kind of examinations that candidates sit for. When the mode of assessment is constituted solely by the traditional essay test that excludes students’ personal response, their engagement with poetry might be impaired and teachers’ role becomes highly pronounced. The article demonstrates how assessment plays a key role in governing teachers’ and students’ practices in the classroom. However, it is also argued that other factors are equally responsible for their approach to poetry.</p>
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Falconer, Rachel. "Wordsworth's Soundings in the Aeneid." Romanticism 26, no. 1 (April 2020): 23–37. http://dx.doi.org/10.3366/rom.2020.0445.
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Wordsworth's translation of Virgil's Aeneid I–III has been largely neglected by Romanticists and classical reception scholars, in part because it is considered to be an unfinished, failed artistic project. Amongst a handful of scholars, Bruce Graver has convincingly demonstrated the originality of Wordsworth's Latin translation. This article goes further to suggest the artistic coherence of Wordsworth's translation of Virgil . Aeneid I–III trace the arc of Aeneas's fall and exile from Troy and discovery of a new home. In translating Aeneas's journey, Wordsworth enacts a quest for a new poetic voice, at a time when his creative powers as an English poet were at a low ebb. His engagement with Virgil's Latin can be compared to his encounters with Nature and the River Derwent in earlier poetry; in both cases, the poet plays host to an alienatingly other, divine maternal presence which eventually rejuvenates and confirms the poet's voice in English.
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Youm, Chul. "Insights into the Poetry of Kim Woo-Jin - Through His Novels and Plays." Journal of Language & Literature 61 (March 31, 2015): 471. http://dx.doi.org/10.15565/jll.2015.03.61.471.
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Hedges, James. "Book Review: The Christian Tradition in English Literature: Poetry, Plays, and Shorter Prose." Christianity & Literature 57, no. 4 (September 2008): 606–9. http://dx.doi.org/10.1177/014833310805700411.
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Hart, Jonathan Locke. "Shakespeare in Theory and Practice." Interlitteraria 24, no. 1 (August 13, 2019): 30–53. http://dx.doi.org/10.12697/il.2019.24.1.4.
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The article is about theory and practice in Shakespeare, but while he used the word “practice,” he never employed the term “theory.” After discussing practice a little, I shall examine how Shakespeare refers to poetry and poets, philosophy and philosophers with some brief connections with art, theatre, music, painting and mimesis. Shakespeare showed no inclination for criticism or theory in essays or non-fiction prose, but, as can be seen, for instance, in Hamlet’s instructions to the players, his work, poetry and plays, contain if not a theory of art, theatre and poetry at least some representations of and reflections on such matters by speakers, narrators and characters.
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T’Sjoen, Yves. "‘Koloniseren is een smaak die je moet leren’ – Hugo Claus en Het leven en de werken van Leopold II (1970)." Tydskrif vir Letterkunde 46, no. 1 (November 9, 2017): 151–66. http://dx.doi.org/10.17159/2309-9070/tvl.v.46i1.3473.
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The première of Claus’ play Het leven en de werken van Leopold II (The Life and Works of Leopold II), in November 1970 (by the company Nederlandse Comedie), was directed by the author himself. After a second and again rather unsuccessful run (1972–1973, Arena, director: J. Tummers) it disappeared from the stage for nearly thirty years: there was no other production of Claus’ play in the Low Countries until the autumn of 2002 (KVS, director: R. Ruëll). Undoubtedly Het leven en de werken van Leopold II is one of the lesser-known plays by the Flemish author Hugo Claus (1929–2008). While writing it, at the end of the sixties, Claus was simultaneously working on two poetry collections. Van horen zeggen contains accessible poems, sometimes rather anecdotal, with many references to the contemporary political situation. These poems show a clear affinity with the neo-realistic poetry that was dominant in Dutch-language literature in the sixties. Also in 1970, on the same day as Van horen zeggen, Claus published Heer Everzwijn (Lord Wild Boar), manneristic poetry showing another poeta faber. Given Claus’ interest in the history of the Congo Free State (see also the novel De geruchten [The rumours]) and the way he caricatures King Leopold II and his government in Het leven en de werken, it is worth investigating the political and social perspectives articulated in both his drama and his poetry. What are the similarities between the poet and the playwright? How can we explain his interest in the way Leopold mistreated the people of the Congo? In this essay I present the ideological and social points of view adopted by Claus in a broad literary and political context, studying his play on Leopold’s atrocities in what would later (in 1908) become a Belgian colony, alongside the poetry he produced in the same period.
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Sankar, G. "Nationalism in Rabindranath Tagore Plays." IJOHMN (International Journal online of Humanities) 1, no. 3 (April 14, 2015): 8–45. http://dx.doi.org/10.24113/ijohmn.v1i3.11.
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History reveals that institutions or artifacts produced by human beings can lead to the exploitation or the loss of freedom of other human beings. Thus the celebration of the good life of an Athenian citizen in Plato‟s time can hide the wretchedness of vast numbers of slaves whose labor made it possible for the few free citizens to enjoy that good life. Our criteria then must apply to all, or at least the vast majority of the vast of the human group concerned, if they are to lay claim to universality. Amiya Kumar Bagchi, Perilous Passage1 The story of Indo-Anglican literature is the story of yesterday, of a little more than a century, and today. One of the natural results of the British rule in India is the rise and development of literature. The term “Indo-Anglican” was first used in 1883 when a book published in Calcutta that bore the title Indo-Anglian Literature. After the publication of two books by Dr.K.R.Srinivasa Iyengar, the term “Indo-Anglian” has not only acquired considerable currency, but also has come to stay as a familiar and accepted term applied to Indian contribution to literature in English. This has come to be known as Indo-Anglian writing and has been quite an active school of didactic and creative art for at least a century. The first theatre offering English language drama in 1776, Indian drama in English has never achieved the same status as Indian fiction and poetry in English. As in other colonies such as Canada, the Indian theatrical scene was dominated by foreign companies, touring plays drawn mainly from
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Mohamed, Ahmad Kamel, and Zulkifli Mohd Yusoff. "Penggunaan Syair dalam Penghujahan Pentafsiran al-Quran: Kajian Terhadap Kitab al-Lubab fi Ulum al-Kitab Karangan Ibnu Adel al-Hambali." Maʿālim al-Qurʾān wa al-Sunnah 13, no. 14 (December 1, 2017): 44–61. http://dx.doi.org/10.33102/jmqs.v13i14.97.
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Poetry gained a very important position and was highly regarded by the Arabs in particular, especially linguists, writers and critics in particular. This study will discuss about the importance of poetry and its role in interpretation of Al Quran. Poetry has become one of the tools used as arguments and evidences by most interpreters when interpreting the Quran. The use of poetry as support in understanding the Quranic verses have begun since the time of the Companions RA. They refer to poetry in order to understand some letters and languages of al- Quran that was unclear to them. Interpreters such as Ibn Jarir al-Tabari, Abu Hayyan, Ibn Adel al-Hambali, al-Qurtubi and many others used poetry as arguments and evidences in explaining the meaning of the verse or supporting their opinions in terms of language, jurisprudence and belief. This study will display the methods used by the interpreters in presenting the arguments of the poems through the example from Ibn Adel al-Hambali's book "al-Lubab Fi Ulum al-Kitab". Therefore, it is hoped that this study will provide a clearer understanding of the use of poetry as a tool that plays a very important role in supporting the understanding of the Quran and even the Sunnah.
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Eremina, E. S., and N. A. Lavrova. "Phraseological Units as Intertextual Elements in Modern American Poetry." Prepodavatel XXI vek, no. 2, 2020 (2020): 340–48. http://dx.doi.org/10.31862/2073-9613-2020-2-340-348.
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The relevance of this study lies in the fact that at present the theory of intertextuality is one of the main directions of study in modern philology. Inclusion of phraseological units in a number of intertextual elements enriches the concept of intertextuality, which in turn contributes to the growth of potential of phraseologisms in modern English. Phraseologisms acting as intertextual elements are used by many authors to transfer various types of information, primarily culturological information through the activation of readers’ thesaurus knowledge. The aim of the study is to broaden the understanding of the concept of phraseological intertextuality and the role, which it plays in poetic texts, in particular, to show that phraseological intertextual elements are heterogeneous in modern American poetry and they require different degrees of activation of readers’ background knowledge. The study identifies two groups of intertextual phraseological units: they are biblical phraseological units and Shakespearean phraseological units.
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van Crevel, Maghiel. "Misfit." Prism 16, no. 1 (March 1, 2019): 85–114. http://dx.doi.org/10.1215/25783491-7480341.
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Abstract Battlers poetry (dagong shige 打工詩歌), a genre whose name has mostly been rendered in English as “migrant worker poetry” to date, presents an important development in Chinese literature since the 2000s. Written by members of a new precariat that plays a key role in China's economic growth, this poetry speaks to the plight of its constituency. Xu Lizhi 許立志 (1990–2014) is one of its best-known authors, whose rise to fame was triggered if not caused by his suicide. While it is impossible to conduct a real discussion of Xu's work without referring to his suicide and the story of the migrant workers, his status as a figurehead of battlers poetry at large raises questions because what he wrote is arguably not very representative of the genre at all. These observations lead to a discussion of the way battlers poetry has been framed in Chinese critical discourse, where it is often said to have high social significance but low aesthetic value. This convenient dyad is unsatisfying in that it simplifies the text's relation to reality—which is more highly charged for battlers poetry than for many other literary genres.
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Iurlaro, Francesca. "Il testo poetico della giustizia. Alberico e Scipione Gentili leggono la Repubblica di Platone." ΠΗΓΗ/FONS 2, no. 1 (December 14, 2017): 177. http://dx.doi.org/10.20318/fons.2017.3858.
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Riassunto: Il presente contributo cercherà di gettare luce sulla ricezione della Repubblica di Platone (e, insieme, della Poetica di Aristotele) nel dibattito sulla poesia che in Età moderna vide protagonisti, fra gli altri, due importanti giuristi: i fratelli Alberico (1552-1608) e Scipione Gentili (1563-1616). Come giustificano questi autori l’affinità fra poesia e diritto? A quali auctoritates del passato fanno riferimento? Si mostrerà, in primo luogo, in che modo concepiscano tale rapporto; poi, attraverso quali fonti del dibattito cinquecentesco sulla poesia ne articolino gli estremi concettuali e, infine, come la lezione della Repubblica platonica possa chiarire la natura di tale dibattito, generalmente definito di matrice aristotelica piuttosto che platonica. Si vedrà come il rapporto fra poesia e diritto sia articolato, da un lato, attraverso una qualificazione dell’atto poético come analogo al procedimento retorico, proprio in aperta polemica con Platone; e dall’altro, come il rifiuto omerico espresso da Platone nella Repubblica apra una breccia ai due fratelli Gentili per affermare il primato di un altro poeta: Virgilio. Si concluderà suggerendo che l’analogia fra giustizia e poesia presente nella Repubblica costituisca una possibile chiave interpretativa del rapporto fra diritto e poesia, poiché è la presenza (non dichiarata) di un criterio platonico di giustizia a conferire validità normativa all’exemplum poetico.Parole chiave: poesia, ius gentium, retorica, Repubblica di Platone, Alberico Gentili, Scipione GentiliAbstract: The present contribution will shed light on the reception of Plato’s Republic (as well as of Aristotle’s Poetics) within the context of the early modern debate concerning poetry and poetic theory. Among the protagonists of this vivid debate, the two brothers and jurists Alberico (1552-1608) and Scipio Gentili (1563-1616) played a significant role in vindicating the existence of a strong relationship between law and poetry. In order to address this question, it has first to be assessed to which auctoritates of the past they relied upon to justify this relationship (and how they conceive of it); secondly, this article will read this phenomenon within the context of the 16th century debate concerning poetic theory. In this respect, Plato’s Republic plays a fundamental role in clarifying the conceptual stakes of such debate. In this perspective, I will argue that the relationship between law and poetry is addressed by both the Gentili brothers in terms of an analogy between poetry and rhetoric, and between rhetoric and law (in an anti-Platonic vein); on the other hand, the Gentilis seem to support Plato’s rejection of Homeric poetry in order to assess the primacy of another poet: Virgil. To conclude with, I will suggest that the parallel between poetry and justice (drawn by Plato in his Republic) might provide a possible interpretation of the relationship between law and poetry in the thoughts of Alberico and Scipio Gentili, where an implicit platonic criterion of justice seems to validate the legitimacy of the poetic exemplum.Keywords: poetry, ius gentium, rhetoric, Plato's Republic, Alberico Gentili, Scipio Gentili
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Nel, A. "Die digter in transito: reisverse en liminaliteit in Lykdigte en Ruggespraak van Joan Hambidge." Literator 27, no. 1 (July 30, 2006): 189–210. http://dx.doi.org/10.4102/lit.v27i1.186.
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The poet in transit: travel poetry and liminality in Joan Hambidge’s Lykdigte and Ruggespraak In the poem “Versugting” the first person narrator confesses: “reis na reis het ek in gedigte gekarteer, / in woorde opgevang elke slopende liefdeservaring”. The most important themes in Hambidge’s poetry converge in these two lines, namely the travel experience, reflection on the writing process, and love. These themes are the focus of this article. In both volumes under discussion the poet is presented as a traveller in real life. This concrete experience of reality becomes the isolated journey of the psyche and is “translated” and mapped in verse form. The journey as a liminal experience, the poet as the traveller and the writing process as the journey are some of the aspects that will be examined. For the poet the travel experience also implies the search for the beloved/love/the poem, while the transferral of the self causes a feeling of displacement. The city as destination also plays a role in the travel experience, which is experienced in a spatial-poetic manner, and finally becomes a poem itself.
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Kłańska, Maria. "Die Beziehungen Zwischen Frau und Mann in der Dramatik und Prosa von Dagny Juel-Przybyszewska." Folia Scandinavica Posnaniensia 19, no. 1 (June 1, 2016): 75–90. http://dx.doi.org/10.1515/fsp-2016-0007.
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Abstract In Poland, the name Dagny is well-known because of the sad life and tragic death of the Norwegian wife of the famous and scandalising Polish-German fin de siécle writer Przybyszewski. But not many people know that she was a writer and poet herself, even if not a very prolific one. Her ouevre consists of four short plays, five poems in prose and a handful of poetry. The aim of this article is to analyse her plays and prose in respect of the relations between a man and a woman. Especially, I enquire if Juels work is only an expression of the literary conventions of her epoch, or if she gives her texts an unique (feminine) touch. I attempt to demonstrate that the latter is the case in her dramatic work and especially in her prose poetry.
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Feng, MAO, LIU Ying, ZHANG Jiandong, YI Miaomiao, and Wu Biyu. "A Study of Du Fu’s Poetry in the West in Modern Times." International Journal of Linguistics, Literature and Translation 4, no. 6 (June 30, 2021): 134–40. http://dx.doi.org/10.32996/ijllt.2021.4.6.15.
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Chinese classical literature has attracted much attention in the Western world. As an important part of Chinese classical literature, Du Fu’s poetry, also as an important carrier, plays a great role in the international communication of cultural confidence. In recent years, some domestic research institutions and scholars have also written literature reviews on the research progress of Du Fu, but few works of literature comprehensively review related western research results. With the combination of big data and visualization tools, this study uses the title keyword “Du Fu Poetry” to search the English literature of Google scholar. VOSviewer is used to make visual analysis and draw a knowledge map from the aspects of literature quantity, authors, research institutions, co-citation, keyword clustering, etc., to analyze the research situation and hotspots of the Western study of Du’s poetry. The following conclusions are drawn: 1) In recent decades, western translation of Du Fu’s poetry have emerged constantly, attracting more and more famous international publishing houses to cooperate; 2) The study of Du’s poetry abroad mainly focuses on the English translation of Du’s poetry as well as the interpretation and evaluation of poets' thoughts; 3) The study of Du’s poetry abroad ignores the dynamic study of Du's poetry development, and there are some obvious cultural errors or omissions in translation. In a word, this study objectively reflects the development, theme and hotspots of modern western Du Fu poetry research, which has certain significance for fully understanding the general situation of Du Fu research field in Western countries and help to deepen Du Fu’s research.
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Smid, Deanna. "Shakespeare's Lyric Stage: Myth, Music, and Poetry in the Last Plays by Seth Lerer." Theatre Journal 71, no. 2 (2019): 241–43. http://dx.doi.org/10.1353/tj.2019.0048.
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Appleby, Raphael. "Review of Book: The Christian Tradition in English Literature: Poetry, Plays and Shorter Prose." Downside Review 126, no. 444 (July 2008): 234. http://dx.doi.org/10.1177/001258060812644410.
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Andersen, Svend. "“Den guddommeligt skønne natur”." Dansk Teologisk Tidsskrift 84, no. 1 (July 16, 2021): 25–47. http://dx.doi.org/10.7146/dtt.v84i1.128069.
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Abstract: The article offers a contribution to the understanding of K.E. Løgstrup’s metaphysics focusing on his reading of Friedrich Hölderlin’s poetry and Martin Heidegger’s interpretation thereof. Heideggerian ontology plays a crucial role in Løgstrup’s theology as a philosophical explication of the pre-understanding of Christian faith. At first, existential ontology was essential in this respect, but later Løgstrup realized the necessity of broadening the view to being in general, which equals the movement towards metaphysics. In this movement, Hölderlin as interpreted by Heidegger is pivotal, an important element being the “poetic openness” Løgstrup introduces in The Ethical Demand. In unpublished manuscripts, Løgstrup claims that poetic openness in Hölderlin has an ontological and metaphysical content, and his reading thereby anticipates central themes in his later metaphysics such as omnipresence, particularity, and the history-nature relation.
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Strier, Richard. "The 2019 William B. Hunter Lecture of the scrc: Paleness versus Eloquence: The Ideologies of Style in the English Renaissance." Explorations in Renaissance Culture 45, no. 2 (November 7, 2019): 91–120. http://dx.doi.org/10.1163/23526963-04502001.
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This essay considers the contrast between plainness and eloquence in some canonical English (secular) lyrics and plays from Wyatt through Shakespeare. Its claim is that in the relevant body of work, and in the culture as a whole, each of the styles bore a specifiable ideological charge. It shows that English secular poetry and drama in the sixteenth and early seventeenth century was profoundly aware of the ideologies associated with the two levels or kinds of style, and profoundly divided in its commitments. In lyric poetry, this is true in Wyatt at the beginning of the sixteenth century and of Sidney at the end. In drama, Shakespeare is profoundly aware both of the styles and of the ideologies with which they are associated. He uses and also critiques both of these in the poems and the plays. Othello is the culmination of both the use and the critique.
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Wang, Yi. "Carpe Diem Revisited in Poetry, Fiction and Film." Theory and Practice in Language Studies 10, no. 3 (March 1, 2020): 294. http://dx.doi.org/10.17507/tpls.1003.04.
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Carpe Diem is considered to be an eternal theme in English literature. Being pervasively spread through all ages, it is indeed of universal significance, reflecting one of the important philosophical issues of human world. Albeit this phrase was first created by Horace in ancient Rome, it has greatly influenced the renaissance poetry and the metaphysical poetry of the 17th century. This paper sets out to analyze different representations of Carpe Diem or its variations in various literary forms, namely, poetry, fiction and even film. After these contemplations it is safe to say that the connotation of this theme is the concrete reflection of positive philosophy of life, rather than the seemingly negative ways of living life in common sense. Carpe Diem plays its due significance in the conflicts between human studies and theology, secularism and afterlife, feudalism and humanism in the history of human thoughts.
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Piotrovsky, Dmitry. "The theme in oral poetry as exemplified by the Faroese Ragnars Táttur." Scandinavian Philology 19, no. 1 (2021): 61–70. http://dx.doi.org/10.21638/11701/spbu21.2021.104.
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The theme as well as the formula is one of two basic elements of Parry and Lord’s theory. A. B. Lord defines the “themes” of oral poetry as “the groups of ideas regularly used in telling a tale in the formulaic style of traditional song”. The theme happens to be a bilateral unit having both the plane of content and the plane of expression. The presence of the plane of content is self-evident and axiomatic. The theme in oral Faroese poetry possesses also the plane of expression. The proof of this statement is the fact that the realization of the same theme or some similar themes in different ballads or within the same piece of oral poetry presupposes the use of the same units of the lower level i.e., formulas and repetitions. The theme is a bilateral unit having its proper position in the unit system of the poetic language. It boasts its own level status. From the point of view of the level structure, the theme occupies the medium place between the formulas and the whole text. The interaction of the theme and both neighboring levels may be described as whole-part relationship. To the means of formula technique, formulas and repetitions, the theme behaves as the whole; to the text it plays the role of a part. Such a hierarchical structure creates the effect that the features of some units within this system influence the features of other units.
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Glukhovskaya, Elena A. "Oscar Wilde’s Fairy-tale The Selfish Giant in Ellis’s Works: from Dramaturgy to Poetry." Studia Litterarum 6, no. 3 (2021): 56–71. http://dx.doi.org/10.22455/2500-4247-2021-6-3-56-71.
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The article discusses some aspects of the reception of Oscar Wilde’s fairy tale The Selfish Giant by the Russian symbolist poet and translator Ellis (L.L. Kobylinsky; 1879–1947) as reflected in archival sources and memoirs of his contemporaries. Particularly, Ellis’ participation in theatre performances for children and his interest in the forms of juvenile literature are considered within the framework of his overall poetical activities. Among these plays, a piece entitled The Garden of the Giant which is based on Wilde’s tale The Selfish Giant is to be mentioned first and foremost, since Ellis himself attributed great importance to this work making several attempts to publish it separately and even trying to convince a Moscow modernist publishing house Musaget to implement his rather extraordinary plans. The article also attempts to demonstrate that Ellis’ passion for Wilde’s literary heritage can be traced in his own subsequent work as his second collection of verse Argo (1914) proves it. As, I argue, its first section entitled Snuffbox with Music has been developed under the influence of Ellis’ previous work on juvenile performances, which manifests itself in dedications, the texts of the section borrowed from the juvenile plays as well as through the motivic structure of this cycle.
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Emerson, Caryl. "Pretenders to History: Four Plays for Undoing Pushkin's Boris Godunov." Slavic Review 44, no. 2 (1985): 257–79. http://dx.doi.org/10.2307/2497750.
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Among the problematic works of great writers, Pushkin's Boris Godunov occupies a special place. This strange hybrid of history, drama, narrative poetry, and prose Pushkin called a “romantic tragedy,” and he considered it his masterpiece. Yet the play's publication in 1831 was met with surprise and dismay. By consensus of a baffled public, Boris Godunov was a failure—neither romantic, nor feasible on the tragic stage.Since that time, generations of critics, playwrights, and producers have tried to come to terms with this troublesome text. Tolstoi's famous comment—that all great nineteenth-century Russian works defy clear generic classification1—has been invoked in defense of many irregular texts, but not this one. Boris remains stubbornly, inexplicably “undramatic.” Criticism has in fact tended to redefine the play rather than to investigate it. Boundaries are routinely blurred between the historical Tsar Boris, the historical period when his tale is retold, and the world of the fictional creation itself.
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Beenstock, Zoe. "Looking at Sympathy in Wordsworth's Disability Poetry." Romanticism 26, no. 1 (April 2020): 62–74. http://dx.doi.org/10.3366/rom.2020.0448.
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Wordsworth's poems about disability – ‘The Idiot Boy’ and ‘The Blind Highland Boy’ and other long poems in which disability plays a tangential yet pivotal role like The Prelude and, less obviously, ‘The Ruined Cottage’ – posit the encounter with impairment as central to feelings of sympathy. Consequently, these poems are usually read as advocating the inclusion of people with disabilities. This article argues that Wordsworth's poems about disability reify a pattern of liberal identity that posits impairment as an obstacle to subjecthood reflecting Wordsworth's misreading of Adam Smith's moral theory. Departing from Smith's argument that disability is socially constructed, Wordsworth separates disabled and able-bodied lives into separate spheres, mediated by a voyeuristic aesthetic. As a result, characters with disabilities arouse intense curiosity and yearning in Wordsworth's poems, but also remain a spectacle of dependence and an adjunct to able identity.
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Mills, Lia. "In Full Voice: Celia de Fréine in Conversation with Lia Mills." Irish University Review 48, no. 2 (November 2018): 169–82. http://dx.doi.org/10.3366/iur.2018.0347.
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Celia de Fréine is a multi-award winning poet, playwright, screenwriter and librettist, who also writes essays and fiction in both English and Irish. She has published eight collections of poetry, including three dual-language editions with Arlen House. Four of her plays have been awarded Duais an Oireachtais for best full-length play, and her biography (in Irish) of Louise Gavan Duffy – Ceannródaí – is due out later this year. This conversation with writer Lia Mills explores the innovative nature of de Fréine's work, in language, form and subject matter. It discusses key poetry volumes, such as her response to the Hepatitis C scandal – Fiacha Fola | Blood Debts – and A Lesson in Can't, which draws on the lives of Irish Travellers. It also considers her commitment to writing for theatre in both Irish and English, and her recent prose. The dialogue sheds light on the complex relationship between Irish and English in de Fréine's work, and her evolving creative practice.
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Robert, Jörg. "Poetic Physics (Poetische Naturwissenschaft)." Daphnis 46, no. 1-2 (March 15, 2018): 188–214. http://dx.doi.org/10.1163/18796583-04601013.
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This article deals with Martin Opitz’s didactic poem Vesuvius (1633) and tries to elucidate its fundamental poetical and epistemological issues. In his Buch von der Deutschen Poeterey (1624), Opitz establishes a set of rules for the genre of carmen heroicum that comprises both didactic poetry and narrative epics. Especially didactic resp. scientific poetry plays a decisive role in Opitz’s overall concept of poetry as it denies being fiction (‘Erdichtung’) and claims strict factuality. Thus it is not surprising that Vesuvius becomes the opening piece of the posthumous collection of Opitz’s Teutsche Poemata (1644). Vesuvius reveals itself not only as an imitation / translation of De Aetna (a didactic poem included in the Appendix Vergiliana), but also as an attempt to connect literary tradition, natural philosophy and religious knowledge: The purely scientific parts of the poem (on earthquakes and volcanism) are functioning to reveal the natural order of creation (the aspect of theodicy avant la lettre). The Vesuv-catastrophe is interpreted as God’s clear hint for mankind towards the ending of moral deprivation and civil war. The poet’s role as poeta vates resp. poeta theologus is thus to be the mediator / translator / interpreter between god and mankind, a mediation which actually takes the form of philological interpretation and commentary. The text of the 1633 print reflects this constellation by interweaving text and paratext (commentary) to a unique ensemble. With its particular textual arrangement and discoursive complexity, Vesuvius is symptomatic for premodern negotiations between natural sciences, religious knowledge, and literature.
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Ilankumaran, M., and P. Deepa. "Teaching Literature Enhances Communication Skills – a Study with Special Emphasis on Poetry." International Journal of Engineering & Technology 7, no. 3.6 (July 4, 2018): 187. http://dx.doi.org/10.14419/ijet.v7i3.6.14967.
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The term communication is one of the most analyzed terms in the academic arena and it has been studied systematically since ancient times. Communication is an everyday social activity that is an essential and inherent component of every human being. It is a key to human development because the quality of the existence is linked directly to the quality of the communication. This article focuses on how literature in general and poetry in particular enhances the communication skills of the students. Every literary person knows about language and literature. However, they are most common to learn the vocabulary. Literature plays a key role in language classroom. It provides not only pleasure to readers but also builds experience and creates thinking ability. Moreover, literature has several literary forms such as prose, poetry, drama, novel, short stories, etc. Though there are several forms in literature, the most interesting genre is poetry. Poetry can be the works of great beauty due to its meter and rhyme scheme like the ebb and flow of an ocean. This really helps the student to show more involvement towards poetry. On the other hand, the students can try to know more vocabulary from the lines of the poems. Through different terms of poetry used in the classroom, the students get more benefits of knowing new terms and words.
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Wheater, Isabella. "Literature and Philosophy: Emotion and Knowledge?" Philosophy 79, no. 2 (April 2004): 215–45. http://dx.doi.org/10.1017/s0031819104000245.
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Nussbaum attempts to undermine the sharp distinction between literature and philosophy by arguing that literary texts (tragic poetry particularly) distinctively appeal to emotion and imagination, that our emotional response itself is cognitive, and that Aristotle thought so too. I argue that emotional response is not cognitive but presupposes cognition. Aristotle argued that we learn from the mimesis of action delineated in the plot, not from our emotional response. The distinctions between emotional and intellectual writing, poetry and prose, literature and philosophy, the imaginative and the unimaginative do not cut along the same lines. That between literature and philosophy is not hard and fast: philosophy can be dramatic (eg Plato's dialogues) and drama can be philosophical (eg some of Shakespeare's plays), but whether either is emotional or not, or written in poetry or prose, are other questions.
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Bickle, Sharon. "DISABILITY AND GENDER IN THE VISUAL FIELD: SEEING THE SUBTERRANEAN LIVES OF MICHAEL FIELD'S WILLIAM RUFUS." Victorian Literature and Culture 40, no. 1 (March 2012): 137–52. http://dx.doi.org/10.1017/s1060150311000283.
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When the UK'sGuardiannewspaper featured “La Gioconda” as poem of the week in January 2010, the paper's popular readership discovered what many late-Victorian scholars had known about for some time: the poetic partnership of Katharine Bradley (1846–1914) and Edith Cooper (1862–1913), known as “Michael Field.” The successful recovery of the Fields as significant late-Victorian writers – a project now in its second decade – seems poised to emerge into popular awareness driven as much by interest in their unconventional love affair as by the poetry itself. Scholars too have been seduced by the romance of a transgressive love story, and the critical nexus between sexuality and textuality has produced remarkable scholarship on the Fields’ lyric poetry: those texts in which the personas have a rough equivalence with Bradley and Cooper themselves. Yopie Prins first noted the complex engagement of multiple voices with lyric structure in Long Ago (74–111), and Ana Parejo Vadillo (Women Poets 175–95), Jill Ehnenn (73–96), and Hilary Fraser (553–56) expanded on this to uncover the transformation of the lyric's male gaze into a triangulated lesbian vision in Sight and Song (1892). In contrast to the recognition accorded their lyric verse, most critics have overlooked Michael Field's verse dramas. While there have been attempts to shift attention onto the plays, the significance of the Fields’ lesbian vision to the dramas has never been explored. This article seeks to redress this pervasive neglect and begin dismantling the boundaries that have grown up between critical approaches to the lyrics and the plays.
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Balestrini, Nassin W. "Sounding the Arctic in Chantal Bilodeau’s Climate Change Plays." Nordic Theatre Studies 32, no. 1 (May 31, 2020): 66–81. http://dx.doi.org/10.7146/nts.v32i1.120408.
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Quebec-born playwright Chantal Bilodeau has been responding to the challenges of dramatizing anthropogenic climate change by developing an eight-part Arctic Cycle, each play of which is set in one of the nations that claims Arctic territory. Sila (2014) immerses audiences into a complex network of humans, animals, and mythical beings crisscrossing the Canadian Arctic. These movements circle around the Inuit concept of sila, which is the life-giving force of breath and voice. Thus, the sonic world of Sila focuses on voices speaking words, on performance poetry, and on the sounds of breath and wind. Bilodeau’ s second Arctic Cycle play, Forward (2016), addresses the long-term impact of Fridtjof Nansen’s polar exploration of the 1890s on Norway’s economy and society. In terms of sound, Forward features multiple musical performances rangingfrom traditional songs to European opera arias and Lieder to contemporary Norwegian electro-pop. The sonic features of both plays stress interdependence across time, space, as well as (non-)human, earthly, and metaphysical realms. Sila and Forward address climate change in a non-universalizing manner which promotes a heterarchical (rather than hierarchical) aesthetic fit for a growing awareness of planetary relationality.
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Lee Soon, Rachel K. M. "Honouring the Strength of Indian Women: Plays, Stories, Poetry, Michelle Coupal, Deanna Reder, Joanne Arnott and Emalene A. Manuel (eds), Vera Manuel Kulilu Paŧki (2019)." Drama Therapy Review 6, no. 1 (April 1, 2020): 95–98. http://dx.doi.org/10.1386/dtr_00018_5.
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Review of: Honouring the Strength of Indian Women: Plays, Stories, Poetry, Michelle Coupal, Deanna Reder, Joanne Arnott and Emalene A. Manuel (eds), Vera Manuel Kulilu Paŧki (2019)Winnipeg: University of Manitoba Press, 391 pp.,ISBN 978-0-88755-836-8, p/bk, USD 24.95ISBN 978-0-88755-574-9, epub, USD 25.00
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Coetser, J. L. "KWU-werkersklasdramas in Afrikaans (ca. 1930 - ca. 1950)." Literator 20, no. 2 (April 26, 1999): 59–76. http://dx.doi.org/10.4102/lit.v20i2.470.
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GWU working class theatre in Afrikaans (ca. 1930 - ca. 1950)In 1984 Elsabé Brink drew attention to plays, prose and poetry written between 1930 and 1950 in Afrikaans by members of the Garment Workers’ Union (GWU). Scholars such as Stander and Willemse (1992), Van Niekerk (1996) and Van Wyk (1995, 1997) have also referred to GWU plays. Apart from these overviews, GWU plays as such have not yet received the attention they deserve. This article presents a revaluation, initially by providing an overview of their contents, followed by an examination of cultural, economic and political influences. It is argued that - retrospectively - the GWU plays reflected a unique cultural specificity from the framework established by Sitas (1986) for more contemporary working class theatre.
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Kelly, Erin E. "John Foxe, Poets, and Sir Thomas More." Moreana 42 (Number 163), no. 3 (September 2005): 7–42. http://dx.doi.org/10.3366/more.2005.42.3.4.
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Sir Thomas More transforms material from Foxe’s Acts and Monuments to offer through the character More a defense of poets, playwrights, and theatre. Foxe describes More as a poet, equating his writings with Catholicism and with lying. The authors of the play deviate from this source in presenting poets as tolerant and moral. Their More rejects the oppositional thinking that makes martyrdom possible and, therefore, is not a straightforward martyr figure as he goes to his death. Rather, he is a representative poet whose open-mindedness and empathy for all people serve as a defense of poetry and thus also of plays.
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Piechucka, Alicja. "Between Poetic Voice and Silence: Hart Crane, Yvor Winters, Metapoetics and Emily Dickinson’s Legacy." Text Matters, no. 10 (November 24, 2020): 336–63. http://dx.doi.org/10.18778/2083-2931.10.19.
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The article is a comparative study of the ways in which two American modernist poets bound by a literary and human connection, Hart Crane and Yvor Winters, dealt with Emily Dickinson’s legacy in their own works. My study is an attempt to place Crane within the legacy of the American Renaissance as represented not by Walt Whitman, with whom he is customarily associated, but by Dickinson, and to examine the special place she holds in Crane’s poetry and in his thinking about poetry and the world at large. Crane’s poetic take on the Amherst poet is set against and complemented by his friend Yvor Winters’s ambiguous relationship with Dickinson’s heritage: troubled by an anxiety of influence, Winters, the poet-critic, vacillates between his reverence for the female poet and his skepticism about certain aspects of her œuvre. In the close readings of the poems in question undertaken in my study, the focus is on their metapoetic dimension. Particular emphasis is laid on the dialectics of silence, which plays a key role in both Crane’s and Winters’s works under discussion, as well as on the related themes of blankness and absence, poetic plenitude and perfection. Attention is also given to the problematics of death, time and timelessness. While Winters concentrates mostly on metapoetics in his exploration of the Dickinsonian tradition, Crane goes further, considering the fate of female artists and gender issues, thereby transcending poetic self-reflexiveness and addressing farther-reaching community concerns, with particular emphasis on anti-patriarchal and feminist ones.