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Relevant bibliographies by topics / Poetry of Mennes and Smith

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Academic literature on the topic 'Poetry of Mennes and Smith'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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Journal articles on the topic "Poetry of Mennes and Smith"

1

RAYLOR, TIM. "‘WITS RECREATIONS’ NOT BY SIR JOHN MENNES OR JAMES SMITH?" Notes and Queries 32, no. 1 (March 1, 1985): 2–3. http://dx.doi.org/10.1093/nq/32-1-2.

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2

Hendricks, Margo, and Timothy Raylor. "Cavaliers, Clubs, and Literary Culture: Sir John Mennes, James Smith, and the Order of the Fancy." Yearbook of English Studies 27 (1997): 244. http://dx.doi.org/10.2307/3509154.

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3

Haines, Christian P. "The Uncommons (Danez Smith)." Minnesota review 2019, no. 93 (November 1, 2019): 102–10. http://dx.doi.org/10.1215/00265667-7737325.

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This article examines the poetry of Danez Smith as a practice of commoning. It introduces the concept of the uncommons as a way of thinking about how African American literature, culture, and political practice develop egalitarian forms of life in the face of white supremacism. It considers the ways in which the violences of white supremacism uncommon black life—that is, bar blackness from belonging—as well as the ways in which poetry and politics become avenues through which black life invents alternative socialities. From this perspective, the lyric qualities of Smith’s verse are social not because they prescribe a proper collective identity but because they invent modes of relation that transform social death into the possibility of another way of living. This is the uncommons: a reckoning with the racialized political economy of death that constructs commonality through dissonance, disruption, passion, and power.

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4

Pardee, Dennis. "Ugaritic Narrative Poetry. Simon B. Parker , Mark S. Smith." Journal of Near Eastern Studies 60, no. 2 (April 2001): 142–45. http://dx.doi.org/10.1086/468904.

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Batchelor, J. "Review: Charlotte Smith: Romanticism, Poetry and the Culture of Gender." Notes and Queries 52, no. 1 (March 1, 2005): 136–37. http://dx.doi.org/10.1093/notesj/gji171.

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Elizabeth Engelhardt. "Effie Waller Smith: African-American Appalachian Poetry from the Breaks." Appalachian Heritage 36, no. 3 (2008): 80–83. http://dx.doi.org/10.1353/aph.0.0072.

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Camlot, Jason, and Renaud Roussel. "Le Foster Poetry Conference (1963)." Dossier 40, no. 2 (May 1, 2015): 59–75. http://dx.doi.org/10.7202/1030201ar.

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Cet article s’intéresse à un événement tenu en 1963 dans les Cantons-de-l’Est, le Foster Poetry Conference, qui avait réuni plusieurs poètes de langue anglaise, ainsi qu’au volume publié dans sa foulée, English Poetry in Quebec (1965). Aujourd’hui presque oubliée, cette rencontre poétique organisée par John Glassco, Frank Scott et A.J.M. Smith, qui bénéficia du soutien financier du Gouvernement du Québec, avait l’ambition de rapprocher les poètes anglophones et francophones du Québec, et cela à un moment charnière tant du développement des événements publics de poésie en Amérique du Nord que des politiques publiques et culturelles du Québec.

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8

Grigoriou, Christos. "Pity and Sympathy: Aristotle versus Plato and Smith versus Hume." Journal of Scottish Philosophy 16, no. 1 (March 2018): 63–78. http://dx.doi.org/10.3366/jsp.2018.0183.

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The purpose of this paper is to build a parallelism between Aristotle's debate with Plato on the merits of poetry and the debate of Hume with Smith on the nature of sympathy. My arguments is that the Aristotelian concept of pity, as presented in the Poetics, presupposes a mechanism of sympathy which is akin to the Smithian one, as articulated in his Theory of Moral Sentiments. Accordingly, I reconstruct Aristotle's debate with Plato on poetry as a debate on the operation and value of sympathy, and I trace an intriguing contiguity on the way Plato and Hume understood the mechanism of sympathy.

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Richardson, John. "The Private Sublime in Public Discourse: War Poetry of the American Revolution." Eighteenth-Century Life 44, no. 3 (September 1, 2020): 140–59. http://dx.doi.org/10.1215/00982601-8718699.

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This essay examines how poetry of the American Revolution contributed to the broader tradition of Anglophone war poetry through the “private sublime,” which would start as a minor and relatively unknown development, but eventually become one of the primary modes of depicting war, both in the later eighteenth century and the present day. It focuses specifically on two poets who formulated the private sublime: Freneau in the 1781 British Prison-Ship and Ann Eliza Bleecker in the poems that she wrote after her daughter’s death in 1777. While Freneau’s poetry emphasizes terror and beauty, Bleecker fashions a private sublime by aligning her own suffering with that of war combatants. This essay then turns briefly to Charlotte Smith, who depicts distant war via her own intense and highly aestheticized emotions. As Smith demonstrates, then, the private sublime emerged in the poetry of authors with direct experience of war in America, but was later adapted by a wide range of authors who experienced war at a far greater distance.

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10

Masud, Noreen. "Flat Stevie Smith." Twentieth-Century Literature 67, no. 2 (June 1, 2021): 215–34. http://dx.doi.org/10.1215/0041462x-9084354.

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Critics of Stevie Smith’s work often lean on the word “flat.” Usually, the term is meant to evoke Smith’s “simplicity” and lack of ornamentation, her refusal to lift into “poetic resonance,” or her unreadable tone. This essay attends more closely to flatness in Smith’s work, exploring the ways Smith finds flatness fascinating and proposing that the language of the “flat,” in all its senses, offers an illuminating way of grappling with the difficulty of her puzzling and unsettling prose and poetry. It unpacks the idea of the “flat”—a word that claims implicitly that no unpacking remains to be done—foregrounding the diversity of flatness’s associated emotions, as well as the ways it remains compelling. Drawing out the breadth of aesthetic and interpretative connotations that flatness holds for her, the essay argues, provides a coherent way of reading her work. Beginning with an examination of how “feeling flat” involves, for Smith, a diverse and complex set of emotions, the essay moves into outlining how flat landscapes offer Smith a mode of lingering habitation that derives its interest precisely from the absence of anything evidently interesting. In the process, it offers a critical language with which to approach other twentieth-century writers, such as D. H. Lawrence, whose work has remained elusive precisely because of its insistence that it has made its meaning abundantly available—that it has nothing to hide.

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Dissertations / Theses on the topic "Poetry of Mennes and Smith"

1

Raylor, T. J. "The achievement of Sir John Mennes and Dr James Smith." Thesis, University of Oxford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375982.

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2

English, Valerie. "Desiring to bear the word : the poetry of Stevie Smith." Thesis, Oxford Brookes University, 2005. https://radar.brookes.ac.uk/radar/items/01d5e644-1e1e-4388-9303-372f14e115f4/1.

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This thesis argues that Stevie Smith's poetic style can be attributed to her gender. It shows that the dominant status of masculine poetry and poetics, and the prejudice against women poets, affected Smith's poetic style and led to her search for the source ofa feminine poetic voice. The prevailing circumstances when Smith began to publish poetry are examined in order to establish Smith's socially appropriate poetics. The thesis offers detailed textual analyses, informed by feminist theories. Chapters one and two take a socio-historic materialist approach to examine the problems confronting Smith as a woman poet. This includes considering Smith's categorisation as a poet of the suburbs, and the dominance of the Auden group. Chapters three to five look at Smith's use of children's literature and the influence of Blake and Wordsworth. Judith Butler's ideas ofperformativity, and Carolyn Steedman's of interiority, are used to propose that both are relevant to Smith's preoccupation with childhood. Smith's engagement with, and subversion of, the male poetic tradition and the idea of the muse are also considered. The last two chapters on the themes of birth and death draw on the ideas of Helene Cixous and Julia Kristeva in order to argue that Smith's longing for death is a wish for rebirth, therefore a return to the maternal semiotic source which facilitates poetry. In this way death does not withhold language, but enables linguistic acquisition. This thesis adds to existing knowledge about Smith, and extends debates surrounding women and poetry. It contributes to feminist analyses of fairy tales, the poetic tradition, and the idea of the muse, and expands psycholinguistic theory to propose the relevance of death as well as infancy, and to suggest that Smith's preoccupations with the source of feminine poetry anticipates some fundamental theories of the 'French' feminists.

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3

Jagger, Jasmine Jeanne. "Affective rhythms in Edward Lear, T.S. Eliot, and Stevie Smith." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278872.

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This thesis reads individual affects in the compositions of Edward Lear, Thomas Stearns Eliot, and Stevie Smith. My central question is the extent to which compositions can be driven by, perform, and treat affect. In exploring how rhythmical tendencies ally with the representations of affect in poets’ published verses and unpublished manuscripts, I investigate how feelings are patterned and performed by poets and their poems. My research method combines close reading and biographical research with examinations of unpublished archival materials housed in the Houghton Library in Harvard, Berg Collection in New York, and McFarlin Library in Tulsa. The three types of affect I examine are: tears in Edward Lear (chapter one), nerves in T. S. Eliot (chapter two), and aggression in Stevie Smith (chapter three). Each chapter is divided into three sections and a fourth concluding section. These are chronologically as well as thematically shaped to follow the progress of a life as it comes to terms with affect in writing. In Chapter One, Lear’s Tears: ‘Breaking’ looks at moments of emotional rupture or bursting in Lear’s verses; ‘Private melody’ explores how tearfulness is secreted into and by his compositions; ‘Turtle, you shall carry me’ examines Lear’s dramatisation of rhythm as carrying us through upset; and ‘Too deep for tears’ contemplates Lear’s playful surfaces as leading us unknowingly into tearful depths. In Chapter Two, Eliot’s Nerves: ‘Early jitters’ looks at Eliot’s rhythms as dramatising moments of nervous crisis in the Inventions of the March Hare drafts; ‘Nerves in patterns’ explores how he develops this technique throughout the 1920s as influenced by his personal, theoretical, and socio-medical context; ‘Sickly vehicle’ questions whether The Waste Land drafts dramatise nervous breakdown and its treatment; and ‘When words fail’ explores Eliot’s apprehension of rhythm as a way ‘to report of things unknown’ and ‘to express the inexpressible’. In Chapter Three, Smith’s Scratches: ‘Beast within’ looks at how Smith considers her Muse to be an aggressive other that scratches for release from within her; ‘Scratching out’ examines how fantasies of violence are played out in her verses to bring her ‘ease’; ‘Too low for words’ explores how off-kilter rhythms dramatise ‘mental disequilibrium’ in her writing after 1953; and ‘Darker I move’ uncovers, through a close examination of Smith’s dying rhythms, that her music lay deeper than her words. In my afterword on disorder and dancing, I argue that these discoveries illuminate our understanding of poetics, at whose heart lies a mysterious acknowledgment of the psychosomatic nature of expression and its drive to release and re-form thoughts and feelings. If poetic rhythm can dramatise attempts to articulate and control affect, then affect moves the human creature and its language in the same way as rhythms move through bodies of poetry. This small-scale observation has large-scale implications for literary practice as feeding on psychosomatic disorder while crafting compositions of thoughts and feelings lying beyond human articulation and comprehension.

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4

Smith, Terry Christopher. "Bad Poetry and Other Short Stories." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4835/.

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5

Hall, Jessica. "Escapism, Oblivion, and Process in the Poetry of Charlotte Smith and John Keats." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/62.

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A thematic comparison of the work of British Romantic poets Charlotte Smith and John Keats, examining their meditations on the use of poetry and the poet's role, shared ambivalence toward the visionary imagination and escapism, and similar approaches to seasonal process and progression.

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6

Kokotailo, Philip 1955. "Appreciating the present : Smith, Sutherland, Frye, and Pacey as historians of English-Canadian poetry." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39772.

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This thesis argues that as historians of English-Canadian poetry, A. J. M. Smith, John Sutherland, Northrop Frye, and Desmond Pacey explicitly promote the value of past conflict reconciled into present harmony. They do so by claiming that such reconciliation marks the maturity of English-Canadian culture. This thesis also argues, however, that the interactive progression of their histories implicitly undermines this value. It does so because each critic appreciates a different group of poets for realizing their shared cultural ideal, thereby establishing contradictory representations of what they all claim to be the culmination of English-Canadian literary history. The thesis concludes that while their lingering sense of present cultural maturity should now be fully renounced, the value these critics place on reconciliation is well worth preserving and transforming.

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7

Redcliffe, Kelly Marie. "Crossing over, metonymic process as an act of faith in the poetry of Kay Smith." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq23699.pdf.

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8

Alves, Paulo Ricardo Pereira e. "Micropolítica do feminino e estética de confrontamento em Patti Smith e Ana Cristina Cesar." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-13022014-104137/.

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Unindo crítica cultural à pesquisa acadêmica, pretendemos mapear a poesia de Patti Smith e Ana Cristina Cesar, partindo de seus respectivos contextos da década de 1970 o movimento punk nova-iorquino, nos Estados Unidos, e a poesia marginal, no Brasil , para então explorar seus pontos de convergência, no que tange a uma micropolítica do feminino e a uma estética de confrontamento. Pensamos ambas as poetas como cartógrafas de uma época e das transformações intrínsecas a essa época, mapeadas por elas no fazer poético, no corpo da linguagem, por meio de uma política-estética; por elas somos levados à política como estética; à política menor, do eu mínimo, de Deleuze, em caráter contingente, de subjetividade e feminilidade. Discutimos também como, a voz do feminino localizado em Patti e Ana C. dá vazão à abertura de um novo tipo de experimentalismo que se integra a uma genealogia de arte/cultura e ao legado da poesia moderna travando diálogo com elementos catalisadores do pós-moderno que desembocariam no contemporâneo.
By merging cultural criticism and academic research, we aim to rummage the poetic works of Patti Smith and Ana Cristina Cesar, starting from their respective contexts in the 1970s the New York punk scene in the United States, and marginal poetry in Brazil , and on to explore their points of convergence within the micropolitics of the feminine and an aesthetics of confrontation. The two poets are taken as cartographers of a time and of the changes that are intrinsic to that time, which they chart on the making of poetry, on the body of language, by means of a politics-aesthetics. We are led to politics as aesthetics a politics of what is contingent, of subjectivity and of femaleness; Deleuzes minor politics, or politics of the minimal self. We will also discuss how, in the voices of the feminine (further than that of feminism) that underpin their poetics/aesthetics, a new kind of experimentalism opens up within a genealogy of art and culture and the legacy of modern poets thus engaging in a dialogue with a small/minor History, with the microsphere, the outsider, and disruption; unfoldings of nascent notions of the post-modern and the contemporary.

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9

Bradshaw, Penelope Joyce Elizabeth. "Unsex'd women : the politics of transgression in the poetry of Anna Laetitia Barbauld and Charlotte Smith." Thesis, Lancaster University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324081.

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10

Rao, T. Nageswara. "Directions of Canadian modernism : a comparative study of the poetry of F.R. Scott and A.J.M. Smith." Thesis, University of Strathclyde, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.304912.

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Books on the topic "Poetry of Mennes and Smith"

1

Raylor, Timothy. Cavaliers, clubs, and literary culture: Sir John Mennes, James Smith, and the Order of the Fancy. Newark: University of Delaware Press, 1994.

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2

Blackburn, John. The poetry of Iain Crichton Smith. Aberdeen: Association for Scottish Literary Studies, 1993.

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3

Stuart, Curran, ed. The poems of Charlotte Smith. New York: Oxford University Press, 1993.

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4

The ballad of Mrs. Smith. Sidney, B.C: Hedgerow Press, 2012.

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5

Fox, Smith C. The complete poetry of Cicely Fox Smith. New London, CT: Little Red Tree Pub., 2012.

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Smith, William. The poetic works of William Smith: The words and images of a Hollywood legend / [by Willliam Smith]. [S.l.]: W. Smith, 2009.

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Ltd, Bertram Rota. Poetry: The Simon Nowell-Smith collection : catalogue 300. [London: Bertram Rota Ltd, 2002.

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8

1902-1971, Smith Stevie, ed. The poetry of Stevie Smith, "little girl lost". Garrards Cross, Bucks: C. Smythe, 1985.

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9

Charlotte Smith: Romanticism, poetry, and the culture of gender. Manchester, UK: Manchester University Press, 2003.

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10

Labbé, Jacqueline. Charlotte Smith: Romanticism, poetry and the culture of gender. Manchester, UK: Manchester University Press, 2003.

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Book chapters on the topic "Poetry of Mennes and Smith"

1

Bryant, Marsha. "The Poetry Picture Book: Stevie Smith and Children’s Culture." In Women’s Poetry and Popular Culture, 51–81. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230339637_3.

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2

Milton, Colin. "‘Half of My Seeing’: the English Poetry of Iain Crichton Smith." In British Poetry from the 1950s to the 1990s, 193–220. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25566-5_11.

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3

Labbe, Jacqueline M. "The Seductions of Form in the Poetry of Ann Batten Cristall and Charlotte Smith." In Romanticism and Form, 154–70. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230206144_9.

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"Rimbaud and Patti Smith:." In Poetry at Stake, 163–84. Princeton University Press, 2021. http://dx.doi.org/10.2307/j.ctv1ddd0ms.12.

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"SMITH, Zadie." In International Who's Who in Poetry 2005, 1490–93. Routledge, 2004. http://dx.doi.org/10.4324/9780203325803-402.

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"SMITH, Bernard William." In International Who's Who in Poetry 2005, 1482–83. Routledge, 2004. http://dx.doi.org/10.4324/9780203325803-398.

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"SMITH, Deirdre Armes." In International Who's Who in Poetry 2005, 1484. Routledge, 2004. http://dx.doi.org/10.4324/9780203325803-399.

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"SMITH, James Ronald." In International Who's Who in Poetry 2005, 1485. Routledge, 2004. http://dx.doi.org/10.4324/9780203325803-400.

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"SMITH, Patricia Clark." In International Who's Who in Poetry 2005, 1486–89. Routledge, 2004. http://dx.doi.org/10.4324/9780203325803-401.

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"LEWIS-SMITH, Anne Elizabeth." In International Who's Who in Poetry 2005, 968. Routledge, 2004. http://dx.doi.org/10.4324/9780203325803-261.

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