Relevant bibliographies by topics / Poetry Collections History

Academic literature on the topic 'Poetry Collections History'

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

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Journal articles on the topic "Poetry Collections History"

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Shahida, Salma, and Shagufta Nasreen. "A-1 A Historical View on the compilation of Poetry in Dewans." Al-Aijaz Research Journal of Islamic Studies & Humanities 4, no. 1 (June 30, 2020): 1–10. http://dx.doi.org/10.53575/a1.v4.01.1-10.

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The process of compiling and collecting poetry, that started during the Umayyad period and reached its climax in the Abbasid era , was a remarkable effort in Arabic literature. It depicts and portrays the true picture of Arabs and Muslims in the pre-Islamic and Islamic periods. These collections are the history of Muslim Nation. The name of Diwan on Poetry was unknown during the first three centuries, but is spread in the fourth century AH. In this period, many Diwans and poetry collections were compiled and prepared. This article illustrates the complete history of the compilation of poetry collection in the form of Diwaan
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Horgan, Alison. "Miscellaneous Spaces of Enlightenment: Dodsley, Percy, and the Midcentury Verse Miscellany." Eighteenth-Century Life 45, no. 3 (September 1, 2021): 197–212. http://dx.doi.org/10.1215/00982601-9273048.

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Using current scholarship on verse miscellanies to contextualize a comparison of Robert Dodsley's Collection of Poems by Several Hands (1748) and Thomas Percy's Reliques of Ancient English Poetry (1765), this article considers how the verse miscellany was used to different purposes by editors in the middle decades of the eighteenth century. It was, variously, a space in which to preserve poetry, to test readers’ appetites for the unfamiliar, and to establish or challenge poetic taste. Most of all, however, the verse miscellany functioned as a virtual space of the Enlightenment that encouraged literary experimentation and innovation. Editors like Dodsley and Percy used paratext not only to justify their specific poetic choices, but also to establish identity of their collection. In Dodsley's case, obvious editorial interventions are absent and the typography is elegant, while for Percy, the paratext is busy and noisy, an alternative space in the miscellany through which the collection's antiquarian character is expressed. Both collections test their reader's willingness to engage with less well-known material. This article suggests that although the two poetic collections seem to have little in common, they are both concerned with ideas of literary preservation and loss, on the one hand, and cultural progress and decline, on the other, that helped to establish the poetic miscellany as a key print genre of the Enlightenment.
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Balmer, Josephine. "The Library versus The Lyre: The Paths of Survival and the Poetry of Textual History." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 12 (November 8, 2020): 76. http://dx.doi.org/10.12681/syn.25266.

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What is the relationship between poetry and scholarship? What can poetry add to the sum of knowledge that scholarship might not? Conceived as a coda to my 2013 study, Piecing Together the Fragments: Translating Classical Verse, Creating Contemporary Poetry, “The Library versus The Lyre” applies the same methods of critical discussion of, and commentary on, my practice as a poet and classical translator to my latest collection, The Paths of Survival (2017). This collection comprises a poetic sequence which moves backwards in time from the present-day to antiquity as it explores the fragility of the written word; how it is destroyed and how it can endure, often in surprising ways, against all odds. In particular, it focuses on the ten tiny scraps of Aeschylus’s play Myrmidons all that now remains of his tragic masterpiece written in the fifth century BCE— commencing with a tiny scrap preserved in the Sackler Library, Oxford and concluding with the Athenian tragedian himself revising his manuscript on his deathbed in Sicily in 456 BCE. Of all my collections, The Paths of Survival offers the most scholarly concerns, raising most questions about the correlations and disruptions between the poetic and the academic. “The Library versus The Lyre” examines this sometimes distrustful, often productive, relationship between the two fields as it looks forward to a new, mutually sympathetic synthesis. As it concludes: “...without scholarship Myrmidons would be lost. And without poetry it would never have been written.”
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Norova, Nasiba Bakhtiyorovna. "CREATIVE ABILITIES OF THE ARTIST IN THE APPLICATION OF THE ART (ON THE EXAMPLE OF THE LYRICS OF OSMAN KOCHKAR)." Scientific Reports of Bukhara State University 4, no. 5 (October 27, 2020): 214–21. http://dx.doi.org/10.52297/2181-1466/2020/4/5/9.

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Background. The article examines the uniqueness of the lyrics of one of the great representatives of Uzbek poetry Usmon Kochkor and his mastery of the use of art, the poet's skill is illustrated on the basis of examples. In the seventies and years of independence of the last century, new voices, new spirit, new views appeared in Uzbek poetry. Among these young artists was Osman Kochkor, who in his poems searched examples from history, described world events in a unique way, and lived with the thoughts of his contemporaries. He was born in 1953 in Shafirkan district of Bukhara region. He studied at Tashkent State University (now UzNU). Poetic collections, epics, poetic dramas, journalistic articles and translations by Osman Kochkor defined his position as a person and his place as a creator.
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Nwagbara, Uzoechi. "Earth in the Balance The Commodification of the Environment in and." Matatu 40, no. 1 (December 1, 2012): 61–79. http://dx.doi.org/10.1163/18757421-040001005.

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Tanure Ojaide and Niyi Òsundare are among the foremost politically committed Nigerian poets at present. The overriding concern in virtually all their literary works is commenting on the politics of the season. In Òsundare's words, poetry is “man meaning to man.” For Ojaide, a creative writer is not “an airplant” that is not situated in a place. Both writers envision literature should have political message. Thus, in Òsundare's collection (1986) and Tanure Ojaide's (1998) the major aesthetic focus is eco-poetry, which interrogates the politics behind oil exploration in Nigeria as well as its consequences on our environment. Both writers refract this with what Òsundare calls “semantics of terrestiality”: i.e. poetry for the earth. Eco-poetry deals with environmental politics and ecological implications of humankind's activities on the planet. Armed with this poetic commitment, both writers unearth commodification of socio-economic relations, environmental/ecological dissonance, leadership malaise and endangered Nigerian environment mediated through (global) capitalism. Both writers maintain that eco-poetry is a platform for upturning environmental justice; and for decrying man's unbridled materialist pursuits. Thus, the preoccupation of this paper is to explore how both poetry collections: and interrogate the despicable state of Nigeria's environment as a consequence of global capitalism.
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Yakovenko, Iryna. "African American history in Natasha Trethewey’s “Native Guard”." Synopsis: Text Context Media 27, no. 4 (December 25, 2021): 224–30. http://dx.doi.org/10.28925/2311-259x.2021.4.4.

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The article presents interpretations of the poetry collection “Native Guard” of the American writer Natasha Trethewey — the Pulitzer Prize winner (2007), and Poet Laureate (2012–2014). Through the lens of African American and Critical Race studies, Trethewey’s “Native Guard” is analyzed as the artistic Civil War reconstruction which writes the Louisiana Native Guard regiments into national history. Utilizing the wide range of poetic forms in the collections “Domestic Work” (2000), “Bellocq’s Ophelia” (2002), “Thrall” (2012), — ekphrastic poetry, verse-novellas, epistolary poems, rhymed and free verse sonnets, dramatic monologues, in “Native Guard” (2006) Natasha Trethewey experiments with the classical genres of villanelle (“Scenes from a Documentary History of Mississippi”), ghazal (“Miscegenation”), pantoum (“Incident”), elegy (“Elegy for the Native Guard”), linear palindrome (“Myth”), pastoral (“Pastoral”), sonnet (the ten poems of the crown sonnet sequence “Native Guard”). Following the African American modernist literary canon, Trethewey transforms the traditional forms, infusing blues into sonnets (“Graveyard Blues”), and experimenting with into blank verse sonnets (“What the Body Can Tell”). In the first part of “Native Guard”, the poet pays homage to her African American mother who was married to a white man in the 1960s when interracial marriage was illegal. The book demonstrates the intersections of private memories of Trethewey’s mother, her childhood and personal encounters with the racial oppression in the American South, and the “poeticized” episodes from the Civil War history presented from the perspective of the freed slave and the soldier of the Native Guard, Nathan Daniels. The core poems devoted to the 1st, 2nd and 3rd Louisiana regiments in the Union Army formed in 1862, are the crown sonnet sequence which variably combine the formal features of the European classical sonnet and the African American blues poetics. The ten poems are composed as unrhymed journal entries, dated from 1862 to 1865, and they foreground the reflections of the African American warrior on historical episodes of the Civil War focusing on the Native Guard’s involvement in the military duty. In formal aspects, Trethewey achieves the effect of continuity by “binding” together each sonnet and repeating the final line of the poem at the beginning of the following one in the sequence. Though, the “Native Guard” crown sonnet sequence does not fully comply with the rigid structure of the classical European form, Trethewey’s poetic narrative aims at restoring the role of the African American soldiers in the Civil War and commemorating the Native Guard. The final part of the collection synthesizes the two strains – the personal and the historical, accentuating the racial issues in the American South. Through the experience of a biracial Southerner, and via the polemics with the Fugitives, in her poems Natasha Trethewey displays that the Civil Rights Act has not eliminated racial inequality and racism. Trethewey’s extensive experimentation with literary forms and style opens up the prospects for further investigation of the writer’s artistic methods in her poetry collections, autobiographical prose, and nonfiction.
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Xu, Sufeng. "The Rhetoric of Legitimation: Prefaces to Women's Poetry Collections from the Song to the Ming." NAN NÜ 8, no. 2 (2006): 255–89. http://dx.doi.org/10.1163/156852606779969798.

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AbstractThis paper investigates the legitimation of women's literary culture in the late Ming by examining the rhetoric in male-authored prefaces to women's poetry collections produced from the Song to the Ming. It aims to show that the very strategy of associating women's poetry with the Shijing was not only a late imperial phenomenon as often assumed, but a general approach in Neo-Confucian scholarship beginning in the Northern Song. Furthermore, this article demonstrates that the late Ming preface-writers often associated folk songs and "licentious songs" (yin shi) with the Shijing to legitimize the unorthodox. It concludes that the anthologizing of women's poetry and the promotion of women's culture in the late Ming functioned more as opportunities or strategies for male literati to negotiate and sustain their unofficial power than as genuine efforts to construct a canon of women poets.
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Tynan, Aidan. "A Season in Hell: Paradox and Violence in the Poetry of Padraic Fiacc." Irish University Review 44, no. 2 (November 2014): 341–56. http://dx.doi.org/10.3366/iur.2014.0128.

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The work of Belfast poet Padraic Fiacc is an important but critically neglected contribution to the canon of Northern Irish poetry. This article explores Fiacc's work, giving particular attention to the collections published during the bloodiest years of the Northern Ireland conflict and to the anthology of poems on the subject of the conflict which he edited and published in 1974 with the Blackstaff Press. Beyond the intrinsic value of Fiacc's poems themselves, his work has the benefit of causing us to reconsider issues of canonicity in the Irish poetic tradition and to revisit some of the assumptions about the relationships between poetry, history, and politics which have become dominant in our understanding of this tradition. Fiacc's poetry, while located in a distinctly Irish cultural context, bears important resemblances to the work of continental figures such as Rimbaud and Celan. In addition, Fiacc's work raises crucial questions about the relationship between violence, poetry, and language at a more general level. The article addresses some of these questions through the insights of philosophers such as Slavoj Žižek, Theodor Adorno, and Walter Benjamin.
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Kuduma, Anda. "Lokālais un globālais Guntas Šnipkes dzejā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 143–51. http://dx.doi.org/10.37384/aplkp.2020.25.143.

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The article deals with the representation and interaction of the local and global elements in Liepāja poet and professional architect Gunta Šnipke’s poetry writing. The research aims to establish and evaluate the importance of local and global aspects in Šnipke’s poetry creation process by determining the conceptually characteristic ways in the formation of poetic expression. The article particularly emphasizes the phenomenon of memory which reveals the dimension of time in Šnipke’s poetry space, allows to speak not only of the individual but also of the cultural memory by precise emphasis of concrete geographic places, topographic details (showing both the local and global scale) which have directed the author to an observation. The phenomenon of memory reveals the dimension of time and illuminates several levels of individual and collective memory – historical, cultural, autobiographical, feminine. The theoretical and methodological basis of the research includes the viewpoints of feminism theoreticians (Rosi Braidotti, Virginia Woolf and others) on the aspects of mental nomadism in the perspective of gender studies, as well as several aspects of the cultural memory research (works by Aleida Assmann, Marija Semjonova and others). The local and global issues have been researched mostly in Šnipke’s newest poetry collection “Ceļi” (‘Roads’, 2018) concurrently demonstrating the broader context and development process of the poet’s creative activity since the publishing of the first two poetry collections – “…Bērns ienāca…” (‘…A Child Came in…’, 1995), “...Un jūra” (‘…And the Sea”, 2008). The dominant of Šnipke’s poetic expression is a powerful impulse of thought which allows the creation of broader contexts concerning the current events and phenomena, thus expanding the boundaries of experience established by the strict form. The poet’s strong intellect is in a certain confrontation with an equally strong emotional experience. Šnipke’s poetry is characterised not only by the natural union of the intellectual and emotional elements in one poem but also by a successful amalgamation of various important levels – geographical, cultural and historical, social and personal, autobiographical. This feature is soundly used in creating the artistic concept of the poetry collection “Ceļi”. The collection was highly praised by professionals and awarded by several significant literary prizes. Šnipke’s poetry coincides with the current tendencies in the contemporary Latvian poetry process both in content and form; the poetic thought is mostly expressed in expanded and associatively dense syntactic structures. Šnipke’s poetry complies with the feminine poetry tendency to record the history of one’s own family within significant historic events pouring the individual experiences into layers of collective experience. Personal and seemingly insignificant becomes of global importance joining the space of common European memory, the distant and foreign phenomena are made closer and more understandable. In the longer forms, a woman and the feminine language become the main narrators of the past.
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Kheleniuk, Anastasia. "MIRTALA PYLYPENKO’S COLLECTION IN THE MUSEUM OF HISTORY OF THE NATIONAL UNIVERSITY OF OSTROH ACADEMY." Naukovì zapiski Nacìonalʹnogo unìversitetu "Ostrozʹka akademìâ". Serìâ Ìstoričnì nauki 1 (December 17, 2020): 232–39. http://dx.doi.org/10.25264/2409-6806-2020-31-232-239.

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Special attention in this article is paid to the analysis of art collection of the Ukrainian artist from abroad Mirtala Pylypenko at the Museum of Ostroh Academy. In 1997 the Museum of history of the Ostroh Academy was founded. A great contribution to its development process was made by Ukrainians from abroad. They supported the museum, sent interesting exhibits, and joined in museum projects. Nowadays the museum has valuable art collections, among which sculptures of the well-known Ukrainian artist Mirtala Pylypenko. Mirtala Pylypenko was born in Ukraine. During World War II she emigrated, and since 1947 she has been living and working in the USA. She graduated from the Boston Museum’s Art School and Tufts University in Boston. Mirtala’s sculptures are not just artworks, but a profound philosophical and original vision of the world. She showed her talent not only in sculpture and art photography, but also in poetry – her poetic collections “Verses”, “Rainbow Bridge”, “Road to Oneself” have been published in various languages. Mirtala received acclaim in the US and Europe in the 1970s – 1980s. Since the early 1990s her works have been known in Ukraine, where the artist held a series of solo exhibits and presentations. Mirtala presented one collection of her works to the National University of Ostroh Academy. Now it is one of the most valuable collections in the university museum. As a sculptor with a long exhibiting career, Mirtala has combined images of her sculptures with her poems, creating a single whole, which is greater than its parts. Mirtala’s collection of sculptures is monumental, philosophic and gracious. However, at the same time, it is sunny and brings back the life-asserting symbols of eternal space and time. The artist has spent most of her life across the ocean (in the USA), but her soul remains tied to Ukraine. Mirtala Pylypenko is an extraordinary figure in the Ukrainian art. And now, many generations of university students have an opportunity to get acquainted with her unique talent. It is important that sooner or later, Ukraine reveals its artists. Therefore, the museum tries to return and represent the Ukrainian diaspora art and history in museum collections in order to create a single Ukrainian cultural space.
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Dissertations / Theses on the topic "Poetry Collections History"

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Speyer, Miriam. "Briller par la diversité : les recueils collectifs de poésies au XVIIe siècle (1597-1671)." Thesis, Normandie, 2019. http://www.theses.fr/2019NORMC004.

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Cette thèse, qui a pris pour point de départ l’inventaire des recueils collectifs de poésies fourni par le bibliographe Frédéric Lachèvre, vise à établir le rôle qu’ont joué les recueils poétiques polygraphiques dans la publication, la pratique et la réception de la poésie au XVIIe siècle.Au XVIIe siècle, en effet, les recueils collectifs deviennent le principal mode de publication imprimée de pièces poétiques inédites. Ces imprimés n’ont jusqu’à présent fait l’objet d’aucune analyse systématique suivie. Pour rendre compte à la fois des recueils, de leur évolution entre 1597 et 1671 et des pièces qu’ils publient, ce travail utilise une approche double.D’une part, il propose une typologie des recueils en général qui permet une étude de la place et du rôle des recueils collectifs de poésies parmi les publications du temps.D’autre part, à l’aide d’une base de données recensant plus de 10 000 pièces, cette thèse analyse les poèmes publiés dans les recueils collectifs de poésies selon plusieurs critères : forme, genre, composition, thème. L’exploitation du contenu de ces recueils par l’outil numérique permet de rendre compte de diverses évolutions et d’isoler les pièces les plus représentatives de certaines périodes.Cette étude contribue à notre connaissance de la poésie entre 1597 et 1671 parce qu’elle prend en considération tous les auteurs publiés et le mode de publication majeur de la poésie à l’époque : le recueil collectif. Dans une perspective diachronique, elle affine notre connaissance des différents courants poétiques qui se succèdent au cours de cette époque. Dans une perspective synchronique, en exploitant la base de données, elle entreprend de dégager les principaux traits stylistiques et métriques caractérisant les pièces d’une même période. Enfin, croisant l’histoire du livre et l’analyse sociocritique, ce travail s’intéresse au recueil en tant qu’objet commercial et aux usages que libraires, auteurs et lecteurs en font
This study examines poetry collections printed in France between 1597 and 1671. During this period, poetry is not published as the work of an author, but integrated into collections, which unite the works of various authors. While Frédéric Lachèvre has alerted us to the importance of the phenomenon through his bibliography (Bibliographie des recueils collectifs publiés de 1597 à 1700), a systematic study on 17th century poetry collections is still missing. How did these collections influence the way poetry was written, read and published? To answer this question, this study uses a two-fold approach.I carve out a typology of 17th century text collections with the aim of determining their importance in the editorial practice of the time. A database containing information on 10 000 poems, developed specifically for this study, enables us to analyse these texts following various criteria (poetic form, metre, subject, composition) and further to identify the most typical pieces of certain decades.Instead of focusing on individual poets, this study centres around the prevailing way of publishing poetry in 17th century France. Thanks to this general approach it is able to identify different poetical and aesthetical movements of the time. Moreover, with the help of the database, I can isolate the stylistic characteristics that identify poems composed during the same period. This study finally considers 17th century poetry collections as an historical and commercial object. By taking into account studies on book history and the socio-cultural context, it discusses how these collections were composed, produced and read
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Pipes, Todd David. "A Natural History." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc500317/.

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A Natural History is a collection of original poetry written over the past three years. This project represents a period of learning and growth, as well as a concentrated effort to develop an individual writing style and voice grounded in the most enduring poetic values of the past.
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Fisk, Brent Allen. "History Has the Voice of a Bird-Filled Tree." TopSCHOLAR®, 2013. http://digitalcommons.wku.edu/theses/1291.

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This creative thesis, History Has the Voice of a Bird-Filled Tree, is a collection of poems about the communal, familial, and physical landscapes we grow up in. The manuscript explores the accidental body of knowledge we accumulate over a lifetime: those lessons we do not actively seek to learn and that no one sets out to teach us, but that mark us, and make us who we are. The landscape of this manuscript is not an exact replication of an existing town or existing family, but what the poet Richard Hugo refers to as a “triggering town.” This removal frees the internal biographer and historian to write openly about experiences without guilt or sanitization of a symbolic past. The narrative is mostly true with just enough fibbery to protect both the innocent and guilty alike.
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Anderson, Leslie J. "Ponies and Rocketships: Poems For America, A Collection of Selected Poems." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1307492733.

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Cruz, Ilza Mendes da. "Pablo Neruda: o "poeta malacólogo": um diálogo entre a arte literária e a ciência à luz da história da ciência." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/13237.

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Made available in DSpace on 2016-04-28T14:16:11Z (GMT). No. of bitstreams: 1 Ilza Mendes da Cruz.pdf: 1515835 bytes, checksum: d4e1452354a0f61d6b9f5ad60456dc7c (MD5) Previous issue date: 2010-11-29
Secretaria da Educação do Estado de São Paulo
Pablo Neruda, in addition to writing poetry and used to participate of the political life of Chile, used to collect the most different objects collected in many different ways and in different places where he travelled. Many of the objects of his collection were given by friends, others were found in the beach, others were bought. Neruda, by his poetry, managed to materialize the image of what was seeing by observing his objects, in special some shells that were part of his collection of snail (as he said). In this dissertation, we present some aspects related to the confluence between poetry and science. To do so, we compare the poetic description of the shells, with description in scientific form. The poetic language differs in relation to the use of words but is no less true
Pablo Neruda, além de escrever poesia e de participar da vida política do Chile, costumava colecionar os mais variados objetos, coletados nas mais diversas formas, em vários lugares por onde viajou, enquanto representante diplomático daquele país. Muitos dos objetos de sua coleção foram recebidos de amigos, outros foram encontrados na praia e outros, ainda, foram comprados. Neruda, através da poesia, esforçou-se em materializar as imagens que estava captando ao observar os seus objetos, em especial algumas conchas que faziam parte de sua coleção de caracóis (como ele mesmo identifica). Nesta dissertação, procuramos apresentar alguns aspectos relacionados à confluência entre poesia e ciência. Para tanto, buscamos comparar a descrição poética das conchas, com descrição na forma científica. A linguagem poética difere em relação à utilização das palavras porém não é menos verdadeira
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Saidi, Mustapha. "Ibn Arabi's Sufi and poetic experiences (through his collection of mystical poems Tarjuman al-Ashwaq)." Thesis, University of the Western Cape, 2005. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_2270_1183723387.

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This study is a theoretical research concerning Ibn Arabi's Sufi experience and his philosophy of the "
unity of being"
(also his poetical talent). I therefore adopted the historical and analytical methodologies to analyse and reply on the questions and suggestions I have raised in this paper. Both of the methodologies reveal the actual status of the Sufism of Ibn Arabi who came with a challenging sufi doctrine. Also, in the theoretical methodology I attempt to define Sufism by giving a panoramic history of it. I have also researched Ibn Arabi's status amongst his contemporaries for example, Al-Hallaj and Ibn Al Farid, and how they influenced him as a Sufi thinker during this time.


In the analytical study I explore the poems "
Tarjuman al Ashwaq"
of Ibn Arabi, of which I have selected some poems to study analytically. Through this I discovered Ibn Arabi's Sufi inclinations and the criticisms of various literary scholars, theologians, philosophers and also sufi thinkers, both from the East and the West. In this analysis I have also focused on the artistic value of the poetry which he utilized to promote his own doctrine "
the unity of being."

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Brottier, Beatrice. ""Je n'estime pas moins tes lettres que ses armes" : la poésie d'éloge du premier xviie siècle dans les recueils collectifs de toussaint du bray." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2011. http://tel.archives-ouvertes.fr/tel-01068365.

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La poésie d'éloge est particulièrement fréquente au début du XVIIe siècle et se publie sous diverses formes. Or le lieu n'est pas indifférent quant à la lecture des pièces, notamment lorsqu'il s'agit de recueils collectifs. Ces recueils sont nombreux au début du siècle, mais ceux édités par Toussaint Du Bray ont une organisation particulière, les pièces étant regroupées par auteur avec un paratexte important. Ce mode de diffusion contribue à désancrer les textes du contexte de leur écriture pour les réinscrire dans un cadre poétique. L'équilibre des trois grandes fonctions (sociale, politique et poétique) de la poésie d'éloge en est modifié. La relation mécénique n'apparaît plus que dans les mises en scène qui en sont faites. La fonction politique s'infléchit en une réécriture des événements politiques et en la fixation d'un récit, la fonction idéologique perdurant dans la célébration des dédicataires et par la démarcation implicite entre ce qui est loué ou non. Surtout, la publication en recueil redonne la primauté au caractère poétique des pièces ; elle permet aussi de lire ce qui restait plus discret lorsque les poèmes étaient dispersés : parce que le poète doit justifier sa parole laudative, parce que la valeur de l'éloge ne dépend pas seulement de celui qui est loué mais aussi de la qualité du chant, les pièces font entendre un discours identitaire et métapoétique qui s'interroge sur le rôle du poète, la force de sa parole et son statut social, en ces années où les écrivains recherchent une plus grande autonomie. Dans les recueils collectifs, la poésie d'éloge valorise tout autant le poète que le grand.
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Pegram, Juliette. "Baudelaire and the Rival of Nature: the Conflict Between Art and Nature in French Landscape Painting." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/163974.

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Art History
M.A.
The rise of landscape painting as a dominant genre in nineteenth century France was closely tied to the ongoing debate between Art and Nature. This conflict permeates the writings of poet and art critic Charles Baudelaire. While Baudelaire scholarship has maintained the idea of the poet as a strict anti-naturalist and proponent of the artificial, this paper offers a revision of Baudelaire's relation to nature through a close reading across his critical and poetic texts. The Paris Salon reviews of 1845, 1846 and 1859, as well as Baudelaire's Journaux Intimes , Paradis Artificiels and two poems that deal directly with the subject of landscape, are examined. The aim of this essay is to provoke new insights into the poet's complex attitudes toward nature and the art of landscape painting in France during the middle years of the nineteenth century.
Temple University--Theses
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Andrieu, Mélanie. "Une spécificité Cobra, les oeuvres collectives: émergence d'une pratique et exemplarité de Christian Dotremont." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209838.

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Cette thèse est une étude du mouvement Cobra à travers les œuvres collectives, une de ses composantes caractéristiques. Il s’agit tout d’abord de comprendre le mouvement, ses origines et influences, ainsi que sa visée d’un art libre, ouvert, expérimental, partie prenante de la vie. Dans un contexte social d’après-guerre, souvent politisé, Cobra défend l’action collective, définie notamment dans les notions d’antispécialisme et d’interspécialisme. Il convient de mettre en exergue les origines de cette pratique, et saisir les divers aspects qu’elle arbore, notamment au travers de revues, d’expositions ou de créations partagées. Le poète Christian Dotremont, animateur et âme de Cobra, favorise le travail de collaboration et contribue à son développement en stimulant les rencontres artistiques. Il se fait le passeur et le permanent "agitateur"» de cette notion. Les peintures-mots qu’il crée avec d’autres artistes participent à sa réflexion majeure sur l’écriture et la peinture. Ce lien interpelle quelques artistes belges comme Pierre Alechinsky, mais il passionne Christian Dotremont qui ne cesse de multiplier les expériences à ce propos, pour aboutir à ce qu’il nomme les logogrammes, remarquable fusion de la peinture et de la poésie, et aboutissement de toute une vie de recherche.

Ce travail est structuré en trois points. Le premier établit une étude du contexte artistique et social des années précédent Cobra puis la mise en place du groupe. Le second aborde les années d’intense activité "officielle" du groupe, au service du collectif. Enfin, le troisième propose de suivre l’évolution post-Cobra des œuvres collectives et des recherches sur l’écriture et la peinture. / This thesis is a study of the Cobra movement through one of its characteristic components: the collective works. First of all it's about understanding the movement, its origins (three countries), its influences and its purpose of a free art, open, experimental, involvement with life. In a social after-war context, often politicized, Cobra defends collective action, notably defined in concepts of anti-specialism and inter-specialism. We should therefore underline the origins of this practice and undestand different aspects that it shows, in particular through publications, exhibitions or shared creations. The poet Christian Dotremont, leader and soul of Cobra, promotes cooperative work by collaboration and contributes to its development by stimulating artistic meetings. He is the purveyor and permanent "agitator" of this concept. The words-paintings that he creates with other artists, take part of his major thinking about writing and painting. This link interpellates a few Belgian artists like Pierre Alechinsky, but it fascinates Christian Dotremont who keeps experimenting on it, in order to reach what he calls the logograms, a remarkable fusion of painting and poetry, and a culmination of a life-time of research.

This work is structured in three parts. The first one draws a study of the artistic and social context of the years preceding Cobra and the setting up of the group. The second one talks about years of intense "official" activity of the group serving collective way of work. Finally, the third one offers to follow the post-Cobra evolution of collective works and researches about writing and painting.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

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Desmoulière, Paule. "Les recueils de poésie funèbre imprimés en Italie, en France et dans les Îles britanniques (1587-1644)." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040096.

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Cette thèse est une étude à la fois globale et détaillée consacrée aux recueils de poésie funèbre imprimés en Italie, en France et dans les Îles britanniques entre 1587 et 1644. Les recueils de poésie funèbre nécessitent une approche comparatiste, à plusieurs titres. Du point de vue linguistique et culturel tout d'abord, l’on remarque que ce sont des ouvrages polyglottes. En outre, du point de vue esthétique, ils font appel aux ressources de la littérature et des beaux-arts (gravures), en partie parce que les textes qu'ils contiennent ont souvent fait partie du monument funèbre lui-même, ce qui encourage à les relier aux programmes iconographiques élaborés au cours des funérailles. Enfin, ces « tombeaux poétiques » sont avant tout une œuvre qui émane d’un groupe d’auteurs, ce qui mène à les analyser non seulement comme œuvre littéraire, mais aussi comme des témoignages précieux sur l’histoire de la littérature. Cette thèse commence par montrer quelles sont les origines de cette pratique, notamment comment divers modèles de recueils funèbres furent élaborés à partir du Quattrocento, d'abord en Italie, puis dans les deux autres pays. Au terme de cette évolution, à la fin du seizième siècle, on peut affirmer que les trois pays disposent d'un socle culturel commun à partir duquel se constituent ces recueils. Le chapitre suivant analyse comment ces recueils évoluèrent des années 1580 à 1644, quelle était l’identité des défunts commémorés et qui élaborait ces ouvrages. La variété des formes et des discours sur la mort est ensuite examinée. Puis, à travers des études de cas, les enjeux de l’écriture collective sont étudiés. Enfin, les rapports entre ces ouvrages imprimés et les funérailles sont examinés
This dissertation is both a global and detailed study dedicated to collections of funeral verse published in Italy, France and the British Isles between 1587 and 1644. It follows a comparative approach, for several reasons. Firstly, because these works were written and published in several languages. Secondly, because of the number of engravings they contain and the close relationship they often bear to the fine arts. Since many of the poems printed within these works were first pinned to funeral hearses or catafalques, they must be considered in the light of funerary art and architecture. Thirdly, these works warranted a sociological and historical analysis because of their collective nature: they are the product of a group of authors, whose ideals and aspirations they embody. The initial part of this study presents the development of this type of funerary commemoration from its origins in late Quattrocento Italy to its later expressions in mid-sixteenth-Century England and France. The second chapter examines the evolution of these collections from the 1580s to the 1640s, as well as the identity of the deceased and their commemorators. The third chapter gives an overview of the great formal and rhetorical variety of the poems published in these collections. The case studies in chapter four illustrate how and why groups of authors assembled in order to conceive collections of funeral poetry. Finally, the last chapter is a brief survey of the relationships that these works bear with different types of funeral ceremonies
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Books on the topic "Poetry Collections History"

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1948-, Jones Jane Anderson, and O'Sullivan Maurice 1944-, eds. Florida in poetry: A history of the imagination. Sarasota, Fla: Pineapple Press, 1995.

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Baumgaertner, Jill P. Poetry. San Diego, [Calif.]: Harcourt Brace Jovanovich, 1990.

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Kennedy, X. J. An introduction to poetry. 7th ed. Glenview, Ill: Scott, Foresman/Little Brown Higher Education, 1990.

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Kennedy, X. J. An introduction to poetry. 9th ed. New York: Longman, 1997.

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Kennedy, X. J. An introduction to poetry. New York: Longman, 2002.

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Dana, Gioia, ed. An introduction to poetry. 9th ed. New York: Longman, 1998.

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Kennedy, X. J. An introduction to poetry. Boston: Longman, 2010.

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An introduction to poetry. 6th ed. Boston: Little, Brown, 1986.

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Kennedy, X. J. An introduction to poetry. 6th ed. Boston: Scott, Foresman, 1986.

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Kennedy, X. J. An introduction to poetry. Boston: Longman, 2010.

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Book chapters on the topic "Poetry Collections History"

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Šabasevičiūtė, Giedrė. "When a Coterie Becomes a Generation: Intellectual Sociability and the Narrative of Generational Change in Sayyid Qutb’s Egypt." In Methodological Approaches to Societies in Transformation, 187–210. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65067-4_8.

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AbstractDeparting from the case study of Egyptian intellectuals, focusing particularly on Sayyid Qutb, this chapter explores the relationship between narratives of generational change and cultural renewal. It argues that the observation of intellectual sociability is a productive angle from which to understand the conditions under which generational claims result in the effective reshuffling of the intellectual leadership, aesthetic norms, and principles of intellectual authority. The biography of Qutb (1906–1966), a poet and literary critic who abandoned his literary activity in the mid-1950s to pursue a career in Islamic activism—allows us to observe how the generational narrative articulates with his shifting intellectual networks. As a public intellectual, Qutb was at the forefront of two literary confrontations in early- to mid-twentieth century Egypt in which he made generational claims in order to place himself in the literary tradition that emerged at the beginning of the twentieth century, and later to cut himself off from that tradition by announcing the emergence of a new generation dedicated to political Islam. At the core of these competing uses of generational rhetoric, this chapter argues, is Qutb’s shifting relationship with the senior literary generation, some of whom he had considered his mentors. Departing from the case study, the chapter then argues that collectives defined as generational tend to emerge in tandem with the reshuffling of social bonds that a writer maintains with his seniors, switching from a bond of transmission to one of confrontation. The change announced in the generational narrative is effective when followed by the concrete action of shifting one’s intellectual solidarities from masters to peers, as this is the moment when the masters are abandoned to history and peers are promoted as the new literary generation. Depending on the particular set of relationships in which a writer finds himself, the notion of generation may act as a narrative of either change or tradition.
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Wendorf, Richard. "Literary Texts and Collections." In Printing History and Cultural Change, 31–86. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192898135.003.0002.

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Poetry led the way in the gradual abandonment of the capital in the middle decades of the eighteenth century. An analysis of texts and letters by James Thomson and Thomas Gray, however, reveals the inconsistencies in textual presentation at mid-century. An examination of classical texts (Horace’s in particular) shows the variety of ways in which poetry in Latin could be presented, edited, translated, and imitated. Alexander Pope, in particular, was adept at manipulating typographical form as he edited and imitated Horace’s epistles. Changes in the typographical presentation of plays began with William Congreve, and an analysis of the various editions of Shakespeare in the eighteenth century reveals that this neoclassical form of presentation lasted throughout the period. The change from the old style of printing conventions to the new style began with Jacob Tonson’s collected edition of 1723 and Pope’s of 1725—although individual plays were often printed in the older style. This new style was also adopted earlier in the century by the Gentleman’s Magazine, Robert Dodsley’s collections of old plays and contemporary poetry, and in other anthologies and journals (but not in newspapers). The emerging novel of the 1740s provides an opportunity to examine these typographical changes in the hands of Richardson, Fielding, Smollett, and Sterne, and the varying ways in which these authors and their printers handled quotations and dialogues.
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Clarke, Danielle. "Mid-Tudor Poetry." In The Oxford History of Poetry in English, 422–38. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198830696.003.0024.

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Rather than viewing ‘mid-Tudor’ as a transitional phase, this chapter argues that the poetry of the 1560s and 1570s provides significant innovation in form, presentation, style, and social reach. The chapter suggests that to impose aesthetic and formal distinctions retrospectively is to mistake the uniquely vernacular and hybrid nature of much of the verse of this period, and the ways in which it is presented to the reader in increasingly sophisticated forms: anthologies, miscellanies, and single-author collections of variegated material. The chapter looks in detail at work by Thomas Howell, George Turberville, George Gascoigne, and Isabella Whitney in the larger context of poetic output in the 1560s and 1570s.
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Varty, Anne. "Paula Meehan: Poetry across Boundaries." In Women, Poetry and the Voice of a Nation, 71–99. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474489843.003.0005.

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This considers how Meehan’s work promotes transgression of boundaries between self and non-self, social class, and nation. Subheadings: Creating Distance explores the geographical and ideological distances from Ireland which Meehan generated during her early career, and wrote about in her first three collections. Gary Snyder and Meehan’s Poetry of Breath offers an account of the formative influence of Snyder’s environmental Buddhism on the development of Meehan’s mature poetic practice. Three Female Images of Ireland scrutinises the dramatic monologues, ‘The Statue of the Virgin at Granard Speaks’, and ‘Pillow Talk’, as well as the character Alice in Meehan’s play, Cell. It does this in order to explore how Meehan gives the agency of voice to previously emblematised female figures, and thereby critiques traditional ideologies of Ireland. Inside History: A Jobbing Poet of the 1990s gives an account of the integration of Meehan’s poetry in the cultural life of Dublin, and her collaboration with artists, dancers, musicians and film-makers.
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Rohden, Jan. "Petrarch’s Poetic Style from a Computational Perspective: A Digital Quantitative Approach to Italian Petrarchism." In Tackling the Toolkit: Plotting Poetry through Computational Literary Studies, 111–34. Institute of Czech Literature of the Czech Academy of Sciences, 2022. http://dx.doi.org/10.51305/icl.cz.9788076580336.08.

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Few authors have shaped the history of European poetry as much as Petrarch (1304–1374). Based on its remarkable poetic style, Petrarch’s most important Italian text, a collection of love poems called Canzoniere not only had an enormous impact on the poetry of his time but also became a model for centuries to come. Scholars usually use the term “Petrarchism” to refer to Petrarch’s influence on the literary landscape. Yet despite this common notion, there are still many competing approaches to defining Petrarchism. One reason for this may be the reliance of most studies of Petrarchism on a fairly small corpus of texts. While many scholars give a detailed account of Petrarch’s influence on a single work or poet, only a few analyses of Petrarchism are based on a larger corpus. This may also help explain why there is still no comprehensive inventory of the stylistic or semantic elements that distinguish Petrarchism. The goal of this essay is to take a first step towards creating such an inventory. To this end, digital methods, in particular stylometric and co-occurrence analyses, are applied to a corpus of 55 Italian poetry collections in order to determine the characteristic features of Italian Petrarchism.
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Wendorf, Richard. "Printing and Interpretation." In Printing History and Cultural Change, 210–36. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192898135.003.0007.

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This chapter examines the question of whether typography is an essential act of interpretation. It asks what happens when two different kinds of type (italic and roman) are combined; it interrogates Johanna Drucker’s conception of marked and unmarked texts; it examines W. J. T. Mitchell’s formulation of typography as a suturing of the literal and the figurative, producing an imagetext. Eighteenth-century commentators characterized typefaces in terms of gender: roman was masculine, italic had a soft and tender, feminine face. Typography that draws attention to itself rather than simply rendering entry into a writer’s text can be seen in William Morris’s Kelmscott Press edition of Chaucer. How then should scholars edit texts for scholarly or general audiences? The Twickenham edition of Pope’s poetry and the Yale edition of Johnson’s works provide case studies revealing these difficult decisions. This study argues for the intelligent use of italicized or capitalized nouns for modern editions for a general readership—a postmodern text for contemporary readers. Many eighteenth-century texts, moreover, are examples of Jerome McGann’s socialized text, as is the case in Robert Dodsley’s reprinting of poems in his famous collections. The choices he made had an impact on the presentation of the emerging literary canon. Canonization and modernization went hand in hand.
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Khitrovo, Lydia K. "‛The Star of His Poetry Rose Slowly and Surely...’: Exhibition at the Literary Museum of the Institute of Russian Literature (Pushkin House) of the RAS, Dedicated to the 150th Anniversary of the Birth of Ivan Bunin." In I.A. Bunin and his time: Context of Life — History of Work, 285–314. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/ab-978-5-9208-0675-8-285-314.

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The paper presents the materials of the anniversary online exhibition, shown on October 28, 2020 to the participants of the international academic conference “Ivan Bunin and His Time” (IRLI RAS). For the first time, a significant part of both known and newly discovered materials of unique historical and literary significance related to Bunin’s personal and creative biography was collected and presented as a whole. These materials are stored at the Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences in the collections of its Manuscript Department, the Literary Museum and the Research Library. The article contains a reconfirmed attribution of many archival, iconographic and book materials, which are accompanied by a detailed scientific and technical description. Such work allows us to start the preparational works on the catalog “Materials of Ivan Bunin from the collections of the Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences”.
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Heine, Steven. "Textual and Interpretative History of Dōgen’s Sinitic Poetry." In Wisdom within Words, 3—C1.F3. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197553527.003.0001.

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Abstract The first chapter examines the textual origins and diverse implications of Dōgen Sinitic poetry collection titled Wisdom within Words (Kuchūgen) as compiled in 1759 by the eminent Sōtō Zen scholar-monk Menzan along with his annotations and edited in recent years by Murakami Shindō. Some of the main topics discussed are how the poems were culled by Menzan from Dōgen’s ten-volume Extensive Record, a compendium of various prose and poetic writings that is extant in two versions, with Menzan using the edition first published in 1672 by Manzan, as well as the significance of the title of the poetry collection and the ways it is presented by Murakami’s book featuring many useful interpretative resources that help readers access the significance of the sometimes-obscure verses.
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Bryan, Violet Harrington. "Gender and Identity in the Short Fiction of Velma Pollard and Erna Brodber." In Erna Brodber and Velma Pollard, 100–118. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496836205.003.0006.

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Erna Brodber and Velma Pollard have always written short stories while also writing novels and poetry. They both began with short fiction, and their most recent books are collections of their stories, Pollard’s Woman I & II: New and Selected Stories (2011) and Brodber’s The World Is a High Hill (2012). The stories portray Jamaican women as they struggle against a patriarchal society and search for their own identities. Based on the sisters’ own experiences as diasporic women, these personal stories are also tales of Jamaican culture and myth. The sisters’ short fiction indicates many of the main themes throughout their literary careers: migration, gender, history, and resistance. The influence of African folklore and culture and that of the sister-writers' home in Woodside, St. Mary, Jamaica is dialectic or interplay. The sisters' projections of their homeland and their writing themes and narrative strategies have influenced many educators, scholars, and writers.
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Pearson, Roger. "Prose Poetry and the Press." In The Beauty of Baudelaire, 485–504. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192843319.003.0022.

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This chapter situates the emergence of Baudelaire’s prose poems within the context of nineteenth-century French journalism. It considers briefly the nature of Baudelaire’s debt to Aloysius Bertrand’s Gaspard de la nuit and, more extensively, the implications of the collection’s possible titles. It assesses the role of Paris in these poems and proposes that as a title (and as a collection) Le Spleen de Paris expresses a poetics of resistance to the false, dogmatic wisdom peddled by the public discourse of the nation’s capital. The chapter then focuses on the publication of Baudelaire’s prose poems in the feuilleton section of La Presse in 1862. It discusses the history and nature of the feuilleton as a context for Baudelaire’s ‘counter-discourse’, and it argues that his prose poems serve to cast insistent and radical doubt on the very possibility of asserting meaning—of laying down the law.
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Conference papers on the topic "Poetry Collections History"

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WALDECK, Mila. "Is this design?: Poetry and prose in the broadsides of the John Lewis Collection." In 10th International Conference on Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2016. http://dx.doi.org/10.5151/despro-icdhs2016-03_012.

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dos Santos, Camila, and Andreia Machado Oliveira. "Communication Action Zones in Art and Technology - ZACAT." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.101.

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Communication Action Zones in Art and Technology, in portuguese Zonas de Ações Comunicacionais em Arte e Tecnologia – ZACAT – is a master's research developed in Brazil, made before and during the SARS-CoV-2 virus pandemic, which causes the New Coronavirus disease. This artistic and academic work includes a set of sound and visual poetics based on an investigation of artistic communicational practices of an activist character, with the mediation of several questions about the current Brazilian history. Firstly, through diversified strategies and proposals for different interlocutors, with experiments in 2019, in different spaces in the city of Santa Maria, state of Rio Grande do Sul - streets, museums, art galleries, university, school, social networks, radio wave space. Subsequently, as a result of the world scenario presented from 2020, with the COVID-19 pandemic, the poetic undergoes significant transformations. In addition to the artistic and communicational strategies undergoing changes in approach, the Santa Maria space moves to that of the Clube Naturista Colina do Sol (CNCS), a naturist community located in the municipality of Taquara, also in Rio Grande do Sul. Not urbanized and immersed with the wild environment the least interfered by human action, which provides other forms of listening and connection, in addition to the relationship with the body, communication and technology, such as the use of online virtual reality platforms to share the work carried out. To approach the construction of this research, studies on methodology by the researcher and artist Sandra Rey (1953) are used. As a theoretical foundation, reference is made to the idea of micropolitics, a concept that refers to philosophers Michel Foucault (1926-1984) and Gilles Deleuze (1925-1995) and to art critic Suely Rolnik (1948). Activist artistic practices are based on the experiences of Brazilian collectives from the 1990’s to the present, as seen under the historiography of Art Activism from the 1950’s, with Italian autonomist philosophers such as Giorgio Agamben (1942) and Franco Berardi (1949). To support the notion of Art and Communication, authors such as Mario Costa (1936), Fred Forest (1933), Mônica Tavares, Priscila Arantes, Christine Mello and Giselle Beiguelman are based on. The concept of device emerges from theoretical research and mediates artistic practices, having as reference Agamben, Foucault, Vilém Flusser (1920-1991) and Gilbert Simondon (1924-1989). From performances, through installations, through audio, video and face-to-face interactivity experiments or via virtual networks, this research seeks to give visibility to everyday micropolitics, with their memories, affections, formalized or ephemeral life impulses in moments of encounters. And how the artistic works can unfold in different contexts, in front of different audiences and under challenging conditions in terms of a larger historical context.
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