Journal articles: '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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

11

Gargaillo, Florian. "“Past Echoes of Cruelty and Nonsense” in Stevie Smith." Modern Language Quarterly 79, no. 1 (March 1, 2018): 81–104. http://dx.doi.org/10.1215/00267929-4264276.

Full text

Abstract:

Abstract In a review of T. S. Eliot’s Murder in the Cathedral, Stevie Smith lamented that “so many writers of these times, which need courage and the power of criticism, and coolness, should find their chief delight in terrifying themselves and their readers with past echoes of cruelty and nonsense.” Paradoxically, those twin nouns—“cruelty and nonsense”—have often been used to describe her own poetry. This essay examines Smith’s allusions to Eliot, Algernon Swinburne, and John Keats and demonstrates that such “past echoes” helped her weigh the risk of dwelling on cruelty to the point of morbidity against that of finding too much pleasure in the cruel and absurd. More broadly, Smith’s allusiveness presents a significant alternative to Harold Bloom’s anxiety of influence. Her attitude toward her predecessors is not agonistic but playful, elusive, and polyvalent. She writes through the poetry of the past to work out problems of ethics and aesthetics that were of great importance to her.

APA, Harvard, Vancouver, ISO, and other styles

12

Woolf, Judith. "Intertextuality, Christianity and Death: Major Themes in the Poetry of Stevie Smith." Humanities 8, no. 4 (November 1, 2019): 174. http://dx.doi.org/10.3390/h8040174.

Full text

Abstract:

Stevie Smith, one of the most productive of twentieth-century poets, is too often remembered simply as the coiner of the four-word punch line of a single short poem. This paper argues that her claim to be seen as a great writer depends on the major themes which—in addition to “death by water”—she shares with T.S. Eliot: Anglicanism and the modern reworking of classical literature, with a strong, and in her case sometimes autobiographical, emphasis on female protagonists. Where the female figures in Eliot’s The Waste Land are seen as parodic and diminished contemporary versions of their classical originals, Smith enters and reimagines her classical sources, testing the strength of the narrative material which binds Phèdre, Antigone, Persephone and Helen of Troy to their fates. In contrast to Eliot’s adult conversion to Anglo-Catholicism, Smith became a convert to agnosticism, engaging in a passionate poetic argument with the faith of her childhood, which led her to challenge Eliot himself. She brings both of these themes together in the most personal of her poems, which celebrate, and ultimately invoke, Thanatos, “the only god/Who comes as a servant”, and who puts a merciful end to all stories by “scattering... the human pattern altogether”.

APA, Harvard, Vancouver, ISO, and other styles

13

Labbe, Jacqueline M. "Selling One's Sorrows: Charlotte Smith, Mary Robinson, and the Marketing of Poetry." Wordsworth Circle 25, no. 2 (March 1994): 68–71. http://dx.doi.org/10.1086/twc24043080.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Kennedy, Deborah. "Charlotte Smith: Romanticism, Poetry and the Culture of Gender. Jacqueline M. Labbe." Wordsworth Circle 36, no. 4 (September 2005): 182. http://dx.doi.org/10.1086/twc24044267.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Barlow, Deborah. "UTOPIA AND DISSENT: ART, POETRY, AND POLITICS IN CALIFORNIA. Richard Candida Smith." Art Documentation: Journal of the Art Libraries Society of North America 14, no. 3 (October 1995): 37–38. http://dx.doi.org/10.1086/adx.14.3.27948773.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Nicholls, P. "Hazel Smith, Hyperscapes in the Poetry of Frank O'Hara: Difference/Homosexuality/Topography; David Herd, John Ashbery and American Poetry." English 51, no. 200 (June 1, 2002): 203–8. http://dx.doi.org/10.1093/english/51.200.203.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Labbe, Jacqueline M. "Smith, Wordsworth, and the Model of the Romantic Poet." Articles, no. 51 (October 31, 2008): 0. http://dx.doi.org/10.7202/019257ar.

Full text

Abstract:

AbstractThis essay examines how Charlotte Smith and William Wordsworth manipulate the autobiographical and elements of poetical voicing as they explore the figure of the Romantic Poet. Focusing onBeachy Head(1807) andThe Prelude(1805), I suggest that in devising separate, competing but eventually equal “personal” voices inBeachy Head, and in interrogating tropes of genre and composition inThe Prelude, the two poets signal their interest in using poetry to provide an answer to Wordsworth’s famous question, “What is a Poet?” For each, the model of the Romantic poet is most viable when, like wet clay, it is still able to be shaped.

APA, Harvard, Vancouver, ISO, and other styles

18

Cutler, Norman. "The Dance of Śiva: Religion, Art and Poetry in South India. David Smith." Journal of Religion 78, no. 3 (July 1998): 489–91. http://dx.doi.org/10.1086/490281.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Castiglione, Davide. "Book Review: David Nowell Smith, On Voice in Poetry: The Work of Animation." Language and Literature: International Journal of Stylistics 26, no. 3 (August 2017): 268–71. http://dx.doi.org/10.1177/0963947017718992.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Verbeke, Demmy. "On Knowing Greek (and Latin): Classical Elements in the Poetry of Stevie Smith." International Journal of the Classical Tradition 16, no. 3-4 (November 26, 2009): 467–83. http://dx.doi.org/10.1007/s12138-009-0133-3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Ann Greaves, Margaret. "“Vast and Unreadable”: Tracy K. Smith, Astronomy, and Lyric Opacity in Contemporary Poetry." Contemporary Literature 61, no. 1 (2021): 1–31. http://dx.doi.org/10.3368/cl.61.1.1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Dye, Jill, Danni Glover, Robert Scott, and James Harriman-Smith. "XI The Eighteenth Century." Year's Work in English Studies 98, no. 1 (2019): 582–619. http://dx.doi.org/10.1093/ywes/maz009.

Full text

Abstract:

Abstract This chapter has four sections: 1. General and Prose; 2. The Novel; 3. Poetry; 4. Drama. Section 1 is by Jill Dye; section 2 is by Danni Glover; section 3 is by Robert Scott; section 4 is by James Harriman-Smith.

APA, Harvard, Vancouver, ISO, and other styles

23

Fitzpatrick, Katie. "Gender, Body, Poetry." Ethnographic Edge 2, no. 1 (October 18, 2018): 21. http://dx.doi.org/10.15663/tee.v2i1.36.

Full text

Abstract:

I offer here three poems which engage a feminist approach to gender and the body. They emanate (tangentially) from my ethnographic work in schools and my own embodied experiences as a woman. While I write more conventional academic prose and conduct research in schools on gender and sexuality (Fitzpatrick 2018; Fitzpatrick and Enright 2017; Fitzpatrick and McGlashan in press, 2016; McGlashan and Fitzpatrick 2017, 2018), I offer a poetic exploration of these issues here in an attempt to engage with writing that is both cognitive and sensory (Sparkes and Smith 2014), while evoking emotion, cultural nuance and reflexivity (Faulkner 2009). In so doing, I also bring myself directly into the text (Brkich and Barko 2013) in the hope that a different kind of engagement with issues of body may result. The contemporary moment offers up many challenges to writing about gender, sexuality and the body. As gender binaries are broken down and challenged, and new approaches to the body and sexuality are engaged (e.g. Allen and Rasmussen 2017), new challenges are posed. Engaging in poetic inquiry (Rinehart 2012; Richardson 1994) into gender and sexuality might help reimagine gender and body in aesthetic as well as political ways. Such an engagement is personal, disruptive and uncertain. In this, I am inspired by Patti Lather’s (2007, 6) notion of being lost. She encourages researchers to embrace getting lost, as a process “which shakes any assured ontology of the ‘real,’ of presence and absence, a postcritical logic of haunting and undecidables.” I contend that all ethnographic work is in some ways lost, at the very least in issues of politics, representation and voice (Fitzpatrick in press). Lather (2007, 1) calls such engagement with uncertainty and voice “getting lost at the limits of representation”. She explains that: “At its simplest, getting lost is something other to commanding, controlling, mastery. At its most complex...we spend our lives with language trying to make it register what we have lost, longing for lost wholeness.” (11). Poetry is one way to engage with a methodology of being lost; one way to engage a struggle to communicate what we cannot ever adequately represent (Rinehart, 2012). In this spirit, I offer the following poems, which engage with being lost at the edges of gender sexuality and body, and which can only communicate my own experience, in intersection with what I read, discuss and observe socially and politically.

APA, Harvard, Vancouver, ISO, and other styles

24

Metcalf, James. "Un-earthing the Eighteenth-Century Churchyard: Charlotte Smith’s Life Writing Among the Dead." European Journal of Life Writing 9 (July 6, 2020): LW&D56—LW&D80. http://dx.doi.org/10.21827/ejlw.9.36900.

Full text

Abstract:

The work of poet and novelist Charlotte Smith (1749–1806) has been consistently associated with life writing through the successive revelations of her autobiographical paratexts. While the life of the author is therefore familiar, Smith’s contribution to the relationship between life writing and death has been less examined. Several of her novels and poems demonstrate an awareness of and departure from the tropes of mid-eighteenth-century ‘graveyard poetry’. Central among these is the churchyard, and through this landscape Smith revises the literary community of the ‘graveyard school’ but also its conventional life writing of the dead. Reversing the recuperation of the dead through religious, familial, or other compensations common to elegies, epitaphs, funeral sermons, and ‘graveyard poetry’, Smith unearths merely decaying corpses; in doing so she re-writes the life of the dead and re-imagines the life of living communities that have been divested of the humic foundations the idealised, familiar, localised dead provide. Situated in the context of churchyard literature and the churchyard’s long history of transmortal relationships, this article argues that Smith’s sonnet ‘Written in the Church-Yard at Middleton in Sussex’ (1789) intervenes in the reclamation of the dead through life writing to interrogate what happens when these consolatory processes are eroded.

APA, Harvard, Vancouver, ISO, and other styles

25

Ford, Thomas H. "Rythmus and the critique of political economy." Empedocles: European Journal for the Philosophy of Communication 1, no. 2 (June 1, 2010): 215–24. http://dx.doi.org/10.1386/ejpc.1.2.215_1.

Full text

Abstract:

In his late unfinished work on aesthetic theory, Adam Smith develops the concept of rythmus to explore such arts as music, dance and poetry. Smith argues that rythmus communicates emotion in a very specific way. For Smith, narrative arts, such as drama or the novel, predominately seek to recreate or represent in the minds of their readership or audience the emotions of the characters that are portrayed. But what we experience through rythmus, by contrast, is an original, and not a sympathetic, feeling. Rythmus is the communicative medium of a paradoxical mode of collective feeling in which each person feels his or her own emotions, and yet all feel the same thing; in which social being is at once non-fungible and shared.

APA, Harvard, Vancouver, ISO, and other styles

26

Kane, Daniel. "‘Nor did I socialise with their people’: Patti Smith, rock heroics and the poetics of sociability." Popular Music 31, no. 1 (January 2012): 105–23. http://dx.doi.org/10.1017/s0261143011000481.

Full text

Abstract:

AbstractFrom her time as a young performance poet in New York in the late 1960s to her current position as punk rock's éminence grise, Patti Smith has foregrounded the image of the poet as privileged seer. This essay seeks to read Smith's romantic impulses within the context of her activity in the Poetry Project at St Mark's Church, the pre-eminent public face of the Lower East Side poetry scene of the 1960s and 1970s. Ultimately, this essay will argue how Smith's complex negotiations between her understanding of the Poet as Visionary and the adamantly playful, diffuse and collaborative aesthetic characterising downtown New York's poetic community fed into the development of Smith's performative stance as proto-punk rock icon.

APA, Harvard, Vancouver, ISO, and other styles

27

Markov, A. V. "Translation Boundaries in For Stevie Smith by M. Stepanova." Siberian Philological Forum 9, no. 1 (January 30, 2020): 41–55. http://dx.doi.org/10.25146/2587-7844-2020-9-1-36.

Full text

Abstract:

Problem statement. The book For Stevie Smith by the Russian poet Maria Stepanova is a free translation of the verses by a famous British poetess. Stepanova, relying on Grigory Dashevsky’s theory and practice, explains in detail the specifics of her work. However, due to specific features in Dashevsky and Stepanova’s commenting method, the status of this type of imitations in the literary process remains not fully clarified. Materials and methods. For the study, verses of the “gnomic” type were chosen. They express a single thought and allow one to see better mechanisms for constructing utterances that are different from those introduced by the rich imagery of plot poems. The main method was the reconstruction of the sources of Grigory Dashevsky’s views on translation and imitation, going back to classical philology. The works were also taken into account of Stepanova’s poetry experts and researchers, who posed close questions about the boundaries of art in creating new philosophical meanings similar to the philosopher and phenomenologist Anna Yampolskaya. Results. The study proved that the position of Maria Stepanova reproduces the position founded by Grigory Dashevsky in interpreting the legacy of Aratus: the return from the ideals of semiotics of the Middle Stoa to the simplicity of the Early Stoa. Stepanova, unlike Dashevsky, not only sacrifices accuracy (in the terminology of Dashevsky, “translation minus”), but also adds something. Thus, it enhances the ethical pathos of Smith’s poems, without any distortion of the plot of the poem, but due to a change in the coordinates in which didactic poem is read. Conclusion. The For Stevie Smith book should be recognized as a special achievement of Russian poetry, not limited to the concepts of poetic translation and poetic imitation. This is an important experiment on updating of ancient and Christian ethics by exclusively lyrical means. In this experiment, a new type of translator refuses not from specific features of the form, but from the inertia of the romantic type of an utterance.

APA, Harvard, Vancouver, ISO, and other styles

28

Ibrahim, Emad Said Ibrahim. "Cultural Tension in the Poetry of Iain Crichton Smith: An Integrative Phenomenological and Ontological Study." Occasional Papers in the Development of English Education 63, no. 2 (July 1, 2017): 433–48. http://dx.doi.org/10.21608/opde.2017.88215.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Cooper, Carolyn. "Words unbroken by the beat: The performance poetry of Jean Binta Breeze and Mikey Smith:." Wasafiri 5, no. 11 (March 1990): 7–13. http://dx.doi.org/10.1080/02690059008574199.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Murphy, M. "Stan Smith, Irish Poetry and the Construction of Modern Identity: Ireland Between Fantasy and History." English 55, no. 212 (June 1, 2006): 225–29. http://dx.doi.org/10.1093/english/55.212.225.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Sitter, John. "Empiricist Devotions: Science, Religion, and Poetry in Early Eighteenth-Century England by Courtney Weiss Smith." Scriblerian and the Kit-Cats 51, no. 1 (2018): 45–47. http://dx.doi.org/10.1353/scb.2018.0003.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Foy, Anna. "Empiricist Devotions: Science, Religion, and Poetry in Early Eighteenth-Century England by Courtney Weiss Smith." Restoration: Studies in English Literary Culture, 1660-1700 41, no. 1 (2017): 109–12. http://dx.doi.org/10.1353/rst.2017.0019.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Sachs, Jonathan. "Slow Time." PMLA/Publications of the Modern Language Association of America 134, no. 2 (March 2019): 315–31. http://dx.doi.org/10.1632/pmla.2019.134.2.315.

Full text

Abstract:

This essay identifies a tension between speed and slowness that emerged circa 1800, when a self-conscious awareness of seemingly rapid social change intersected with the enhanced understanding of slowness developing in geological theory. Focusing on Charles Lyell, William Wordsworth, John Keats, and Charlotte Smith, the essay shows how Romantic poetry and geology think together about slow time and incongruous temporality. Slow time raises formal problems about how to represent temporal processes that operate below the level of the visual and the tangible. he slow time of geology ultimately offered Romantic poetry a new sense of how an apparent lack of eventfulness can be understood as eventful when placed on a longer timeline. Romantic poetry, in turn, drew in fine detail on geology's expanded scales of temporality to offer an imaginative understanding of the infinitesimal rates of change and the gradual processes central to slow time.

APA, Harvard, Vancouver, ISO, and other styles

34

Rothmüller, Ninette. "Unknown Roads (poem)." Borders in Globalization Review 1, no. 2 (August 22, 2020): 99–101. http://dx.doi.org/10.18357/bigr12202019573.

Full text

Abstract:

Solidarity researcher and artist Ninette Rothmüller is a visiting scholar from Germany at Smith College, Massachusetts. With a background in Cultural Studies, Social Work and Interdisciplinary Arts, her practice-led and theoretical work is concerned with who humans are to, and with, each other under various circumstances, such as severe crisis. Her autobiographical documentary poetry reflects experiences of forced immobility and displacement across borders and languages.

APA, Harvard, Vancouver, ISO, and other styles

35

de Leon, J. "Calling Self-Indulgence." TSQ: Transgender Studies Quarterly 6, no. 4 (November 1, 2019): 620–34. http://dx.doi.org/10.1215/23289252-7771779.

Full text

Abstract:

Abstract Recent works by trans and nonbinary poets, including Oliver Baez Bendorf, Jos Charles, jayy dodd, Joshua Jennifer Espinoza, Paige Lewis, and Danez Smith, gesture to a new mode of trans-confessional poetry. Trans poets practice naming as a form of self-indulgence, and trans names and pronouns are a form of poetry—following Audre Lorde's articulation—read into the world to give it new shape. In trans naming practices and poetry, self-indulgences are also demands made of another, a new name or unexpected pronoun asking for an affirmative repetition, a performative reflection: mirror restaging. Gender, like self-indulgence, is never accomplished alone. It relies on an audience that either affirms and repeats—or refuses—one's request to be seen and understood in a way that breaks from expectation. I closely read two poems, by Oliver Baez Bendorf and Richard Siken, whose shared centering of names articulate a relational self-indulgence in their proposed call-and-response.

APA, Harvard, Vancouver, ISO, and other styles

36

Bradshaw, Penny. "Dystopian Futures: Time-Travel and Millenarian Visions in the Poetry of Anna Barbauld and Charlotte Smith." Romanticism on the Net, no. 21 (2001): 0. http://dx.doi.org/10.7202/005959ar.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

King, Caroline. ""But Aren't We All?": Bathos in the Poetry of Danez Smith, Elizabeth Bishop, and Matthea Harvey." South Central Review 38, no. 1 (2021): 24–36. http://dx.doi.org/10.1353/scr.2021.0001.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Maria Osiński, Dawid. "Elusive, labile and constant in Patti Smith’s literary work." Tekstualia 2, no. 53 (July 29, 2018): 115–46. http://dx.doi.org/10.5604/01.3001.0013.3288.

Full text

Abstract:

The article analyzes the literary work of Patti Smith, an American singer-songwriter, poet (but not poetess) and visual artist, with a focus on the issues of historical, sociological, political, cultural and religious dialogue in her poetry. Dialogism, in turn, is a key aspect of intertextual creativity. The article examines the intersections of Smith’s lyrical and autobiographical writing with art, culture, religion and philosophy, for example her references to literary traditions (European modernism), art (impressionism and pop-cultural vanguard), religion (mysticism) and architecture (artefacts). Smith’s poetry raises questions about human identity, the meaning of loneliness, individual human possibilities in the face of history and politics. Diverse literary forms to be found in Smith’s output are referred to so as to account for the psychological and literary relevance of her achievement.

APA, Harvard, Vancouver, ISO, and other styles

39

Bailes, Melissa. "Linnaeus’s Botanical Clocks: Chronobiological Mechanisms in the Scientific Poetry of Erasmus Darwin, Charlotte Smith, and Felicia Hemans." Studies in Romanticism 56, no. 2 (2017): 223–52. http://dx.doi.org/10.1353/srm.2017.0024.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Ardeleanu, Sanda-Maria, and Cristina Ioniță. "The Reading Horizont of Adam Smith from the Perspective of His Italian Library." European Journal of Language and Literature 4, no. 4 (November 29, 2018): 60. http://dx.doi.org/10.26417/ejls.v4i4.p60-66.

Full text

Abstract:

The paper proposes understanding the reading interest in Italian of the thinker Adam Smith (1723-1790), author of the Theory of Moral Sentiments and of the Wealth of Nations from the perspective of the partial review of his library’s catalogue, with approximately 1,000 titles published in English, French, Italian, Greek and Latin. The list of books published in Italian, which Adam Smith purchased for his library and we assume he also read, since he quoted some, represent the Appendix of the present work. From his Italian library, 60 volumes were identified, published between 1547 (B. Castiglione, Il Cortegiano) and 1784 (32 volumes from Parnaso Italiano ovvero Raccolto de’ Poeti Classici Italiani). Just a few years before his death, the great admiror of Italian literature, assiduous reader of Italian poetry, drama, memoirs, correspondence, biographies, jurisprudence, economics, art and history (especially that of Venice and Florence) was still purchasing and reading books from the Italian states, a fact which sketches a personality with a profound cultural and humanities features.

APA, Harvard, Vancouver, ISO, and other styles

41

Plecháč, Petr, Klemens Bobenhausen, and Benjamin Hammerich. "Versification and authorship attribution. A pilot study on Czech, German, Spanish, and English poetry." Studia Metrica et Poetica 5, no. 2 (January 28, 2019): 29–54. http://dx.doi.org/10.12697/smp.2018.5.2.02.

Full text

Abstract:

This article describes pilot experiments performed as one part of a longterm project examining the possibilities for using versification analysis to determine the authorships of poetic texts. Since we are addressing this article to both stylometry experts and experts in the study of verse, we first introduce in detail the common classifiers used in contemporary stylometry (Burrows’ Delta, Argamon’s Quadratic Delta, Smith-Aldridge’s Cosine Delta, and the Support Vector Machine) and explain how they work via graphic examples. We then provide an evaluation of these classifiers’ performance when used with the versification features found in Czech, German, Spanish, and English poetry. We conclude that versification is a reasonable stylometric marker, the strength of which is comparable to the other markers traditionally used in stylometry (such as the frequencies of the most frequent words and the frequencies of the most frequent character n-grams).

APA, Harvard, Vancouver, ISO, and other styles

42

Carson, Warren J. "Robert Hayden in Verse: New Histories of African American Poetry and the Black Arts Movement by Derik Smith." CLA Journal 63, no. 1 (2020): 121–22. http://dx.doi.org/10.1353/caj.2020.0017.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Culler, Jonathan. "David Nowell Smith. On Voice in Poetry: The Work of Animation. New York: Palgrave Macmillan, 2015. 202 pp." Critical Inquiry 43, no. 4 (June 2017): 896–97. http://dx.doi.org/10.1086/692389.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Loar, Christopher F. "Eighteenth-Century Poetry and the Rise of the Novel Reconsidered ed. by Kate Parker and Courtney Weiss Smith." Scriblerian and the Kit-Cats 49, no. 1 (2016): 140–42. http://dx.doi.org/10.1353/scb.2016.0016.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

JONES, R. "Review. The Collected Poetry. Translated, with an Introduction and Notes by Clayton Eshleman and Annette Smith. Cesaire, Aime." French Studies 39, no. 2 (April 1, 1985): 232. http://dx.doi.org/10.1093/fs/39.2.232.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Sinnema, Peter W. "Victorian Photography, Painting and Poetry: The Enigma of Visibility in Ruskin, Morris and the Pre-Raphaelites by Lindsay Smith." Victorian Review 22, no. 2 (1996): 217–19. http://dx.doi.org/10.1353/vcr.1996.0036.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

O’Donoghue, Bernard. "The Parish and the World in Irish Poetry." University of Bucharest Review. Literary and Cultural Studies Series 9, no. 1 (November 19, 2020): 83–96. http://dx.doi.org/10.31178/ubr.9.1.9.

Full text

Abstract:

Starting with Patrick Kavanagh's distinction between the parish and the province as source and audience for poetry, the essay goes on to Seamus Heaney's essay 'The Sense of Place', to revisit his question of how particular to Irish writing these concerns are. It looks at Irish placenames for their familiarity or obscurity, and the extent to which they can be accounted for by origins in the Irish language or the historical experience of Ireland. It argues that the same questions of fidelity to origin or unfamiliarity arise in the famously successful twentieth-century Irish short story as in poetry, as well as in drama, concluding that this well-worked seam remains strikingly productive. Even if this is true for ‘the great society of mankind’ as Smith says, it remains tempting to say that there does seem to be a particular readiness in Irish poetry to introduce local, parochial reference, especially place names (and therefore places – though this is not exactly the same) into literary contexts. I am aware that in raising this matter again I am returning to a ground treated decisively by Seamus Heaney in his celebrated 1977 essay ‘The Sense of Place’, an essay that both gave a new prominence to an aspect of Irish poetry and made it a central point for discussion in the century since. In that essay, Heaney warned that ‘this nourishment which springs from knowing and belonging to a certain place and a certain mode of life is not just an Irish obsession, nor is the relationship between a literature and a locale with its common language a particularly Irish phenomenon. It is true, indeed, that we have talked much more about it in this country because of the peculiar fractures of our history, north and south, and because of the way that possession of the land and possession of different languages have rendered the question particularly urgent.’ And Heaney goes on to say that the same sense of place and its centrality in the text is true of Dante. Further afield there is the observation by the great Japanese poet Basho, that ‘Of all the many places mentioned in poetry, the exact location of most is not known for certain’ (said in his Narrow Road to a Far Province in 1689, probably the greatest work in celebration of the local in poetry). I should warn too that at a couple of points I will stray from poetry into other areas of Irish writing, the short story and the drama, but at places where I will claim that they manifest the same concern with judging between the parish and the wider world that Kavanagh does.

APA, Harvard, Vancouver, ISO, and other styles

48

Melton, McKinley E. "I've Got a Testimony: James Baldwin and the Broken Silences of Black Queer Men." James Baldwin Review 2, no. 1 (December 13, 2016): 6–27. http://dx.doi.org/10.7227/jbr.2.2.

Full text

Abstract:

James Baldwin writes within and against the testimonial tradition emerging from the Black Church, challenging the institution’s refusal to acknowledge the voices and experiences of black queer men. Baldwin’s autobiographical novel, Go Tell It on the Mountain, creates a space for Baldwin’s testimony to be expressed, and also lays the foundation for a tradition of black queer artists to follow. In the contemporary moment, poet Danez Smith inhabits Baldwin’s legacy, offering continuing critiques of the rigidity of conservative Christian ideologies, while publishing and performing poetry that gives voice to their own experiences, and those of the black queer community at large. These testimonies ultimately function as a means of rhetorical resistance, which not only articulates black queer lives and identities, but affirms them.

APA, Harvard, Vancouver, ISO, and other styles

49

Mehinovic, Vedran. "TWO LATE ORCHESTRAL WORKS OF LUCIANO BERIO." Tempo 69, no. 273 (July 2015): 20–29. http://dx.doi.org/10.1017/s0040298215000108.

Full text

Abstract:

Little has been said about Berio's work Formazioni (1987), and even less about Ekphrasis (1996), both large-scale orchestral compositions with non-traditional instrumental groupings. In his book on Berio, David Osmond-Smith gives a brief description of Formazioni, but one would be hard pressed to find any further published material about the piece, save for liner notes in the two available recordings (written by Roger Marsh and Ferdinand Schmatz respectively, and those from the latter coming in the form of abstract poetry). Ekphrasis has received one studio recording, and no published analysis. The two works were completed towards the end of the composer's life, and they demonstrate a refinement of his craft; a much closer look is therefore in order.

APA, Harvard, Vancouver, ISO, and other styles

50

Smith, Alexandra. "Nikolai Evreinov and Edith Craig as Mediums of Modernist Sensibility." New Theatre Quarterly 26, no. 3 (August 2010): 203–16. http://dx.doi.org/10.1017/s0266464x10000412.

Full text

Abstract:

Nikolai Evreinov (1870–1953) was a Russian playwright, director, and theorist of the theatre who played a leading part in the modernist movement of Russian theatre. Evreinov's 1911 monodrama The Theatre of the Soul(V kulisakh dushi) was staged by the Crooked Mirror theatre in St Petersburg in 1912. It was also performed in London (1915) and Rome (1929), and inspired Man Ray to create his aerograph The Theatre of the Soul (1917). In this article Alexandra Smith links Evreinov's play to Russian modernist thought shaped by the atmosphere of crisis associated with the Russo–Japanese War and the first Russian Revolution. It demonstrates that Edith Craig's production of Evreinov's play suggests that the philosophy of theatricalization of everyday life might enable modern subjects to overcome the fragmentation of modern society. Craig's use of the montage-like techniques of Evreinov's play prefigures cinematographic experiments of the 1920s and Marinetti's notion of synthetic theatre. Alexandra Smith is a Reader in Russian Studies at the University of Edinburgh and is the author of The Song of the Mockingbird: Pushkin in the Works of Marina Tsvetaeva (1994) and Montaging Pushkin: Pushkin and Visions of Modernity in Russian Twentieth-Century Poetry (2006), as well as numerous articles on Russian literature and culture.

APA, Harvard, Vancouver, ISO, and other styles

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

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles