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Basart, Ann P., and Michael Hovland. "Musical Settings of American Poetry: A Bibliography." Notes 43, no. 2 (December 1986): 312. http://dx.doi.org/10.2307/897388.
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Snarrenberg, Robert. "Brahms’s Non-Strophic Settings of Stanzaic Poetry." Music and Letters 98, no. 2 (May 1, 2017): 204–31. http://dx.doi.org/10.1093/ml/gcx051.
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Ravenscroft, Brenda. "Metamorphoses: Elliott Carter’s Musical Settings of Stevens’s Poetry." Wallace Stevens Journal 43, no. 2 (2019): 234–38. http://dx.doi.org/10.1353/wsj.2019.0024.
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Nixon, S. "The sources of musical settings of Thomas Carew's poetry." Review of English Studies 49, no. 196 (November 1, 1998): 424–60. http://dx.doi.org/10.1093/res/49.196.424.
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Palmer, Peter. "OTHMAR SCHOECK'S SETTINGS OF GOTTFRIED KELLER." Tempo 64, no. 251 (January 2010): 28–37. http://dx.doi.org/10.1017/s0040298210000045.
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The Swiss author Gottfried Keller was 27 when he published his first volume of poems in 1846. His early poetry was partly influenced by the German battle for liberalism and the experience of those émigrés who, like Wagner, found their way to Switzerland. The main literary impulses came from Goethe and the German Romantics, impulses finding expression in subjective, even mystical verses. At the same time Keller never lost touch with the here-and-now: a feature that would earn him the description of a poetic realist.
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Kaplan, Daniel B., and Gary Glazner. "POETRY INTERVENTION IMPACTS PERSPECTIVES ON DEMENTIA AND CAPABILITIES AMONG YOUNG VOLUNTEERS." Innovation in Aging 3, Supplement_1 (November 2019): S198—S199. http://dx.doi.org/10.1093/geroni/igz038.717.
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Abstract Poetry for Life (PFL), is a teaching and learning initiative that brings students together with older adults in meaningful community service workshops. PFL capitalizes on the skills and passions of young poets by offering opportunities to serve elders by leading poetry workshops at settings where older adults receive care. This study examines measurable impacts of training, exposure, and experience in poetry-based intergenerational workshops on students’ knowledge, attitudes, and values. Participating groups of students receive instruction in performing and creating poetry in group settings. They visit local elder care settings to facilitate PFL workshops and then write reflections on their experiences. Students agree to complete pre- and post-program surveys to document the impacts of PFL experiences on students' social/emotional health and on their knowledge, attitudes, and values related to older adults, dementia and dementia care, poetry and arts-based interventions, and careers in healthcare, aging fields, and the arts. To date, 33 young people from one middle school, one high school, and one graduate college program have volunteered to participate in the program and completed the study. Findings reveal significant impacts on students’ perceived capabilities working and communicating with people with dementia as well as leading poetry activities. Additionally, significant positive impacts were demonstrated on 12 of 20 items on the Dementia Attitudes Scale across participating students. The PFL experience did not, however, lead to significant impacts on student self-esteem or work interests. These findings suggest benefits and limitations of this service-learning experience. Implications for future programming will be discussed.
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Brown, A. Peter. "Musical Settings of Anne Hunter's Poetry: From National Song to Canzonetta." Journal of the American Musicological Society 47, no. 1 (April 1994): 39–89. http://dx.doi.org/10.1525/jams.1994.47.1.04x0083e.
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Schroeder, D. "Re-reading Poetry: Schubert's Multiple Settings of Goethe. By Sterling Lambert." Music and Letters 92, no. 3 (July 21, 2011): 488–89. http://dx.doi.org/10.1093/ml/gcr030.
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Brown, A. Peter. "Musical Settings of Anne Hunter's Poetry: From National Song to Canzonetta." Journal of the American Musicological Society 47, no. 1 (1994): 39–89. http://dx.doi.org/10.2307/3128836.
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Anne Hunter (1742-1821) seems to have appeared suddenly on the London scene when she provided Joseph Haydn with texts for his English songs published under the fashionable title of canzonettas. Yet long before Haydn arrived in London, she had already established herself as a writer of lyrics for the Scottish national song movement and of the famed "Death Song" of a Cherokee Indian set to "an original Indian air." Some believe that her poems provided a model for Robert Burns. Her lyrics were also set by Johann Peter Salomon and requested by the propagator and publisher of national song in the British Isles, George Thomson.
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Davey, Laura. "Le due sorelle: Music and Poetry in Monteverdi's settings of Marino." Italianist 9, no. 1 (June 1989): 89–102. http://dx.doi.org/10.1179/ita.1989.9.1.89.
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Tracy, Dale. "Veterans’ self-expression in poetry." Journal of Military, Veteran and Family Health 7, no. 1 (February 1, 2021): 108–12. http://dx.doi.org/10.3138/jmvfh-2020-0005.
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LAY SUMMARY Research shows that Veterans benefit from writing poetry for therapeutic purposes. This article suggests the need for future research that considers the effects of the artistic choices that Veterans make when using poetry to engage their experiences. The author focuses on one Veteran’s poem about what it means to write poetry as a Veteran. Brian Turner’s “Here, Bullet” comes from his poetry collection about his time as an American infantry team leader in Iraq. This poem centres on a solider whose body is in danger in a conflict setting. The poem becomes an alternative space to his body, a space in which he can work with his experiences. Treating Veterans’ poetry as art can help people working with Veterans in therapeutic settings learn more about what value Veterans find in reading and writing poetry.
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Iida, Atsushi. "The value of poetry writing." Scientific Study of Literature 2, no. 1 (August 13, 2012): 60–82. http://dx.doi.org/10.1075/ssol.2.1.04iid.
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The aim of the current study is to evaluate poetry writing as a way of second language (L2) learning by exploring the interaction between academic prose and the effect of writing Japanese poetry — haiku. This article first describes some critiques of using poetry in educational settings and discusses the nature of poetry writing at the tertiary level in L2 contexts. The study was designed as an intervention in which 20 EFL students in Japan produced pre- and post-argumentative essays and L2 haikus. The data obtained was submitted to statistical analysis, which showed that there was a significant difference in the use of linguistic features between pre- and post-tests indicating that the task of writing haiku affected the EFL students’ written performance in the post-argumentative essay. In addition, the L2 haiku corpus produced revealed the English haiku as short, personal, direct and descriptive poetry.
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Lin, Hong. "Software Aided Classic Chinese Poem Composition." International Journal of Computer-Assisted Language Learning and Teaching 4, no. 1 (January 2014): 63–83. http://dx.doi.org/10.4018/ijcallt.2014010104.
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The forms of Chinese classic poetry have been developed through thousands years of history and are still current in today's poetry society. A re-classification of the rhyming words, however, is necessary for the classic poetry writing to be done in the new settings of modern Chinese language. In order to maintain the continuation of the poetry forms, computing technology can be used to help the readers as well as poetry writers to check the compliance of poems in accordance to the forms and compose poems without the effort to learn the old grouping of rhyming words. This work will help revive Chinese classic poetry in modern society and promote its writability.
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Furman, Rich, Eleanor Pepi Downey, Robert L. Jackson, and Kimberly Bender. "Poetry Therapy as a Tool for Strengths-Based Practice." Advances in Social Work 3, no. 2 (November 30, 2002): 146–57. http://dx.doi.org/10.18060/36.
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This article explores the congruence between poetry therapy and the strengths perspective of social work. It demonstrates the ways in which poetry therapy is consistent with the strengths perspective and discusses methods for its utilization in direct practice settings. Case examples are provided to help the practitioner learn how to utilize poetry therapy with clients from diverse backgrounds. As a tool in strengths-based practice, poetry and poetry therapy can help empower clients and help to focus practitioners on clients’ capacities and resilencies. This article seeks to expand upon the growing literature of strengths-based social work, addressing how the theory can be applied to clinical practice situations.
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O'Brien, John. "Ronsard, Belleau and Renvoisy." Early Music History 13 (October 1994): 199–215. http://dx.doi.org/10.1017/s0261127900001352.
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Howard Mayer Brown's stimulating paper pays greatest attention to the centrality of Ronsard as the fons et origo for musical settings. One often has the impression, reading the paper, that there was no substantial problem of imitation in these settings: the composers simply took the words supplied by Ronsard and set them to music. In the comments which follow, I want to suggest a different approach to this question of imitation within Renaissance poetry and to ask what effect the issue of imitation itself had in the dialogue between poetry and music in mid sixteenth-century France. The focus I shall be using is the Anacreon of 1554.
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Jones, Ellen, and Tab Betts. "Poetry, philosophy and dementia." Journal of Mental Health Training, Education and Practice 11, no. 2 (May 9, 2016): 75–80. http://dx.doi.org/10.1108/jmhtep-10-2015-0050.
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Purpose – The purpose of this paper is to describe the use of poetry by family carers as a way into the inner world of a person with late stage dementia, consistent with their values, preferences and experiences; enhancing the wellbeing of both the person with dementia and family carers. Design/methodology/approach – The use of poetry is being increasingly recognised as valuable in improving wellbeing for people with dementia. Poetry has an intrinsic quality which is well-suited for people with dementia: it does not require following a storyline and therefore can be enjoyed by those with no short-term memory. Findings – The paper describes the benefits to both family members and the person with dementia; the use of poetry opened up expression of deep emotions, improved communication and enriched family relationships. Research limitations/implications – Use of poetry by family carers with people with late stage dementia is under researched in the UK and further study of the impact of this intervention would be beneficial. Practical implications – Poetry can be used practically in both small groups in care homes or community settings and also one to one by family carers. Of especial value are poems that have been learnt by heart when young. Originality/value – Finally, the paper also draws attention to the positive lessons we can learn from people with dementia.
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Davis, Emma, and Nic Custer. "Intersections of Dance and Poetry in Post-Industrial Michigan." Congress on Research in Dance Conference Proceedings 2015 (2015): 42–47. http://dx.doi.org/10.1017/cor.2015.9.
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In post-industrial Michigan cities of Flint and Detroit, there is a need for art that brings residents together while addressing community issues. Collaborations in dance and poetry engage both traditional and nontraditional audiences while creating a unique visual and audio performance. Separately, the art forms receive less interest. Performing together outdoors, dance and poetry receive more viewer attention, while in traditional dance settings, the message of the two forms is reinforced by one another. “Intersections of Dance and Poetry in Post-Industrial Michigan” examines five collaborations in Flint and Detroit that address community issues while reaching across divisions of class and culture.
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FISHER, MAISHA. "Open Mics and Open Minds: Spoken Word Poetry in African Diaspora Participatory Literacy Communities." Harvard Educational Review 73, no. 3 (September 1, 2003): 362–89. http://dx.doi.org/10.17763/haer.73.3.642q2564m1k90670.
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In this article, Maisha T. Fisher explores the resurgence of spoken word and poetry venues in the Black community and their salience as venues for cultural identity development and literacy practice. Calling them African Diaspora Participatory Literacy Communities (ADPLCs), Fisher describes two open mic poetry settings that recall the feeling and communal centrality of jazz clubs and literary circles of the Harlem Renaissance. These ADPLCs are predominantly created and supported by people of African descent who actively participate in literacy-centered events outside of school and work settings. Through ethnographic research, Fisher explores how these venues function as literacy centers in two communities. Fisher discusses the cultural practices that underlie the organization and orchestration of these events, explores what inspires and motivates participants, and examines how these venues operate as sites for multiple literacies.
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Davey, Laura. "Le due sorelle: Music and Poetry in Monteverdi's settings of Marino." Italianist 9, no. 1 (June 1, 1989): 89–102. http://dx.doi.org/10.1179/026143489791333511.
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Winn, Matthew B., and William J. Idsardi. "Musical evidence regarding trochaic inversion." Language and Literature: International Journal of Stylistics 17, no. 4 (November 2008): 335–49. http://dx.doi.org/10.1177/0963947008092501.
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This study investigates an unresolved issue in poetic metrics — the trochaic inversion — the apparent substitution of a trochaic foot in place of an iambic foot in an otherwise iambic line of verse. Various theories have been proposed to explain this metrical variation, including specific metrical units, groupings of beats and offbeats, and constrained definitions of metrical units via concepts such as stress maxima. By positing a structural comparison between the verse and music of set poetry, the current project attempts to evaluate theories of poetic metrics using a new empirical methodology. Specifically, musical settings of iambic poetry with trochaic inversion are examined. Our analysis shows that the musical settings predicted from various prevalent theories do not map neatly onto the actual musical settings, which suggests that they do not adequately describe the actual rhythmic effect of the trochaic inversion. The music instead suggests that we regard this metrical pattern not as a trochee in place of an iamb, but rather as a unary stressed foot followed by an anapest.
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Armitage, Andrew. "The Dark Side." Advances in Developing Human Resources 17, no. 3 (May 29, 2015): 376–90. http://dx.doi.org/10.1177/1523422315587905.
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The Problem Morgan explored in her book What Poetry Brings to Business the deep but unexpected connections between business and poetry. She demonstrated how the creative energy, emotional power, and communicative complexity of poetry relate directly to the practical needs for innovation and problem solving that face business managers, and how poetry can unpack complexity, together with the ability to empathize with, and better understand the thoughts and feelings of others. This, it can be argued, not only aids the creative process of individuals, but it can also help facilitate the entrepreneurial culture of an organization, develop imaginative solutions, and help better understand chaotic environments. However, despite Morgan’s welcomed addition, it still remains that there is still a dearth of literature of the use of poetry concerning toxic leadership practices. The Solution According to Roebuck, reflexive practice can be described as a process of inquiry that facilities appreciation and understanding of contextualized views, deeper learning experiences, the development of ideas, and the conditions for actual change. Therefore, if organizations are not to objectify the creativity of those who aspire to be organizational leaders, then leadership development programs have to give voice to those who own organizational problems and their solution. Examples of organizational poetry will be presented to show how it can be used to unlock personal experiences and relationships within the context of working life. It will be argued that if stories are to represent reality as lived by those who report them, then poetry provides an alternative method of enquiry to inform contemporary leadership practices. The Stakeholders Poetry empowers individuals to internalize stories that carefully attend to context and settings to offer fresh perspectives on established truths, thus providing a way to explore hidden worlds that might often go unsaid in the milieu of normal conversation. As such, this article is aimed at those who need to develop an alternative paradigm for leadership and Human Resource Development (HRD) educational programs and want to adopt a more open dialogical approach to human relations within classroom settings and practice.
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Sutton-Spence, Rachel. "Why we need signed poetry in bilingual education." Educar em Revista, spe-2 (2014): 111–27. http://dx.doi.org/10.1590/0104-4060.37231.
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A truly bilingual and bicultural education for deaf children requires them to learn about the deaf art-form of sign language poetry. In this article I outline the advantages and challenges of doing this. Reviewing the scarce literature on teaching deaf children signed poetry, whether translated or original, I relate it to the use of literature in L2-learning settings. Reflections of deaf teacher-poets from the UK show that deaf children readily relate to signed poetry, and with informed language focus from teachers it helps them to develop a range of language skills, and express their emotions. Barriers to this, however, include lack of training and awareness for both deaf and hearing teachers - even when the teachers are poets.
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Kostic, Nemanja. "Ethnoreligious dichotomization in Serbian epic poetry." Sociologija 61, no. 1 (2019): 113–32. http://dx.doi.org/10.2298/soc1901113k.
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By using certain theoretical settings of ethno-symbolic and interactionist approach to the phenomena of nation and nationalism, this paper?s aim is to explain and reconstruct various pre-modern forms of ethno-religious dichotomization widely present in Serbian folk epic poetry. In that purpose, the paper displays ideas about ?other? communities that were nurtured in the Serbian epic poetry, where these ideas were interpreted as a reflection and consequence of concrete socio-historical circumstances. Special attention was given to examining the interconfessional and inter-class relations, which could have vastly influenced the self-determination process for the members of Serbian ethnic community. In other words, the factors of religious affiliation, social ranking and ethnicity are recognized as key determinants in establishing ethnoreligious dichotomization in the epic literature. The findings of the study showed that the most pronounced and most represented ethno-religious boundary in the epic poetry was set in relations to the Ottomans and Islam. On the other hand, the scarcity, incoherency or the lack of distinction of the dichotomization in relations to non-Ottoman communities, Greeks, Bulgarians, Hungarians, ?Latins?, Albanians and Arabs show that this boundary was not particularly defined, unlike the one with the Ottomans, who were different not only in terms of ethnicity, but also in terms of religion and class.
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LIN, HONG. "TOWARD AUTOMATED GENERATION OF CHINESE CLASSIC POETRY." New Mathematics and Natural Computation 09, no. 02 (July 2013): 153–81. http://dx.doi.org/10.1142/s1793005713400024.
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The forms of Chinese classic poetry have been developed through thousands of years of history and are still current in today's poetry society. A re-classification of the rhyming words, however, is necessary to keep the classic poetry up to date in the new settings of modern Chinese language. To ease the transition process, computing technology is used to help the readers as well as poetry writers to check the compliance of poems in accordance with the forms and to compose poems without the effort to learn the old grouping of rhyming words. A piece of software has been developed in a faculty/student research project at the University of Houston-Downtown to verify this idea. This software, called Chinese classic poetry wizard, provides the functionality of checking metrical forms and rhyming schemes. It also allows users to edit rhyme dictionaries and metrical forms. The new rhyming scheme proposed in this paper should rationalize the composition rules of classic Chinese poetry in the modern society; and the poem composition wizard will provide a handy tool for poem composition. This work will help revive Chinese classic poetry in modern society and, in a sequel, contribute to the current campaign of advocating Chinese traditional teachings.
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Samuel, Jamuna. "Ethics and Musical Language: A Gramscian Reading of Dallapiccola’s Liriche greche and Their Influence." Articles 35, no. 1 (February 14, 2017): 123–53. http://dx.doi.org/10.7202/1038947ar.
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Luigi Dallapiccola (1904–75)—a pioneering figure as serialist, composer of protest music, and trailblazer for the avant-garde—wrote his Greek Lyrics song cycle (1942–5) as an escape from wartime anxiety. I locate the Lyrics within a nexus of technique, text setting, and ethical engagement. That complex resonated with the younger composers Berio, Nono, and Maderna, each responding in the postwar period with settings from the same collection, Quasimodo’s 1940 free translation of classic Greek lyrics. I examine Quasimodo’s ethics, placing his poetry and Dallapiccola’s settings within Gramsci’s notions of language and politics, which were highly influential on postwar Italian composers.
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Beard, Ellen L. "Satire and Social Change: The Bard, the Schoolmaster and the Drover." Northern Scotland 8, no. 1 (May 2017): 1–21. http://dx.doi.org/10.3366/nor.2017.0124.
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Despite his lack of formal education, Sutherland bard Rob Donn MacKay (1714–78) left over 220 published poems, far more than any other contemporary Gaelic poet. During his lifetime he was equally esteemed for well-crafted satires and well-chosen (or newly-composed) musical settings for his verse. This article examines a group of related satires attacking the schoolmaster John Sutherland and the drover John Gray, comparing them to Rob Donn's views on other schoolmasters and cattle dealers, and considering both what conventional historical sources tell us about the poetry and what the poetry tells us about history, particularly literacy, bilingualism, and the cattle trade in the eighteenth-century Highlands.
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Seymour, Richard, and Michael Murray. "When I am old I shall wear purple: a qualitative study of the effect of group poetry sessions on the well-being of older adults." Working with Older People 20, no. 4 (December 12, 2016): 195–98. http://dx.doi.org/10.1108/wwop-08-2016-0018.
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Purpose There is increasing evidence that participation in various art forms can be beneficial for health and well-being. The purpose of this paper is to examine the impact of participating in a poetry reading group on a group of older residents of an assisted living facility. Design/methodology/approach Six poetry sessions, each on a different theme, were conducted with a group of volunteer participants. These sessions, those of pre- and post-study focus groups and interviews with the group facilitator and staff contact were audio-recorded. The transcripts of the recordings were then subjected to a thematic analysis. Findings Overall the participants were enthused by the opportunity to participate in the project and the benefits were confirmed by the support staff. In addition, reading poetry on particular themes promoted different types of discussion. Research limitations/implications The number of participants in this study was small and the study was conducted over a short period of time. Practical implications This paper confirms the impact of poetry reading for older people. The challenge is to explore this impact in more detail and over community as well as residential settings. Originality/value This paper is the first empirical report on the value of poetry reading for older people.
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Weaver, Andrew H. "Poetry, Music and Fremdartigkeit in Robert Schumann's Hans Christian Andersen Songs, op. 40." Nineteenth-Century Music Review 6, no. 2 (November 2009): 41–69. http://dx.doi.org/10.1017/s1479409800003098.
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On 1 October 1842, Robert Schumann sent Hans Christian Andersen a copy of his recently published Fünf Lieder op. 40, a song collection consisting of settings of four poems by Andersen as well as an anonymous ‘Neugriechisch’ poem, all translated into German by Adelbert von Chamisso. Although Clara Schumann had become acquainted with the poet earlier that year during a concert tour that took her through Copenhagen, Robert had yet to meet him, and the letter included with op. 40 was the first time that he addressed Andersen directly.
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Peterkin, Allan, and Smrita Grewal. "Bibliotherapy: The Therapeutic use of Fiction and Poetry in Mental Health." International Journal of Person Centered Medicine 7, no. 3 (July 31, 2018): 175–81. http://dx.doi.org/10.5750/ijpcm.v7i3.648.
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Background: An overview of the way in which bibliotherapy has been defined and implemented historically is provided.Objectives: The purpose of this paper is to examine the effectiveness of using fiction and poetry as a therapeutic modality in mental health. Methods: A systematic review of the literature was conducted following the elements of the 2009 PRISMA statement. Results: This literature review demonstrated a lack of empirical studies examining the therapeutic effect of poetry or fiction in a mental health context. However, three studies indicated benefit for patients with symptoms of depression or anxiety, or for those experiencing difficulties coping with a diagnosis of cancer. Bibliotherapy can however be considered to be a promising modality within the growing field of narrative medicine. Conclusions: The use of poetry or fiction in therapy appears to be beneficial when used in a group context with a skilled facilitator. Larger randomized control trials examining this form of bibliotherapy in a variety of mental health conditions and settings are now required.
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Ricciardi, Emiliano. "Torquato Tasso and Lighter Musical Genres: Canzonetta Settings of the Rime." Journal of Musicology 29, no. 4 (2012): 385–421. http://dx.doi.org/10.1525/jm.2012.29.4.385.
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Scholars of the madrigal have often emphasized Torquato Tasso’s role in the emergence of a serious musical manner that differed sharply from the widespread canzonetta style of the late sixteenth and early seventeenth centuries. This emphasis is grounded in Tasso’s endorsement of musical gravitas in the dialogue La Cavaletta from the mid-1580s, as well as in some settings of Gerusalemme liberata, the musical style of which matched the heroic tone of the poetry. Tasso, however, produced many poems that were suitable to lighter musical styles. In particular, he wrote several short strophic compositions of light tone, that is, canzonetta poems. Numerous composers set these as such or as canzonetta madrigals, the hybrid genre that became popular in the late sixteenth century. This poetic-musical repertoire counters Tasso’s and scholars’ emphasis on gravitas and prompts a reconsideration of his impact on music that takes into greater account his substantial contribution to lighter genres.
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Brooks, Jeanice. "Ronsard, the Lyric Sonnet and the Late Sixteenth-Century Chanson." Early Music History 13 (October 1994): 65–84. http://dx.doi.org/10.1017/s0261127900001303.
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Music was an important metaphor for Ronsard, and references to music and musical instruments are frequently found in his poetry. His writings about music are few, however. In his article ‘Ut musica poesis: Music and Poetry in France in the Late Sixteenth Century’ Howard Brown has referred to two of the most explicit examples of such writing: the preface to Le Roy and Ballard's Livre de meslanges (1560) and the passage from Ronsard's Abbregé de l'art poëtique françois (1565) on the desirability of union between poetry and music. Such passages are important in illuminating poets' attitudes towards music and in demonstrating ways in which the relationship between text and music could be conceptualised in the sixteenth century. They are frustratingly vague, however, about how the poets' ideals should be achieved, and they leave many practical questions unanswered. Did poets have any influence on composers' choices of texts? Did movements in poetic circles ever affect the pitches or rhythms of musical settings – that is, could poets influence the way music sounded?
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Marchi, Lucia. "Tasso in Music Project (TiMP): Digital Edition of the Settings of Torquato Tasso’s Poetry, c. 1570–1640." Journal of the American Musicological Society 74, no. 1 (2021): 187–95. http://dx.doi.org/10.1525/jams.2021.74.1.187.
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Meisami, Julie Scott. "Allegorical Gardens in the Persian Poetic Tradition: Nezami, Rumi, Hafez." International Journal of Middle East Studies 17, no. 2 (May 1985): 229–60. http://dx.doi.org/10.1017/s0020743800029019.
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A striking feature of medieval Persian poetry is the abundance of nature imagery that permeates every poetic genre, and especially imagery relating to gardens. The royal gardens and parks evoked in the descriptive exordia of the qasīda, the luxuriant gardens of romance that provide settings for tales of love, the spiritual gardens of mystical writings, the flowery haunts of rose and nightingale in the courtly ghazal—all provide eloquent testimony to the importance of the garden in Persian culture.
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Henze, Adam D. "Read This Book Out Loud: A Critical Analysis of Young Adult Works by Artists from the Poetry Slam Community." International Journal of Literacy, Culture, and Language Education 4 (August 1, 2015): 37–53. http://dx.doi.org/10.14434/ijlcle.v4i0.26915.
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This article examines the efforts of notable authors from the poetry slam community who have published Young Adult works intended for the classroom. Numerous secondary educators have embraced spoken word poetry as an engaging art form for teenagers yet often express difficulty in finding age‐appropriate material to share in school settings. This literature review hopes to serve as an introductory reference for secondary educators and researchers, and differs from slam‐themed reviews in that it specifically highlights artists from the slam circuit who have transitioned into YA publishing. Since the featured authors hail from backgrounds in theatre and performance, the works discussed often incorporate characteristics of oral verse that seemingly transcend the print medium. Also examined is the inherent barrier between oppositional, profane narratives embraced by youth, and the expectations of educational institutions who use censorship to sterilize places of learning. Written by an educator and academic who has been a part of the slam community for over a decade, this article offers an insider’s perspective for secondary educators, researchers, and fans of spoken word poetry who wish to know more about integrating the works of prominent ‘slammers’ into their classroom curricula.
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Howe, Blake. "The Allure of Dissolution: Bodies, Forces, and Cyclicity in Schubert's Final Mayrhofer Settings." Journal of the American Musicological Society 62, no. 2 (2009): 271–322. http://dx.doi.org/10.1525/jams.2009.62.2.271.
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Composed in the early days of March 1824, Schubert's final four settings of the poetry of his friend Johann Mayrhofer (“Der Sieg,” “Abendstern,” “Auflöösung,” and “Gondelfahrer,” D. 805–808) revolve around a shared narrative: corporeal limitation, when ruptured by outward-seeking forces, yields a desirable state of spiritual transcendence. This narrative, common in the philosophical, theological, scientific, and medical texts of several major contemporary writers, treats the body as a disabled limitation which must in turn be “heroically overcome.” In Schubert's settings, energized musical gestures are “released” at poetic moments of corporeal death, and chromatic mediants—particularly the flatted submediant—are used as centrifugal harmonies that breach diatonic limitation. “Auflöösung,” though positioned third within the set of four songs by Otto Erich Deutsch in his chronological catalogue of Schubert's music, was probably composed last. This adjustment has significant ramifications for a cyclical or collective consideration of the four final Mayrhofer settings, because in many ways this virtuosic song acts as a reservoir of the gestural and aesthetic ideas developed in the previous three.
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Brown, Hilary. "Found Poetry: Reimagining What is Present and What is Absent Through the Journals of Her Life." Cultural Studies ↔ Critical Methodologies 20, no. 1 (November 26, 2019): 7–15. http://dx.doi.org/10.1177/1532708619884958.
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This article maps an emergent qualitative research process of writing found poetry to give voice to a long-term care patient who was slowly losing her physical capabilities to supra nuclear palsy. Through an initial chance encounter, the poem Thank you was written from the patient’s scribed journals and then performed in variety of settings for a variety of audiences. First, an academic conference proceeding, followed by a video recording performance, and finally, it was performed for health care providers at the patient’s annual case conference. The performances gave this elderly disabled woman, my mother, her voice.
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AASLID, VILDE. "The Poetic Mingus and the Politics of Genre in String Quartet No. 1." Journal of the Society for American Music 9, no. 1 (February 2015): 1–25. http://dx.doi.org/10.1017/s1752196314000522.
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AbstractIn 1972, the Whitney Museum of American Art commissioned new musical settings of poems by Frank O'Hara for a concert honoring the late poet. Among pieces by Virgil Thomson and Ned Rorem, the program featured a new work by Charles Mingus: his String Quartet No. 1. Mingus's piece was performed only once, at that concert, and was never recorded. It survives only in manuscript form.String Quartet No. 1 thwarts nearly all expectations of a piece by Mingus. Scored for strings and voice, the work's modernist approach to rhythm and pitch is unprecedented for the composer. Mingus chafed at being categorized as a “jazz” composer, and String Quartet No. 1's style is both a bid for and an undermining of the prestige of the high art world. Faced with primitivist discourses that characterized jazz musicians as unschooled and nonverbal, Mingus deployed poetry as a mode of resistance. He worked with poetic texts throughout his life, often writing the poetry himself. Mingus's sensitive setting of O'Hara's text in String Quartet No. 1 points to the centrality of poetry to Mingus's artistic and political project, and suggests that the piece's anomalous style can be partially understood as his response to O'Hara's text.
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Bodley, Lorraine Byrne. "In Pursuit of a Single Flame? On Schubert’s Settings of Goethe’s Poems." Nineteenth-Century Music Review 13, no. 1 (April 4, 2016): 11–33. http://dx.doi.org/10.1017/s147940981500049x.
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Much musicological and historicist criticism has tended to ‘flatten’ Goethe by confining him to the thought-clichés of his time, and this in turn has led to an implicitly patronizing view of him as musically conservative. This article will show how Goethe proves again and again to be more musically intelligent and perceptive than scholars have given him credit for. Certain musicological questions engross the poet throughout his life: the nature of major and minor tonalities; musical identity throughout the ages; music and text; the rhetoric of attentive listening; musical language and its capacity to occlude and exclude. Yet Goethe’s thought, this article demonstrates, is anything but static; his writings keep returning to, modifying and complicating his musical preoccupations.This article challenges the salient misconception that Goethe’s lack of musical judgement divorced him from the development of the nineteenth-century Lied and that Schubert’s settings ran counter to the poet’s intent. Two new readings of ‘Wandrers Nachtlied’ and ‘Erster Verlust’ show how Schubert is listening to the poetry and the upshot is not a song that reflects the poem but one that reflects on it.
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Goodrich, Jaime. "‘Low & plain stile’: poetry and piety in English Benedictine convents, 1600–1800." British Catholic History 34, no. 04 (October 2019): 599–618. http://dx.doi.org/10.1017/bch.2019.27.
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This article examines the functional nature of English Benedictine poetry in order to understand the bespoke literary systems that flourished within convent settings. Even as form has emerged as a primary concern within scholarship on early modern women writers, so too are literary critics starting to show interest in the early modern convent as a site of literary production. Uniting these two scholarly strands, this article explores the formal implications of texts written by and for the six English Benedictine convents founded on the Continent during the early modern period. This analysis of seventeenth- and eighteenth-century Benedictine poetics reveals that English cloisters on the Continent actively cultivated alternative approaches to textual production, developing monastic modes at odds with the secular literary system of the time. Poetry provides an ideal case study for this discussion of convent style due to its relatively high status among literary forms. By considering Benedictine theories of speech as well as the formal qualities of the verse that nuns read and wrote, this essay will outline how the English Benedictine convents on the Continent developed a distinctive literary system that rejected secular modes in favour of a poetics aligned with monastic humility.
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Hajj, Maya El. "Translation, Retranslation and Recreation in the Literary Field." Journal of Language Teaching and Research 10, no. 5 (September 1, 2019): 914. http://dx.doi.org/10.17507/jltr.1005.03.
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Ameen Fares Rihani rewrote a few of his Arabic poems, such as “I am the East” and “New York” in English, to enable American and Arab readers to understand the poems within their cultural settings, to promote the Eastern culture in the West, and to introduce the West to the Easterners. This paper argues that in his translations of his own poetry, Rihani was a recreator rather than a translator. A comparative analysis of Rihani’s rewritten poems in English and the translations made by other translators of the same poems will prove that the author-translator’s choice of terms along with their cultural backgrounds, deep meanings and etymologies reveal his deep understanding of the source and target cultures, the Eastern and the Western ones. The study further analyzes Rihani’s literary recreations or in other terms transcreations and examines as well the other translators’ rendering of the same works. Comparative study shows how poetry transcends cultural barriers and understands the linguistic and cultural spirit of the target language, thereby attempts to bridge the civilization and cultural gaps between the East and the West.
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Muhammad, Basil Qahtan, and Ziyad Muhammad HamadAmeen. "The Lonely Woman in Tennyson’s Poetry: A Case Study in “Mariana” and “Mariana in the South”." Journal of University of Raparin 7, no. 2 (April 20, 2020): 494–512. http://dx.doi.org/10.26750/vol(7).no(2).paper21.
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This paper tackles the theme of lonely women in Tennyson’s poetry. It studies the theme through the character of Mariana in the two poems carrying this name in the title, “Mariana” and “Mariana in the South”, with the objectives of finding similarities and differences and the continuity between the two poems. It studies each poem individually with focus on the characteristics of the protagonist, the setting, the correlation between the character’s psychology and the surroundings, and the presence of death and faith in each of the two poems. It ends with the conclusion that both Marianas are very similar in their situation and their suffering. Yet, the drastic change of setting in the later-written “Mariana in the South” from the setting of the earlier “Mariana” shows that, even in very different settings and with very different religious stands, women who suffer from loneliness and desertion end up similarly desperate.
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Vekshin, Georgy Viktorovich, and Marina Mikhaylovna Lemesheva. "Poet as a Role: on the Semantics and Pragmatics of Russian Poeticism." RUDN Journal of Language Studies, Semiotics and Semantics 10, no. 4 (December 15, 2019): 1067–87. http://dx.doi.org/10.22363/2313-2299-2019-10-4-1067-1087.
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The article is devoted to the semantics and pragmatics of Russian poetry as deictic pointers to the poetic sphere and one of the six universal socio-cultural roles - the role of the poet-writer. The communicative role is interpreted as an element of speech behavior, determined by the basic communication settings: to be and to seem . It is shown that the stylistic coloring of poetry is formed only due to its stable correlation with the typical context and role; poeticisms by themselves do not create poetry and cannot even be considered as its obligatory feature, so they are primarily the subject of literary language theory and reflects the general cultural consciousness of speakers. In connection with the requirement to distinguish between the stylistics of language and speech, we review the difference between the poetic style of the language, which is a repository of poeticisms, from the poetic language as a style of speech (an operational system of techniques and tactics that ensure the performance of an artistic task); a detailed definition of poetic language is given. There is also a short observation of poeticisms at different levels of the linguistic system. The article proposes the description of the semantic structure of Russian poeticisms. It is emphasized that poeticisms can be used according to their artistic perspective (as a narrative tool, role-playing tool, to eliminate any speech image, in an ironic manner, etc.), however, their condensation in the text discloses the priority of an extra-aesthetic strategy of self-presentation in the role of a poet and, as a result, can be an indicator of “bad poetry”. This idea is shown on the example of a typical text of mass poetry saturated with poeticisms. The experience of compiling the poetic corpus of “Russian Live Stylistic Dictionary” discovers the possibility to identify the stylistic semantics of the word and to predict the artistic quality of the text.
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Saif, Mohammad. "Modernism and Romanticism: A Comparative Study of the Selected Poems of W.B. Yeats and John Keats." SMART MOVES JOURNAL IJELLH 7, no. 6 (June 28, 2019): 10. http://dx.doi.org/10.24113/ijellh.v7i6.8849.
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Romantic poetry was especially concerned with the themes of country life which is also known as pastoral poetry; moreover it also employed mythological and fantastic settings. Romanticism focuses more on the individual than society. The Romantics were fascinated especially by the individual imagination and individual consciousness. “Melancholy” was quite the exhortation for the Romantic poets. A firm loosening of the persistent rules of artistic expression, during earlier times, was observed in the Romantic era.
In English literature, modernism has its roots in 19th and 20th century; the age was characterised by an unexpected and sudden release from conventional ways of viewing the world and interacting with it. Individualism and Experimentation, which were often heartily discouraged in the past, became the modern virtues. The modernist period in English literature was an intuitive response towards the prevailing aesthetics and culture of the Victorians culture of the 19th century. At the turn of the twentieth century, artists and intellectuals blamed the writers of earlier generation for misleading the society, thereby resulting in a dead end. They had the ability to predict hence they could foresee that world events were escalating into a mysterious territory.
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CLARKE, MARTIN V. "CHARLES WESLEY, METHODISM AND NEW ART MUSIC IN THE LONG EIGHTEENTH CENTURY." Eighteenth Century Music 18, no. 2 (August 17, 2021): 271–93. http://dx.doi.org/10.1017/s1478570621000117.
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ABSTRACTThis article considers eighteenth- and early nineteenth-century Methodism's relationship with art music through the original settings of poetry by Charles Wesley by five notable musicians: John Frederick Lampe, George Frideric Handel, Jonathan Battishill, Charles Wesley junior and Samuel Wesley. It argues that the strong emphasis on congregational singing in popular and scholarly perceptions of Methodism, including within the movement itself, masks a more varied engagement with musical culture. The personal musical preferences of John and Charles Wesley brought them into contact with several leading musical figures in eighteenth-century London and initiated a small corpus of original musical settings of some of the latter's hymns. The article examines the textual and musical characteristics of these the better to understand their relationship with both eighteenth-century Methodism and fashionable musical culture of the period. It argues that Methodism was not, contrary to popular perception, uniformly opposed to or detached from the aesthetic considerations of artistic culture, that eighteenth-century Methodism and John and Charles Wesley cannot be regarded as synonymous and that, in this period, sacred music encompasses rather more than church music and cannot be narrowly defined in opposition to secular music.
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Allsopp, Niall. "Tom Cain and Ruth Connolly (eds),The Complete Poetry of Robert HerrickVolume I.Tom Cain and Ruth Connolly (eds),The Complete Poetry of Robert HerrickVolume II. Musical settings transcribed and annotated by Abigail Ballantyne." Notes and Queries 62, no. 4 (November 26, 2015): 622–24. http://dx.doi.org/10.1093/notesj/gjv166.
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Peiu, Anca. "The Frost in Faulkner: Walls and Borders of Modern Metaphor." Acta Universitatis Sapientiae, Philologica 10, no. 1 (October 1, 2018): 75–88. http://dx.doi.org/10.2478/ausp-2018-0005.
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AbstractMy paper discusses the dialogue between Robert Frost’s verse and William Faulkner’s works: from the first poems he published as a young writer, especially in his debut volume The Marble Faun (1924), to The Hamlet (1940), an acknowledged novel of maturity. Three world-famous poems: “Birches,” “Mending Wall,” “Nothing Gold Can Stay” will represent here Frost’s metaphorical counterpart. The allegorical borders thus crossed are those between Frost’s lyrical New England setting and the Old South of Faulkner’s Yoknapatawpha diegesis; between (conventional patterns of) Romanticism and Modernism – in both writers’ cases; between poetry and prose; between “live metaphor” and “emplotment” (applying Paul Ricoeur’s theory of “semantic innovation”); between (other conventional patterns of) regionalism and (actual) universality. Frost’s uniqueness among the American modern poets owes much of its vital energy to his mock-bucolic lyrical settings, with their dark dramatic suggestiveness. In my paper I hope to prove that Frost’s lesson was a decisive inspiration for Faulkner, himself an atypical modern writer. If Faulkner’s fiction is pervaded by poetry, this is so because he saw himself as a “poet among novelists.” Faulkner actually started his career under the spell of Frost’s verse – at least to the same extent to which he had once emulated the spirit of older and remoter poets, such as Keats or Swinburne.
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MAK, SU YIN. "SCHUBERT AS SCHILLER’S SENTIMENTAL POET." Eighteenth Century Music 4, no. 2 (September 2007): 251–63. http://dx.doi.org/10.1017/s1478570607000930.
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ABSTRACTSchubert’s lifelong interest in literature, his close friendships with poets and his preference for lyric poetry in his prolific song settings suggest that his compositional language may be shaped as much by a literary imagination as by musical concerns. This article argues for a close correspondence between Schubert’s late instrumental style and Friedrich Schiller’s conception of the elegiac. In ‘On Naïve and Sentimental Poetry’ Schiller describes the sentimental poet as having to contend with two conflicting objects, the ideal and actuality, and to represent their opposition either satirically or elegiacally: whereas satire rails against the imperfections of present reality, elegy expresses longing for an ideal that is lost and unattainable. Paradoxically, however, the poet’s longing must take place in a flawed present; the elegiac thus projects not only a disjunction between divided worlds, but also a cyclic temporality in which memory and desire, past and future, are both entwined with the immediacy of present experience. In both Schiller and Schubert, this paradoxical temporal sensibility is often represented by patterns of returning, repetition and circularity. A close reading of Schubert’s Moment musical in A flat major, d780/2, illustrates how Schiller’s conception of the elegiac might be put into analytical practice.
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Carter, Tim. "Beyond Drama: Monteverdi, Marino, and the Sixth Book of Madrigals (1614)." Journal of the American Musicological Society 69, no. 1 (2016): 1–46. http://dx.doi.org/10.1525/jams.2016.69.1.1.
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Monteverdi's Il sesto libro de madrigali a cinque voci (1614) is often viewed as an outlier in his secular output. His Fourth and Fifth Books (1603, 1605) were firmly embroiled in the controversy with Artusi over the seconda pratica, while his Seventh (1619) sees him shifting style in favor of the new trends that were starting to dominate music in early seventeenth-century Italy: the Sixth Book falls between the cracks. But it also suffers—in modern eyes, at least—for the fact that it reflects the composer's first encounters with the poetry of Giambattista Marino, marking what many see as the start of a fundamental reorientation, if not downward spiral, in his secular vocal music. The problems are exposed by one of the Marino settings in the Sixth Book, “Batto, qui pianse Ergasto: ecco la riva,” in which an unnamed speaker tells Batto how Ergasto has been abandoned by Clori. The text has often been misunderstood. Uncovering the sources for the story—and the literary identities of Batto, Ergasto, and Clori—forces a new reading of the poetry and more particularly of Monteverdi's music. It also answers some profound questions in terms of how best to address issues of narration and representation, and of diegesis and mimesis, in this complex repertory.
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Youens, Susan. "Swan Songs: Schubert's ‘Auf dem Wasser zu singen’." Nineteenth-Century Music Review 5, no. 2 (November 2008): 19–42. http://dx.doi.org/10.1017/s1479409800003359.
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The following inquiry began as an echo of my preoccupation long ago and far away with settings of late nineteenth-century French poetry. Mallarmé's ‘le cygne/signe’ arrives too late (involuntarily, I recall the immortal line ‘What time's the next swan?’) to be a player in the creation of Schubert's songs, but the great French poet had recourse to some of the same signifying swans at work in this composer's chosen poem by Friedrich Leopold zu Stolberg-Stolberg. Struck by an analogy in the words for D. 774 (published in March 1827 as op. 72), I dug a little deeper and discovered multiple specimens of these emblematic creatures from Greek and Roman literature, medieval lore, Reformation iconography and Romantic art.
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Welch, Tara S. "Est locus uni cuique suus: City and Status in Horace's Satires 1.8 and 1.9." Classical Antiquity 20, no. 1 (April 1, 2001): 165–92. http://dx.doi.org/10.1525/ca.2001.20.1.165.
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Horace's Satires 1.8 and 1.9 have long interested commentators for the enticing glimpse they provide of the changing Roman cityscape in the 30s BCE In light of the recent problematization of the strict correspondence between the poet Horace and his elaborately constructed satiric persona, locations in the Satires should be read not so much as autobiographical accounts of the poet's movement through the city but rather as functions of other themes and motifs in the Satires. This paper examines the moral and aesthetic encoding of the urban landscape in Horace's Satires Book I.Satires 1.9 and 1.8 reveal that Rome's city center and the gardens of Maecenas constitute an arena for the satirist's indirect meditation about the complex relationship between his poetry and his patron Maecenas. By mapping moral and aesthetic behavior onto these urban areas, Horace comments on the viability of satiric poetry in various social situations and settings. The emerging picture presents the city center —— filled as it is with human vice and folly —— as a place appropriate for satiric poetry, and Maecenas' gardens —— free from competition and ambition —— as a place inimical to it. Thus the gardens of Maecenas present for the satirist a moral and aesthetic problem, and their specter haunts his downtown stroll in Satires 1.9 as much as does the aspirant who dogs his steps. The decorum of patronage requires that Horace show proper subordination to his benefactors. Yet the decorum of satire requires that the poet undermine status, stability, and authority. While professing that status is not an issue in Maecenas' circle, the poems reveal instead that status is always an issue, aected no less by one's physical than one's social position.