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Books on the topic 'Poetsch'

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Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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1

Kenneth, Frampton, ed. Professione poetica =: Poetic profession. Milano: Electa, 1986.

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2

Jentys, Maria. Pomnożyć serca dostatek: O poetkach, poetach i prozaikach. Warszawa: Wydawn. Nowy Świat, 2004.

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3

1948-, Brown Deborah, Finch Annie 1956-, and Kumin Maxine 1925-, eds. Lofty dogmas: Poets on poetics. Fayetteville: University of Arkansas Press, 2005.

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4

Gepponi, Carolina, ed. Un carteggio di Margherita Guidacci. Lettere a Tiziano Minarelli. Florence: Firenze University Press, 2015. http://dx.doi.org/10.36253/978-88-6655-717-3.

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Denso di memorie e occasioni poetiche, l’epistolario di Margherita Guidacci con Tiziano Minarelli permette di fare luce sulla genesi delle ultime raccolte poetiche (da Inno alla gioia del 1983 fino ad Anelli del tempo del 1993), di cogliere inedite fonti d’ispirazione e di ricostruire lo sfondo emotivo e culturale che ne accompagna la composizione. Induce a riflessioni sulla vita letteraria italiana dall’ottica di chi, come Margherita Guidacci, vi contribuisce unendo attività poetica (in lingua italiana), traduzione (anche attraverso una terza lingua), studio e insegnamento della letteratura inglese e americana, giornalismo culturale. Testimonia un’intensa amicizia, una comune passione per la letteratura e la lettura, una costante condivisione di testi poetici, trascritti e citati, una crescente familiarità.
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5

Cunningham, Valentine. Victorian poetry now: Poets, poems, poetics. Chichester, West Sussex: Wiley-Blackwell, 2011.

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6

Poetic theology: God and the poetics of everyday life. Grand Rapids, Mich: W.B. Eerdmans Pub. Co., 2010.

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7

Paper trombones: Notes on poetics, poets on noetics. Victoria, B.C: Ekstasis Editions, 2007.

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8

Michael, Heller. Uncertain poetries: Selected essays on poets, poetry and poetics. Great Wilbraham, Cambridge, U.K: Salt Publishing, 2005.

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9

1963-, Rankine Claudia, and Sewell Lisa 1960-, eds. American poets in the 21st century: The new poetics. Middletown, Conn: Wesleyan University Press, 2007.

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10

Green, Roger (Roger P. H.), ed. Poetic paraphrase of the Psalms of David =: Psalmorum Davidis paraphrasis poetica. Genève: Librairie Droz, 2011.

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11

Poetic rhythm: Structure and performance : an empirical study in cognitive poetics. Brighton [England]: Sussex Academic Press, 2012.

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12

Tsur, Reuven. Poetic rhythm: Structure and performance : an empirical study in cognitive poetics. Berne: Peter Lang, 1998.

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13

Aristóteles. Poetica / Poetic. Alianza (Buenos Aires, AR), 2005.

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14

Aristóteles. Poetica/poetic. Librerias Libertador, 2004.

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15

Aristóteles. Poetica/poetic. Losada, 2004.

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16

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

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In this space between the Poetics of Subjectivity and the Poetics of Language, we want to pause briefly to consider several otherwise unrelated poets who, for a portion of their careers, did not fit into the reigning poetic movements of their age, or do not smoothly align with the critical trends that dominated Russian literary studies in the twentieth century. These poets straddle the two types of poetics we have foregrounded in this part of our ...
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17

Teez, Socra. Licentia Poetica: Poetic License. Enchanted Muze Publishing, 2015.

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18

Socrateez. Licentia Poetica: Poetic License. inchantedMuzepublishing, 2000.

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19

Aleixandre, Vicente. Antologia Poetica/ Poetic Anthology. Alianza Editorial Sa, 2003.

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20

Antonio, Machado, and Manuel Machado. Antologia poetica/ Poetic Anthology. Catedra, 2007.

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21

Jiménez, Juan Ramón. Antologia Poetica / Poetic Anthology. Alianza Editorial, 2002.

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22

Hölderlin, Friedrich. Antologia Poetica / Poetic Anthology. Ediciones Catedra S.A., 2002.

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23

Miron, Salvador Diaz, and Pavel Granados. Antologia Poetica/poetic Anthology. Oceano De Mexico, 2004.

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24

Mario, Benedetti. Antologia Poetica/poetic Anthology. Alfaguara Ediciones, 2005.

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25

Geist, Anthony, and Alvaro Salvador Jofre. Cartografia Poetica/Poetic Cartography. Not Avail, 2004.

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26

Campoamor, Ramon de. Antologia Poetica/ Poetic Anthology. 2nd ed. Catedra, 2001.

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27

Gregoric, Tina, Markus Bogensberger, and Haus der Architektur, eds. pragmatisch und poetisch / pragmatic and poetic. Birkhäuser, 2017. http://dx.doi.org/10.1515/9783035610574.

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28

Mall, Jullian. Poetics (Salzburg Studies: Poetic Drama and Poetic Theory). Poetry Salzburg, 1995.

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29

B, Yeats W. Antologia poetica/ Poetic Anthology (Poesia). Lumeneditorial, 2005.

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30

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

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Victorian Poetry and the Culture of Evaluation argues that the dialectic and dynamic relationship between the periodical review and poetry creates a culture of evaluation which shapes Victorian poetic form. The mediation of poetry by the periodical review orients poets towards public readership and reception, heightening their self-consciousness about their audience and generating a poetics of publicness. Using methodologies associated with historical poetics and new formalism, the book examines the dialogues between poets and periodical reviews from the 1830s to the 1860s. It juxtaposes male and female poets and canonical and uncanonical texts. Challenging the critical binaries of fame and celebrity, the culture of evaluation posits a new way of reading Victorian poetry. It illuminates poets’ engagement with the immediacy and inevitability of writing for the present and for the contemporary media through which poetry was read and disseminated. New patterns of reception were created by mass print culture and both poets and reviewers were preoccupied with reaching the newly constituted mass audience. The changes to the material forms of poetry (e.g. through the periodical or gift-book) and the subjection to the commercial imperatives of the literary marketplace encouraged bold experiment with verse. The book identifies three poetic strategies for articulating the preoccupation with a mass audience and the demands of mass media: voice, style and address. Chapters on voice, style, and address explore the development of poetic form in dialogue with periodical reviews.
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31

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

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

Pomnozyc Serca Dostatek: O Poetkach, Poetach I Prozaikach. Nowy Swiat, 2004.

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33

Jones, Joseph Seymour. A Poets Poetic Expressions. Vantage Press, 2001.

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34

Heroic Poets, Poetic Heroes. Cornell University Press, 2018. http://dx.doi.org/10.1353/book.58459.

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35

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

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In the conclusion, I come back on key issues of my analysis of Ālāol’s poetics. Whereas performance and the absence of theoretical frame recorded in treatises on grammar or poetics are defining features of the vernacular tradition, we witness attempts to describe and systematize vernacular poetics in eastern South Asia. Sanskrit played a major role in this attempt at systematizing vernacular poetics to foster connoisseurship. The domain of reference of vernacular poets was not poetics per se or rhetoric, but lyrical arts and musicology. But efforts to describe vernacular poetics also display an awareness of the importance of heteroglossia and fluidity in vernacular aesthetics in contrast with Sanskrit. The opening up of the Sanskrit episteme constituted by vernacular poetics also made possible the recourse to literary models and quasi-experimental uses of vernacular poetic idioms. Old Maithili, Avadhi, and Persian were visible components of the making of vernacular poetics in Bengal.
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36

(Editor), Deborah Brown, Annie Finch (Editor), and Maxine Kumin (Editor), eds. Lofty Dogmas: Poets on Poetics. University of Arkansas Press, 2005.

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37

(Editor), Deborah Brown, Annie Finch (Editor), and Maxine Kumin (Editor), eds. Lofty Dogmas: Poets on Poetics. University of Arkansas Press, 2005.

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38

Urondo, Francisco. Obra Poetica/ Poetic Work (La Lengua). Adriana Hidalgo Editora, 2006.

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39

Vallejo, César. Antologia Poetica/ Poetic Anthology (Literatura Hispanoamericana). Alianza, 2001.

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40

Kenneth, Frampton, ed. Alvaro Siza: Professione poetica = poetic profession. Milan: Electa, 1986.

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41

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

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In this incisive study, Sarah Ehlers returns to the Depression-era United States in order to unsettle longstanding ideas about poetry and emerging approaches to poetics. By bringing to light a range of archival materials and theories about poetry that emerged on the 1930s left, Ehlers reimagines the historical formation of modern poetics. Offering new and challenging readings of prominent figures such as Langston Hughes, Muriel Rukeyser, and Jacques Roumain, and uncovering the contributions of lesser-known writers such as Genevieve Taggard and Martha Millet, Ehlers illuminates an aesthetically and geographically diverse matrix of schools and movements. Resisting the dismissal of thirties left writing as mere propaganda, the book reveals how communist-affiliated poets experimented with poetic modes—such as lyric and documentary—and genres, including songs, ballads, and nursery rhymes, in ways that challenged existing frameworks for understanding the relationships among poetic form, political commitment, and historical transformation. As Ehlers shows, Depression left movements and their international connections are crucial for understanding both the history of modern poetry and the role of poetic thought in conceptualizing historical change.
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42

Mckinney, Belinda. Real Thinkers Are the Poetic Thinkers: Poetics. Independently Published, 2020.

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43

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

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Beginning with Isaac Watts’s Horae Lyricae (1706) and concluding with the burgeoning poetic print culture of the early nineteenth century, Awakening Verse unfolds how evangelical ministers, itinerants, and laypeople in colonial British North America capaciously engaged prevailing ideas about literary taste and created a distinct transatlantic poetics grounded in Watts’s notion of the “plainest capacity.” From the evangelical women who were instrumental in the development of bountiful verse ministries and the creation of poetic coteries to the itinerant ministers for whom poetics and its attendant sociability were central, evangelicals produced new forms of the “poet-minister,” “print itinerancy,” and “espousal poetics” that emerged as crucial practices of revivalism and facilitated rearrangements of ecclesiastical, gendered, and racialized authority. Well-known poet-ministers, such as the Scottish Ralph Erskine, the Bostonian Sarah Moorhead, and the Virginian James Ireland, reimagined formal poetic elements in the service of saving souls. Others, like Samuel Davies and Phillis Wheatley, became enmeshed in critical debates over the racialization of evangelical verse. Countless others, in print and in manuscript, joined with Watts to save poetry from its “profligate” uses. Awakening Verse shows that American literary and religious histories that regularly exclude one hundred years of verse severely impoverish the understanding of early evangelicalism and American poetry. Taking revival poets and their verse as seriously as they and their contemporaries did provides an entirely new understanding of eighteenth-century evangelical and literary culture, one in which poetry serves as one of the primary actors in the creation, maintenance, and adaptation of evangelical culture and religious enthusiasm animates American poetics.
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44

Poetic Echoes: Selected Poets and Artists. Independently Published, 2019.

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45

De amore / Of Love: Antologia Poetica / Poetic Anthology. 2nd ed. Lumeneditorial, 2004.

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46

Cunningham, Valentine. Victorian Poetry Now: Poets, Poems and Poetics. Wiley & Sons, Incorporated, John, 2011.

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47

Cunningham, Valentine. Victorian Poetry Now: Poets, Poems and Poetics. Wiley & Sons, Incorporated, John, 2011.

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48

Cunningham, Valentine. Victorian Poetry Now: Poets, Poems and Poetics. Wiley & Sons, Incorporated, John, 2011.

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49

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

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The “Romantic century” (1750–1850) saw the rise and decline of a distinctive type of improviser: theimprovvisatoreorimprovvisatrice, a solo poet-performer who spontaneously composed verses on subjects assigned by the audience. As this primarily Italian tradition spread across Europe, it generated wide-ranging debates about poetics, aesthetics, and the role of improvisation in political rhetoric and communal leadership. Often this discussion focused on the relationship between modern poetic improvisers and the rhapsodes of classical antiquity, especially Homer. Variations on the questions “Was Homer animprovvisatore?” and “Areimprovvisatorithe descendants of Homer?” show up in antiquarian, poetic, and political discourses, influencing Romantic ideas about the public role of poets while changing the direction of Homeric scholarship. Since the performances of poetic improvisers and the debates they generated took place in the midst of a rapidly expanding culture of periodical magazines and other print media, the reception of orally improvised poetry during the Romantic era also affects the evolving relationship of orality and print.
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50

Zellinger, Elissa. Lyrical Strains. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469659817.001.0001.

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In this book, Elissa Zellinger analyzes both political philosophy and poetic theory in order to chronicle the consolidation of the modern lyric and the liberal subject across the long nineteenth century. In the nineteenth-century United States, both liberalism and lyric sought self-definition by practicing techniques of exclusion. Liberalism was a political philosophy whose supposed universals were limited to white men and created by omitting women, the enslaved, and Native peoples. The conventions of poetic reception only redoubled the sense that liberal selfhood defined its boundaries by refusing raced and gendered others. Yet Zellinger argues that it is precisely the poetics of the excluded that offer insights into the dynamic processes that came to form the modern liberal and lyric subjects. She examines poets—Frances Sargent Osgood, Elizabeth Oakes Smith, Frances Ellen Watkins Harper, Edna St. Vincent Millay, and E. Pauline Johnson—whose work uses lyric practices to contest the very assumptions about selfhood responsible for denying them the political and social freedoms enjoyed by full liberal subjects. In its consideration of politics and poetics, this project offers a new approach to genre and gender that will help shape the field of nineteenth-century American literary studies.
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