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Books on the topic 'Poetic (artistic) language'

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

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1

Od psalmów słowiańskich do rzymskich medytacji: O stylu artystycznym Karola Wojtyly = From Slavic psalms to Roman meditations : on Karol Wojtyła's artistic style. Warszawa: Wydawnictwo Uniwersytetu Kardynała Stefana Wyszyńskiego, 2013.

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2

Harchenko, Vera. The Poetry Of Nicholas Perovskogo. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1064942.

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The focus of the author are the characteristics of creativity of the poet Nikolai Perovsky (1934-2007), which are considered in the triad: poetry-line verse in the whole creative process. Examines the richness of its vocabulary, the language of emotions, perception and many other components of style. Emphasizes asiaturkey and cultural mission of poetry. The question is raised about the inclusion of fragments of poetry N. Perovsky in different dictionaries. The result of the analysis is the annotated list of achievements of the poet. For specialists in the language of artistic expression, as well as for writers, journalists, culturologists.
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3

Pindar. The odes of Pindar. New York: S. Albahari, 21st, 2007.

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4

Language / art: Artistic representation between poetry, concept and the visual. Trier: WVT, Wissenschaftlicher Verlag Trier, 2009.

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5

Boldrini, Lucia. Joyce, Dante, and the poetics of literary relations: Language and meaning in Finnegans wake. Cambridge: Cambridge University Press, 2001.

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6

Cicerone interprete di Omero: Un capitolo di storia della traduzione artistica. Napoli: Loffredo, 2000.

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7

Mariotti, Scevola. Livio Andronico e la traduzione artistica: Saggio critico ed edizione dei frammenti dell'Odyssea. [Urbino]: Università degli studi di Urbino, 1986.

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8

Palva, Heikki. Artistic colloquial Arabic: Traditional narratives and poems from al-Balqāʼ (Jordan). Helsinki: Finnish Oriental Society, 1992.

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9

1954-, David Catherine, Chevrier Jean-François, Documenta GmbH, Museum Fridericianum Veranstaltungs GmbH, and Documenta (10th : 1997 : Kassel, Germany), eds. Politics, poetics: Documenta X, the book. Ostfildern-Ruit: Cantz, 1997.

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10

Kramer, David Bruce. The imperial Dryden: The poetics of appropriation in seventeenth-century England. Athens: University of Georgia Press, 1994.

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11

Masters of repetition: Poetry, culture, and work in Thomson, Wordsworth, Shelley, and Emerson. New York: St. Martin's Press, 1998.

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12

Signes and sothe: Language in the Piers Plowman tradition. Cambridge: D.S. Brewer, 1994.

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13

Llwyd, Alan. Crefft y gynghanedd. [Abertawe?]: Cyhoeddiadau Barddas, 2010.

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14

Thucydides and Pindar: Historical narrative and the world of Epinikian poetry. Oxford: Oxford University Press, 2004.

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15

Uncreative writing: Managing language in the digital age. New York: Columbia University Press, 2011.

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16

The internal and the external: A comparison of the artistic use of natural imagery in English romantic and Chinese classic poetry. New York: Peter Lang, 1998.

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17

al-Shāʻir wa-ẓilluh fī mafhūm al-shāʻir wa-kitābat al-qaṣīdah. al-Rabāṭ: Dār al-Amān, 2004.

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18

Camara, Sana. La poésie sénégalaise d'expression française, 1945-1982. Dakar: Harmattan-Sénégal, 2011.

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19

Mafhūm al-khayāl wa-waẓīfatuhu fī al-naqd al-qadīm wa-al-balāghah. Makkah: al-Mamlakah al-ʻArabīyah al-Saʻūdīyah, Wizārat al-Taʻlīm al-ʻĀlī, Jāmiʻat Umm al-Qurá, Maʻhad al-Buḥūth al-ʻIlmīyah, 2000.

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20

Structures métriques des poésies de Pétrone: Pour quel art poétique? Louvain: Peeters, 2004.

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21

1949-, Si s. Peter, and Javaloyes In igo, eds. El son ador. New York: Scholastic, 2010.

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22

Ryan, Pam Muñoz. The dreamer. New York: Scholastic Press, 2010.

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23

ill, Sís Peter, ed. The dreamer. New York: Scholastic Press, 2010.

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24

Baudelaire, Charles. I fiori del male. [Firenze]: L.S. Olschki, 2005.

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25

Baudelaire, Charles. Les fleurs du mal. Newark, Delaware: European Masterpieces, 2010.

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26

Baudelaire, Charles. Las flores del mal. Valencia [etc.]: Pre-Textos, 2002.

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27

Baudelaire, Charles. Flowers of evil: Les fleurs du mal. South Dennis, Mass.]: Published by Steven Albahari, 21st [Editions], 2006.

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28

Baudelaire, Charles. Les fleurs du mal. New York City: Spuyten Duyvil, 2015.

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29

Baudelaire, Charles. Les fleurs du mal. Anjou, Québec: CEC, 2009.

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30

Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. The poetics of language. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0035.

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The chapter analyzes language-oriented poets and movements, showing how different conceptions of the poetic word emerged and influenced writing and performance throughout the period. The chapter follows the ramifications of avant-garde experiment, expressed in manifestos, public gestures, and performances. These innovations continued to influence the artistic practices of the 1920s and were revived later in the 1960s–80s. They comprised a legacy for concrete and Conceptualist poetry and, later, Metarealism. The chapter discusses the connection of these groups to underground culture, and shows how the inherited tropes of the avant-garde join up with postmodernist poetics and narratives in the post-Soviet period.
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31

Kosick, Rebecca. Material Poetics in Hemispheric America. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474474603.001.0001.

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Material Poetics in Hemispheric America examines poets and artists in the Americas during the late twentieth and early twenty-first centuries to show how they worked to make language into material objects and material objects into language. It builds a theory of ‘material poetics’ that provides an alternative account of poetry in hemispheric America. It argues that by reframing American poetry to prominently include object-oriented practices within and beyond the United States, material poetry can be seen as representing a significant branch of the American poetic tradition. This book puts contemporary theories of objects and matter into conversation with a variety of American approaches to material poetics. These approaches result in one-word poems more concerned with the look of language than its meaning, artworks that invite viewers to physically engage with language, poems assembled from networks of out-of-place words and things, poetic monuments that meditate on (and take up) space, and poetry that attempts to materialise the remnants of lyrics and lives. By examining five case studies, drawn from Brazil, Chile, the United States, and Canada, it investigates five ways of conceptualizing these poetic objects—as autonomous, relational, assembled, architectural, and posthuman. Poets and artists featured include Haroldo de Campos, Décio Pignatari, Augusto de Campos, Ferreira Gullar, Hélio Oiticica, Lygia Pape, Juan Luis Martínez, Ronald Johnson, and Anne Carson.
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32

Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. The poetics of subjectivity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0033.

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The chapter explores the poetic systems that evolved to represent and simultaneously shape new subjectivities, a rich and abiding topic in Russian poetry. The chapter surveys the organization and aesthetic outlook of key aesthetic movements (Symbolism, Acmeism, and Neo-Romanticism, among others) and concentrates on poetic representations of identity that emanate from group affiliations or artistic trends (such as zhiznetvorchestvo, an aesthetic that privileges the interplay of life and art). The chapter traces the emergence of discourses through which writers negotiated between a commitment to individual freedom and the larger state context. An Interlude between Chapters 2 and 3, “Misfits,” treats the poetics and poetry of authors whose approach to subjectivity and language thwart attempts to assign them to schools or specific trends.
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33

Creswell, Robyn. City of Beginnings. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691182186.001.0001.

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This book is an exploration of modernism in Arabic poetry, a movement that emerged in Beirut during the 1950s and became the most influential and controversial Arabic literary development of the twentieth century. The book introduces English-language readers to a poetic movement that will be uncannily familiar—and unsettlingly strange. It provides an intellectual history of Lebanon during the early Cold War, when Beirut became both a battleground for rival ideologies and the most vital artistic site in the Middle East. Arabic modernism was centered on the legendary magazine Shi'r (“Poetry”), which sought to put Arabic verse on “the map of world literature.” The Beiruti poets—Adonis, Yusuf al-Khal, and Unsi al-Hajj chief among them—translated modernism into Arabic, redefining the very idea of poetry in that literary tradition. This book includes analyses of the Arab modernists' creative encounters with Ezra Pound, Saint-John Perse, and Antonin Artaud, as well as their adaptations of classical literary forms. The book also reveals how the modernists translated concepts of liberal individualism, autonomy, and political freedom into a radical poetics that has shaped Arabic literary and intellectual debate to this day.
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34

Callaghan, Madeleine. ‘Painted fancy’s unsuspected scope’. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940247.003.0001.

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This chapter readsQueen Mab, Poetical Essay on the Existing State of Things and the Esdaile Notebook as representative of the range and ambition of Shelley’s early poetry. Exploring the aesthetic power and pleasure embedded in these poems, this chapter explores Shelley’s poetic as well as his polemical faculty. Focusing on previously neglected works, the early work is shown to be deeply significant in its own right, not only for its later echoes in Shelley’s more mature poetry. Particular attention is paid to Shelley’s letter to Elizabeth Hitchener of 16 October 1811, where the performance of this letter sheds light upon the passionate ambition of Shelley’s early poetry. This chapter stresses Shelley’s burgeoning interest in artistry in his poetry and letters, revealing his early work as increasingly alert to the possibilities and the limits of language.
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35

Coghen, Monika, and Anna Paluchowska-Messing, eds. Romantic Dialogues and Afterlives. Wydawnictwo Uniwersytetu Jagiellońskiego, 2021. http://dx.doi.org/10.4467/k7164.74/20.20.15512.

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Romantic writers often asserted their individuality, but this assertion tended to take the form of positioning themselves in relation to other authors and literary texts. Thus they implicitly acknowledged the rich network of broadly understood poetic dialogue as an important and potent source for their own creativity. When in 1816 John Keats wrote “Great spirits now on earth are sojourning,” he celebrated the originality of his contemporaries and the historical significance of his times, pointing to deep interest in “the hum of mighty works” in all the fields of human activity, to which “the nations” ought to listen. Keats’s sonnet suggests not only stimulating exchanges between poets, artists and social thinkers in the same language, but also the idea of transnational appreciation and dialogue. The volume takes up this idea and explores the dialogues of Romantic authors within the wide scope of European and American cultures. Essays by scholars from Germany, Britain, Bulgaria, Poland, Canada and the United States of America examine Romantic writers’ responses to their contemporaries, explore their dialogues with the culture of the past, and their interactions across the arts and sciences. They also scrutinize the Romantics’ far-reaching influence on later writers and artists, and thus extend the network of artistic exchange to modern times. The volume offers a rich tapestry of interconnections that span across time and space, interlace languages and cultures, and link Romantic writers and artists with their predecessors and successors across Europe and America. The essays in the collection invite the reader to join ongoing dialogues between writers and their audiences, of the past and present.
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36

Neruda, Pablo. Canto General (Spanish Language Edition). Ediciones Catedra S.A., 2003.

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37

Bugan, Carmen. Poetry and the Language of Oppression. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198868323.001.0001.

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Poetry and the Language of Oppression is an incursion into the creative process that engages with the experience of oppression and the reclamation of freedom in the context of the Cold War. What is freedom in language and how does the poet who has endured political oppression write himself or herself free? What is literary testimony and how does it reflect one’s artistic values? How do we govern ourselves with language? Oppression, repression, expression, as well as their tools (incarceration, surveillance, exile, gestures in language) have been with us in various forms throughout history; the present discussion represents a particular aspect of these conditions of our humanity as they play out in our time, providing another instance of the communion, and sometimes confrontation, with the language that makes us human.
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38

Teo, Tze-Yin. If Babel Had a Form. Fordham University Press, 2022. http://dx.doi.org/10.5422/fordham/9781531500184.001.0001.

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In twentieth-century intersections of China and Asia with the United States, translations did more than communicate meaning across politicized and racializing differences of language and nation. Instead, transpacific translation breached the regulative protocols that created those very differences of cultural value and meaning. The result saw translators cleaving to the sounds and shapes of poetry to imagine a translingual “likeness of form” but not of meaning or kind. At stake in this form without meaning is a new task of equivalence. As a concept, equivalence has been rejected for its colonizing epistemology of value, naming a broken promise of translation and false premise of comparison. Yet in veering from those very ways of knowing, the writers studied in this book theorized a poetic equivalence, negating the colonial foundations of the concept to discover the power of translation in surprising places. Igniting aporias of meaning into flashpoints for a radical literary translation, the book’s immanent readings narrate accounts of poetic equivalence across the iconoclastic poetics of American modernist Ernest Fenollosa, the vernacular experiments of Republican-era China’s central reformer Hu Shih, the trilingual musings of modern Chinese writer and Los Angeles expatriate Eileen Chang, the unfinished work of the Asian American transmedial artist Theresa Cha, and a post-Tiananmen elegy by the contemporary Chinese poet Yang Lian. The conclusion returns to the deconstructive genealogy of recent debates on translation and untranslatability, displacing the convention of radical alterity for a no less radical equivalence.
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39

Boldrini, Lucia. Joyce, Dante, and the Poetics of Literary Relations: Language and Meaning in Finnegans Wake. Cambridge University Press, 2001.

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40

Boldrini, Lucia. Joyce, Dante, and the Poetics of Literary Relations: Language and Meaning in Finnegans Wake. Cambridge University Press, 2005.

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41

Boldrini, Lucia. Joyce, Dante, and the Poetics of Literary Relations: Language and Meaning in Finnegans Wake. Cambridge University Press, 2009.

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42

Sánchez-Eppler, Karen, and Cristanne Miller, eds. The Oxford Handbook of Emily Dickinson. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780198833932.001.0001.

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The Oxford Handbook of Emily Dickinson is designed to engage, inform, interest, and delight students and scholars of Emily Dickinson, of nineteenth-century US literature and cultural studies, of American poetry, and of the lyric. It also aims to establish potential agendas for future work in the field of Dickinson studies. This is the first essay collection on Dickinson to foreground the material and social culture of her time while opening new windows to interpretive possibility in ours. The collection strives to balance Dickinson’s own center of gravity in the material culture and historical context of nineteenth-century Amherst with the significance of important critical conversations of our present, thus understanding her poetry with the broadest “Latitude of Home”—as she puts it in her poem “Forever – is composed of Nows –”. Debates about the lyric, about Dickinson’s manuscripts and practices of composition, about the viability of translation across language, media, and culture, and about the politics of class, gender, place, and race circulate through this volume. These debates matter to our moment but also to our understanding of hers. Although rooted in the evolving history of Dickinson criticism, the essays in this handbook foreground truly new original research and a wide range of innovative critical methodologies, including artistic responses to her poetry by musicians, visual artists, and other poets. The suppleness and daring of Dickinson’s thought and uses of language remain open to new possibilities and meanings, even while they are grounded in contexts from over 150 years ago, and this collection seeks to express and celebrate the breadth of her accomplishments and relevance.
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43

Owens, Thomas. Wordsworth, Coleridge, and 'the language of the heavens'. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198840862.001.0001.

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This book explores some of the exultant visions inspired by Wordsworth’s and Coleridge’s close scrutiny of the night sky, the natural world, and the domains of science. It examines a set of scientific patterns drawn from natural, geometric, celestial, and astronomical sources which Wordsworth and Coleridge used to express their ideas about poetry, religion, literary criticism, and philosophy. It establishes the central important of analogy in their creative thinking. Analogies prompted the poets’ imaginings in geometry and cartography, in nature (representations of the Moon) and natural history (studies of spider-webs, streams, and dew), in calculus and conical refraction, and in the discovery of infra-red and ultraviolet light. Although this is primarily a study of the patterns which inspired their writing, the findings overturn the prevalent critical consensus that Wordsworth and Coleridge did not have the access, interest, or capacity to understand the latest developments in nineteenth-century astronomy and mathematics, which they did in fact possess. This research reinstates many relationships which the poets had with scientists and their sources. Most significantly, the book illustrates that these sources are not simply another context or historical lens through which to engage with Wordsworth’s and Coleridge’s work but are instead a controlling device of the symbolic imagination. Exploring the structures behind Wordsworth’s and Coleridge’s poems and metaphysics stakes out a return to the evidence of the Romantic imagination, not for its own sake, but in order to reveal that their analogical configuration of the world provided them with a scaffold for thinking, an intellectual orrery which ordered artistic consciousness and which they never abandoned.
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44

Lunde, Ingunn, and Tine Roesen, eds. Landslide of the Norm: Language Culture in Post-Soviet Russia. Dept. of Foreign Languages, University of Bergen, 2006. http://dx.doi.org/10.15845/sb.3.5.

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Rapid changes in post-Soviet political and social life have been accompanied by dramatic shifts in language culture. Bringing together an international team of linguistic and literary scholars, this book explores the dynamic interrelationship between language and literature as it identifi es different responses to the linguistic situation as well as contributing factors in its development. The linguo-cultural practices under scrutiny include language use and language debates, popular and professional linguistic attitudes and their ideological underpinnings, works of artistic prose and poetry, as well as linguistic ideologies and strategies stemming from the Soviet era that continue to be relevant.
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45

Evangelista, Stefano. Cosmopolitan Classicism. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198789260.003.0013.

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Oscar Wilde associated ancient Greece and modern France as the homelands of artistic autonomy and personal freedom. France and the French language were crucial in his adoption of a cosmopolitan identity in which his close emotional and intellectual engagement with the ancient world also played a key role. His practices of classical reception therefore have roots in the French as well as English traditions. Wilde’s attitude towards ancient Greece initially shows the influence of French Parnassian poetry. As time goes on, however, he starts to engage with the new images of the ancient world promoted by Decadence and Symbolism, which sidelined the Greek classicism idealized by the Parnassians in favour of Hellenistic and Latin antiquity. Particularly important to Wilde were his exchanges with French Symbolist authors Marcel Schwob and Pierre Louÿs, whose writings on Hellenistic Greece are in dialogue with Wilde’s works, notably ‘The Critic as Artist’ and Salomé.
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46

Tučev, Nataša. AN INTRODUCTION TO THE MODERNIST NOVEL. Filozofski fakultet Niš, 2021. http://dx.doi.org/10.46630/imn.2021.

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This book is intended as an introduction to the modernist novel, primarily for the students and scholars of the English language and literature. Four major novelists – Joseph Conrad, D. H. Lawrence, James Joyce and Virginia Woolf – have been chosen to exemplify the stylistic features, aesthetic preoccupations and thematic concerns of the works of fiction written in English in the early decades of the twentieth century. The methodological principle used in this study is multilevel. First, these four authors are analysed by referring to their essays, philosophical treatises, prefaces to their novels and other nonfictional works where they define their poetics and their artistic goals in their own terms. After this, since form is such a major concern of the modernist novel, formal innovations and narrative strategies of each of these authors are discussed at some length. Finally, a single novel is chosen to represent each author, and it is analysed in detail. Heart of Darkness, A Portrait of the Artist as a Young Man and Mrs Dalloway are widely recognized within the oeuvre of these novelists as some of their greatest artistic achievements. Lawrence’s novella St Mawr is a lesser-known work; however, I would argue that F. R. Leavis’s praise of this short piece as “an astonishing work of genius” still stands. The same as with the other three novels, its inclusion in the study is justified by the valuable insights it provides about the characteristics of modernist fiction and modernist art in general.
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47

Bartoloni, Paolo. Dante Alighieri. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423632.003.0012.

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The Italian poet Dante Alighieri (1265–1321) is invoked several times in the work of Giorgio Agamben, often in passing to stress a point, as when discussing the political relevance of désoeuvrement (KG 246); to develop a thought, as in the articulation of the medieval idea of imagination as the medium between body and soul (S, especially 127–9); or to explain an idea, as in the case of the artistic process understood as the meeting of contradictory forces such as inspiration and critical control (FR, especially 48–50). So while Agamben does not engage with Dante systematically, he refers to him constantly, treating the Florentine poet as an auctoritas whose presence adds critical rigour and credibility. Identifying and relating the instances of these encounters is useful since they highlight central aspects of Agamben’s thought and its development over the years, from the first writings, such as Stanzas, to more recent texts, such as Il fuoco e il racconto and The Use of Bodies. The significance of Agamben’s reliance on Dante can be divided into two categories: the aesthetic and the political. The following discussion will address each of these categories separately, but will also emphasise the philosophical continuity that links the discussion of the aesthetic with that of the political. While in the first instance Dante is offered as an example of poetic innovation, especially in relation to the use of language and imagination, in the second he is invoked as a forerunner of new forms of life. Mediality and potentiality are the two pivots connecting the aesthetic and the political.
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48

Warner, Tobias. The Tongue-Tied Imagination. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823284634.001.0001.

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Should a writer work in former colonial language, or in a vernacular? The language question was once one of the great, intractable problems that haunted postcolonial literatures in the twentieth century, but it has since acquired a reputation for being a dead end of narrow nationalism. Instead of asking whether language matters, The Tongue-Tied Imagination explores how the language question itself came to matter. Focusing on the case of Senegal, this book studies the intersection of French and Wolof. Drawing on extensive archival research and an under-studied corpus of novels, poetry, and films in both languages, the chapters follow the emergence of a politics of language from colonization into the early independence decades and through to the era of neoliberal development. Chapters explore the works of well-known francophone authors such as Léopold Senghor, Ousmane Sembène, Mariama Bâ, and Boubacar Boris Diop alongside the more overlooked vernacular artists with whom they are in dialogue. Pushing back against a prevailing view of postcolonial language debates as a terrain of nativism, this book argues for the language question as a struggle over the nature and limits of literature itself. Language debates tend to pull in two directions: first, they produce literary commensurability by suturing vernacular traditions into the normative patterns of world literature; but second, they create space to imagine how literary culture might be configured otherwise. Drawing on these insights, this book models both a new understanding of translation and a different approach to literary comparison.
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49

Michalak-Pikulska, Barbara, Marek Piela, and Tomasz Majtczak, eds. Oriental Languages and Civilizations. Wydawnictwo Uniwersytetu Jagiellońskiego, 2021. http://dx.doi.org/10.4467/k7127.92/20.20.15519.

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The volume consists of six parts devoted to literature, languages, history, culture, science, religions and philosophy of the Eastern World. Its aim is to portray the present-day state of oriental studies, which are here understood predominantly as philologies of Asia and Africa, but also as a field of study including other, adjacent disciplines of the humanities, not neglecting the history of oriental research. The book’s multidisciplinary content reflects the multi- and often interdisciplinary nature of oriental studies today. Part 1 (Literature) offers new insights into belles-lettres written in Arabic, Hindi, Turkish, Urdu, Persian and Japanese. Part 2 (Linguistics) contains studies on Sanskrit texts (in a stylometric approach), Japanese nominals, Japanese poetry as a linguistic source, Arabic translations of the Bible, Arabic dialect of Morocco, Arabic culinary terms of Persian origin and Turkish vocabulary of the language reform era. Part 3 (History) investigates Napoleon’s campaign in the Middle East, Middle Eastern-Russian relations in the 18th century, the history of Seljuk Empire and the works of a Moroccan historian, Ǧaʿfar Ibn Aḥmad an-Nāṣīrī as-Salawī. Part 4 (History of Oriental Studies) deals with the history of oriental studies in Kraków and with the problems of a critical edition of the Quran. Part 5 (Culture and Science) examines the artistic achievements of Egyptian moviemaker Yūsuf Šahīn and possible influence of the Muslim science on medieval Polish scholars. Part 6 (Religion and Philosophy) explores some philosophical concepts of the Confucian ethics and the contribution of Karīma Bint Aḥmad Al-Marwaziyya to preservation and transmission of some religious traditions of Islam.
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50

Piot, Christine, Pablo Picasso, Leiris Michel, and Marie-Laure Bernadac. Picasso : Collected Writings (French Language Edition). Abbeville Press, 1989.

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