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Books on the topic 'Poetism'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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1

The will to chance: Necessity and arbitrariness in the Czech avant-garde from poetism to surrealism. Bloomington, Ind: Slavica Publishers, 2006.

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2

Gjoka, Behar. Poetika e Budit: Studim për veprën poetike. Tiranë: Albas, 2002.

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3

Haramija, Dragica. Poetika slikanice: The poetics of picture books. Murska Sobota: Franc-Franc, 2013.

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4

La poetisa. Sevilla: Algaida, 2006.

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5

Poetisk territorium. Oslo: Andresen & Butenschøn A/S, 2010.

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6

Vidić, Petar Perica. Fra Petar Perica Vidić: Svjetlosna poetika pastela = light poetics of the pastela. Zagreb: Ministarstvo financija porezna uprava, 2009.

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7

Pimonov, Vladimir. Poetika teatral'nosti v tvortjestve Sjekspira (The Poetics of Theatricality in Shakespearean Art). Moscow, Russia: Moscow: Flinta, 2020.

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8

Poetica: Etudes de poetiques sanskrite et francaise = studies in Sanskrit and French poetics. Varanasi: Gavaksha Prakashan, 2012.

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9

Stanonik, Marija. Duhovna poetika (Karla) Vladimirja Truhlarja (1912-1977): Spiritual poetics of Karl Vladimir Truhlar. Dravlje: Župnijski zavod, 2014.

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10

Passannanti, Erminia, ed. Realtà e Paradosso della Traduzione Poetica: Lezioni sulla Traduzione dei Testi Poetici - Napoli, 1989. Canada: Lulu per Istituto Studi Filosofici di Napoli, 2004.

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11

1922-1986, Scanavino Emilio, and Jaguer Edouard 1924-, eds. Scanavino e Jaguer: Il segno poetico e la poetica del segno : carteggio, 1954-1969. Cinisello Balsamo, Milano: Silvana, 2009.

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12

Natale, Giuseppe Di. Scanavino e Jaguer: Il segno poetico e la poetica del segno : carteggio, 1954-1969. Cinisello Balsamo, Milano: Silvana, 2009.

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13

Todorov, Cvetan. Poetika. Beograd: "Filip Visnjic", 1986.

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14

Poetica. Torino: Einaudi, 2008.

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15

Carlino, Marcello. Poetica. Napoli: Guida, 2011.

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16

Mall, Julian. Poetics. Salzburg: University of Salzburg, 1995.

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17

Finzi, Gilberto. Poetile. Torino: N. Aragno, 2006.

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18

Carlino, Marcello. Poetica. Napoli: Guida, 2011.

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19

Aristóteles. Poetics. New York: Theatre Communications Group, 1999.

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20

Todorov, Tzvetan. Poetika. Skopje: Detska radost, 1998.

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21

Poetics. Cambridge, Mass: Harvard University Press, 1995.

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22

Aristóteles. Poetica. [Bari]: Laterza, 1998.

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23

Slimbach, Robert. Poetica. Mountain View, Calif: Adobe Systems, 1992.

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24

Fernández, Manuel Basas. Matilde Orbegozo, poetisa bilbaína. Bilbao: Bilbao Bizkaia Kutxa, 1991.

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25

Vold, Jan Erik. Poetisk praksis: 1975-1990. Oslo: Gyldendal norsk forlag, 1990.

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26

Mathisen, Jens. Jens Mathisen: Poetisk palett. Oslo: Orion, 1999.

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27

Kuruch, L. I. Poetica lui Eminescu: Poetica genurilor și speciilor literare, poetica versului. Chișinău: Paragon, 1996.

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28

Edwards, Paul M. Poetics of place: Poetics of place. Independence, Mo: Herald Pub. House, 1994.

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29

Vaquer, Mary-Elizabeth. Poetics of Curriculum, Poetics of Life. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-465-7.

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30

Domper, Terry H. " Amanecer poetico". [Barcelona]: Huguer Gomez, 1988.

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31

Artel, Jorge. Antologia poetica. [Medellín, Colombia]: Universidad de Antioquia, 1985.

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32

Aristóteles. Aristotle's Poetics. Montreal: McGill-Queen's University Press, 1997.

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33

A poetics. Cambridge, Mass: Harvard University Press, 1992.

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34

Barbu, Ion. Opera poetică. Chișinău: Cartier, 2002.

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35

Dion, Paul-Eugène. Hebrew poetics. 2nd ed. Mississauga: Benben Publications, 1992.

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36

Hassenstein, Bohuslaw Lobkowitz von. Opera poetica. Monachii: K.G. Saur, 2006.

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37

Sternstein, Malynne M. The Will to Chance: Necessity And Arbitrariness in the Czech Avant-garde from Poetism to Surrealism. Slavica Publishers, 2007.

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38

Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. Interlude. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0034.

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In this space between the Poetics of Subjectivity and the Poetics of Language, we want to pause briefly to consider several otherwise unrelated poets who, for a portion of their careers, did not fit into the reigning poetic movements of their age, or do not smoothly align with the critical trends that dominated Russian literary studies in the twentieth century. These poets straddle the two types of poetics we have foregrounded in this part of our ...
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39

Poetika kino. 2-e izdanie. Perechityvai︠a︡ "Poetiku kino". Sankt Peterburg: Rossiĭskiĭ in-t istorii iskusstv, 2001.

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40

Dawson, Clara. Victorian Poetry and the Culture of Evaluation. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198856108.001.0001.

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Victorian Poetry and the Culture of Evaluation argues that the dialectic and dynamic relationship between the periodical review and poetry creates a culture of evaluation which shapes Victorian poetic form. The mediation of poetry by the periodical review orients poets towards public readership and reception, heightening their self-consciousness about their audience and generating a poetics of publicness. Using methodologies associated with historical poetics and new formalism, the book examines the dialogues between poets and periodical reviews from the 1830s to the 1860s. It juxtaposes male and female poets and canonical and uncanonical texts. Challenging the critical binaries of fame and celebrity, the culture of evaluation posits a new way of reading Victorian poetry. It illuminates poets’ engagement with the immediacy and inevitability of writing for the present and for the contemporary media through which poetry was read and disseminated. New patterns of reception were created by mass print culture and both poets and reviewers were preoccupied with reaching the newly constituted mass audience. The changes to the material forms of poetry (e.g. through the periodical or gift-book) and the subjection to the commercial imperatives of the literary marketplace encouraged bold experiment with verse. The book identifies three poetic strategies for articulating the preoccupation with a mass audience and the demands of mass media: voice, style and address. Chapters on voice, style, and address explore the development of poetic form in dialogue with periodical reviews.
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41

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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42

d'Hubert, Thibaut. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190860332.003.0009.

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In the conclusion, I come back on key issues of my analysis of Ālāol’s poetics. Whereas performance and the absence of theoretical frame recorded in treatises on grammar or poetics are defining features of the vernacular tradition, we witness attempts to describe and systematize vernacular poetics in eastern South Asia. Sanskrit played a major role in this attempt at systematizing vernacular poetics to foster connoisseurship. The domain of reference of vernacular poets was not poetics per se or rhetoric, but lyrical arts and musicology. But efforts to describe vernacular poetics also display an awareness of the importance of heteroglossia and fluidity in vernacular aesthetics in contrast with Sanskrit. The opening up of the Sanskrit episteme constituted by vernacular poetics also made possible the recourse to literary models and quasi-experimental uses of vernacular poetic idioms. Old Maithili, Avadhi, and Persian were visible components of the making of vernacular poetics in Bengal.
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43

Ehlers, Sarah. Left of Poetry. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469651286.001.0001.

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In this incisive study, Sarah Ehlers returns to the Depression-era United States in order to unsettle longstanding ideas about poetry and emerging approaches to poetics. By bringing to light a range of archival materials and theories about poetry that emerged on the 1930s left, Ehlers reimagines the historical formation of modern poetics. Offering new and challenging readings of prominent figures such as Langston Hughes, Muriel Rukeyser, and Jacques Roumain, and uncovering the contributions of lesser-known writers such as Genevieve Taggard and Martha Millet, Ehlers illuminates an aesthetically and geographically diverse matrix of schools and movements. Resisting the dismissal of thirties left writing as mere propaganda, the book reveals how communist-affiliated poets experimented with poetic modes—such as lyric and documentary—and genres, including songs, ballads, and nursery rhymes, in ways that challenged existing frameworks for understanding the relationships among poetic form, political commitment, and historical transformation. As Ehlers shows, Depression left movements and their international connections are crucial for understanding both the history of modern poetry and the role of poetic thought in conceptualizing historical change.
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44

Poetika iskaniĭ, ili Poĭsk poetiki: Materialy konferent︠s︡ii (16-19 mai︠a︡ 2003). Moskva: In-t russkogo i︠a︡zyka RAN, 2004.

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45

Roberts, Wendy Raphael. Awakening Verse. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197510278.001.0001.

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Beginning with Isaac Watts’s Horae Lyricae (1706) and concluding with the burgeoning poetic print culture of the early nineteenth century, Awakening Verse unfolds how evangelical ministers, itinerants, and laypeople in colonial British North America capaciously engaged prevailing ideas about literary taste and created a distinct transatlantic poetics grounded in Watts’s notion of the “plainest capacity.” From the evangelical women who were instrumental in the development of bountiful verse ministries and the creation of poetic coteries to the itinerant ministers for whom poetics and its attendant sociability were central, evangelicals produced new forms of the “poet-minister,” “print itinerancy,” and “espousal poetics” that emerged as crucial practices of revivalism and facilitated rearrangements of ecclesiastical, gendered, and racialized authority. Well-known poet-ministers, such as the Scottish Ralph Erskine, the Bostonian Sarah Moorhead, and the Virginian James Ireland, reimagined formal poetic elements in the service of saving souls. Others, like Samuel Davies and Phillis Wheatley, became enmeshed in critical debates over the racialization of evangelical verse. Countless others, in print and in manuscript, joined with Watts to save poetry from its “profligate” uses. Awakening Verse shows that American literary and religious histories that regularly exclude one hundred years of verse severely impoverish the understanding of early evangelicalism and American poetry. Taking revival poets and their verse as seriously as they and their contemporaries did provides an entirely new understanding of eighteenth-century evangelical and literary culture, one in which poetry serves as one of the primary actors in the creation, maintenance, and adaptation of evangelical culture and religious enthusiasm animates American poetics.
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46

Borris, Kenneth. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198807070.003.0001.

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Before surveying the book’s argument, the Introduction contextualizes Spenser’s Platonic interests in relation to current trends and debates in literary studies and in Spenser studies. It further considers the relevant aspects of early modern thought and culture, including Plato’s perceived importance for discursive pursuits of the sublime, his Elizabethan status, how Spenser likely encountered Platonism as a schoolboy taught by Richard Mulcaster, its currency in the poet’s circle in the 1570s, and which Platonic texts are most pertinent to him. The interaction of Platonic poetics with Elizabethan poetic practice transformed the creative horizons of English literature. While newly assessing this aspect of Spenser’s poesis, the book as a whole clarifies the development of early modern continental and English poetics, this writer’s poetics, his visionary aspirations, his major poems, and his authorial persona. Spenser had a foundational role in the English literary “line of vision” that includes John Milton and William Blake among others.
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47

Borris, Kenneth. Visionary Spenser and the Poetics of Early Modern Platonism. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198807070.001.0001.

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This book defines Platonism’s roles in early modern theories of literature, then turns to reappraise the Platonizing major poet Edmund Spenser. Platonic concerns and conceptions profoundly affected early modern English and continental poetics, yet the effects have had little attention. Literary Platonism energized pursuits of the sublime, and knowledge of this approach to poetry yields cogent new understandings of Spenser’s poetics, his major texts, his poetic vocation, and his cultural influence. By combining Christian resources with doctrines of Platonic poetics such as the poet’s and lover’s inspirational furies, the revelatory significance of beauty, and the importance of imitating exalted ideals rather than the world, he sought to attain a visionary sublimity that would ensure his enduring national significance, and he thereby became a seminal figure in the English literary “line of vision” including Milton and Blake among others. Although readings of Spenser’s Shepheardes Calender typically bypass Plato’s Phaedrus, this text deeply informs the Calender’s treatments of beauty, inspiration, poetry’s psychagogic power, and its national responsibilities. In The Faerie Queene, both heroism and visionary poetics arise from the stimuli of love and beauty conceived Platonically, and idealized mimesis produces its faeryland. Faery’s queen, projected from Elizabeth I as in Platonic idealization of the beloved, not only pertains to temporal governance but also points toward the transcendental Ideas and divinity. Whereas Plato’s Republic valorizes philosophy for bringing enlightenment to counter society’s illusions, Spenser champions the learned and enraptured poetic imagination, and proceeds as such a philosopher-poet.
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48

Montiglio, Silvia. Impermanent Stones, Permanent Plants. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198826477.003.0011.

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This chapter identifies the ways in which epigrammatists in the Palatine Anthology create tombs that provide for a poet’s immortalization, not through everlasting stone, but through ever-growing plants. Vivifying plants creep over the tombs of Anacreon, Sophocles, and Machon, or the iambic poet Hipponax. Plants match poetry: the tomb of Hipponax, for example, is covered with stinging thorns and acerbic fruit. The lush vegetation which adorns the tombs of other poets in the Palatine Anthology echoes their privileged poetic connection with Dionysus, which—in a dialogue between text and tomb that is typical of the reception of tombs of the poets—often originates in their own works.
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49

Poetika teatral'nosti v tvortjestve Shekspira (The Poetics of Theatricality in Shakespearean Art). Moscow, Russia: Flinta, Moscow, 2018.

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50

Esterhammer, Angela. The Improvisation of Poetry, 1750–1850. Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.24.

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The “Romantic century” (1750–1850) saw the rise and decline of a distinctive type of improviser: theimprovvisatoreorimprovvisatrice, a solo poet-performer who spontaneously composed verses on subjects assigned by the audience. As this primarily Italian tradition spread across Europe, it generated wide-ranging debates about poetics, aesthetics, and the role of improvisation in political rhetoric and communal leadership. Often this discussion focused on the relationship between modern poetic improvisers and the rhapsodes of classical antiquity, especially Homer. Variations on the questions “Was Homer animprovvisatore?” and “Areimprovvisatorithe descendants of Homer?” show up in antiquarian, poetic, and political discourses, influencing Romantic ideas about the public role of poets while changing the direction of Homeric scholarship. Since the performances of poetic improvisers and the debates they generated took place in the midst of a rapidly expanding culture of periodical magazines and other print media, the reception of orally improvised poetry during the Romantic era also affects the evolving relationship of orality and print.
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