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Books on the topic 'Praise poetry (form)'
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1
Guernsey, Julia Carolyn. The pulse of praise: Form as a second self in the poetry of George Herbert. Newark: University of Delaware Press, 1999.
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3
Ceccucci, Piero, ed. Fiorenza mia…! Firenze e dintorni nella poesia portoghese d'oggi. Florence: Firenze University Press, 2009. http://dx.doi.org/10.36253/978-88-8453-329-6.
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In the Portuguese imagination Florence is justly considered the cradle of modern western civilisation. Seen and admired from the Renaissance on as the new Athens, for the Portuguese it has always represented not only a model of culture and civilisation to take as inspiration, but also and above all the locus amoenus of spiritual and intellectual harmony and balance, dreamed-of and unattainable, that floods and pervades the soul with a vague, nostalgic sentiment of admiration. Evidence of this, now as in the past, are the serried ranks of poets who for centuries have sung its praises and raised it to the rank of myth. This brief anthology proposes only a few of them, among the most renowned of recent generations. In a truly original way these poets have managed to convey to the hearts and minds of their compatriots their own stunned vision of the city, illustrating emotions that cannot fail to move even the Florentines and, in a broader sense, we Italians as a whole. Thus what is offered in these pages, in fine Italian translation, is this mesh of voices, an intimate and enthralling polyphony of city, poet and reader, unfurling in an evocative melody and proposing the legend of Florence in a new light – possibly more authentic and illuminating.
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ill, Bryan Ashley, ed. All things bright and beautiful. New York: Atheneum Books for Young Readers, 2010.
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Alexander, Cecil Frances. All things bright and beautiful. New York: HarperCollins, 2001.
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ill, Birkinshaw Linda, ed. All things bright and beautiful. [Wheaton, Ill.]: Tyndale House Publishers, 1995.
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Anna, Vojtech, ed. Todas las cosas radiantes y bellas. New York: Ediciones Norte-Sur, 2006.
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Alexander, Cecil Frances. All things bright and beautiful. Nashville, Tenn: Ideals Children's Books, 1992.
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ill, Morgan-Vanroyen Mary 1957, ed. All things bright and beautiful. New York: Platt & Munk, 1987.
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10
Meister, Felix J. Greek Praise Poetry and the Rhetoric of Divinity. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198847687.001.0001.
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This monograph focuses on passages of archaic and classical Greek poetry where certain human individuals in certain moments are presented as approximating to the gods. The approximation pursued is different from any form of immortality, be it apotheosis, hero cult, or fame preserved in song. Instead, this monograph is concerned with the momentary attainment of central aspects characteristic of divine life, such as supreme happiness, unsurpassed beauty, or boundless power. The three main chapters of this monograph (Chapters 2, 3, and 4) illustrate the approximation of human figures to these aspects in wedding songs, victory odes, and drama respectively. This monograph also explores the relationship between such approximations and ritual. In some genres, the surrounding ritual context itself seems to engender a vision of someone as more than human, and this vision is reflected also in other media. In contrast, where such visions are not rooted in ritual, they tend to be more problematic and associated with hubris and transgression. What emerges from this study is the impression of a culture where the boundaries between man and god are more flexible than is commonly thought.
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Stainton, Hamsa. Poetry as Prayer in the Sanskrit Hymns of Kashmir. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190889814.001.0001.
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This book investigates the history of a popular genre of Sanskrit devotional poetry in Kashmir: the stotra, or hymn of praise. Such hymns demonstrate and frequently reflect upon the close link between literary and religious expression in South Asia—the relationship between poetry and prayer. This study presents an overview and reassessment of the stotra genre, including its definition and history, focusing on literary hymns in Kashmir from the eighth to the twentieth century. Investigating these hymns as theological texts, it argues for their pedagogical potential and their particular appeal for non-dualistic authors. Analyzing such hymns as prayers, it unpacks the unique capabilities of the stotra form and challenges persistent assumptions in the study of Hindu prayer. The book argues for the literary ambition and creativity of many stotras across the centuries, and it complicates standard narratives about the vitality and so-called death of Sanskrit in the region. Śaiva poets also engaged with the rich discourse on aesthetics in Kashmir, and this study charts how they experiment with the idea of a devotional “taste” (bhaktirasa) long before Vaiṣṇava authors would make it well known in South Asia. Finally, it presents new perspectives on the historiography of bhakti traditions and “Kashmir Śaivism.” Overall, this book reveals the unique nature and history of stotra literature in Kashmir; demonstrates the diversity, flexibility, and persistent appeal of the stotra genre; and introduces new sources and ways of thinking about these popular texts and the comparative study of devotional poetry and prayer.
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Brumbaugh, Michael. The New Politics of Olympos. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190059262.001.0001.
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The New Politics of Olympos offers the first in-depth analysis of Kallimachos’ only fully extant poetry book, the Hymns, by examining its contemporary political setting, engagement with a tradition of political thought stretching back to Homer, and portrayal of the poet as an image-maker for the king. In addition to investigating the political dynamics in the individual hymns, this book details how the poet’s six hymns, once juxtaposed within a single bookroll, constitute a macro-narrative on the prerogatives of Ptolemaic kingship. Throughout the collection Kallimachos refigures the infamously factious divine family as a paradigm of stability and good governance in concert with the self-fashioning of the Ptolemaic dynasty. At the same time, the poet defines the characteristics and behaviors worthy of praise, effectively shaping contemporary political ethics. Thus, for a Ptolemaic reader, this poetry book may have served as an education in and inducement to good kingship.
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Sousa, Ronald de. 2. Perspectives. Oxford University Press, 2015. http://dx.doi.org/10.1093/actrade/9780199663842.003.0002.
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‘Perspectives’ considers Plato’s Symposium—where the members of the party take turns making a speech in praise of love—and what we can learn from it. The dialogue is still fresh today and features several perspectives, some of which anticipate ways that modern thinkers have challenged the monopoly of poetry and literature on love. A reason for elevating some loves over others appeals to certain conceptions of the place of love and sex in human nature. Such conceptions have clustered around three basic models: the puritan, Lawrentian, and pansexual models. The form of love designated as ‘what Nature intended’ will depend on which of the three models is favoured.
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Wasdin, Katherine. Eros at Dusk. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190869090.001.0001.
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This book analyzes the relationship between wedding poetry and love poetry in the ancient world. By treating both Greek and Latin texts, it offers an innovative and wide-ranging discussion of the poetic representation of social occasions. The discourses associated with weddings and love affairs both foreground ideas of persuasion and praise even though they differ dramatically in their participants and their outcomes. Furthermore, these texts make it clear that the brief, idealized, and eroticized moment of the wedding stands in contrast to the long-lasting and harmonious agreement of the marriage. At times, these genres share traditional forms of erotic persuasion, but at other points, one genre purposefully alludes to the other to make a bride seem like a girlfriend or a girlfriend like a bride. Explicit divergences remind the audience of the different trajectories of the wedding, which will hopefully transition into a stable marriage, and the love affair, which is unlikely to endure with mutual affection. Important themes include the threshold; the evening star; plant and animal metaphors; heroic comparisons; reciprocity and the blessings of the gods; and sexual violence and persuasion. The consistency and durability of this intergeneric relationship demonstrates deep-seated conceptions of legitimate and illegitimate sexual relationships.
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Gil, Daniel Juan. Fate of the Flesh. Fordham University Press, 2021. http://dx.doi.org/10.5422/fordham/9780823290048.001.0001.
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In the seventeenth century, the hope for resurrection starts to be undermined by an emerging empirical scientific world view and a rising Cartesian dualist ontology that translates resurrection into more dualist terms. But poets pick up the embattled idea of resurrection of the body and bend it from a future apocalypse into the here and now so that they imagine the body as it exists now to be already infused with the strange, vibrant materiality of the “resurrection body.” This “resurrection body” is imagined as the precondition for the social identities and forms of agency of the social person, and yet the “resurrection body” also remains deeply other to all such identities and forms of agency, an alien within the self that both enables and undercuts life as a social person. Positing a “resurrection body” within the historical person leads seventeenth-century poets to use their poetry to develop an awareness of the unsettling materiality within the heart of the self and allows them to reimagine agency, selfhood, and the natural world in this light. In developing a poetics that seeks a deranging materialism within the self, these poets anticipate twentieth-century “avant-garde” poetics. They do not frame their poems as simple representation nor as beautiful objects but as a form of social praxis that creates new communities of readers and writers that are assembled by a new experience of self-as-body mediated by poetry.
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Elkins, Nathan T. Conclusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190648039.003.0005.
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The strong correspondence between laudatory rhetoric in poetry and panegyric and the images that appear on Nerva’s coins allows a reinvestigation of the age-old debate regarding the agency behind the creation of Roman imperial coin iconography. The evidence available, at least in Nerva’s reign, suggests that the emperor was not the agent; instead, a prominent individual in charge of the mint was responsible for the selection of the imagery. By attending to Trajanic records, it appears that such individuals were very close to the emperor and known to him. This suggests that prominent equestrians in charge of the mint thus were part of the emperor’s inner circle and walked in the same social circles as the people who inked praise directed at the emperor: Martial, Frontinus, Tacitus, and Pliny. These prominent equestrians were thus in a position to visualize the rhetoric used to praise the emperor.
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Wasdin, Katherine. Cultivating Romance. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190869090.003.0004.
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This chapter demonstrates the nuances of plant metaphors in wedding and love poetry. Plant metaphors in love poetry praise beautiful youths by equating them with flowers threatened by the passage of time. Such threats are meant to be warnings to recalcitrant lovers. In the wedding discourse, flowers risk being violently destroyed and symbolize peaceful independence for female speakers. While floral metaphors do not permit safe interaction beyond aesthetic appreciation, vine metaphors emphasize physical entanglement and fruitful productivity. Accounts of nuptial productivity use imagery and terminology connected with fruit, not grain crops, which further distinguishes the discourse of the wedding ritual from the agricultural language of the marriage. Plant imagery at times alludes to specific literary predecessors, but may also refer to generally recognizable commonplaces that are part of a larger cultural matrix of natural symbols.
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Whitlatch, Lisa. The Conditions of Poetic Immortality. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198789017.003.0009.
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This chapter focuses on Grattius’ praise of the mercurial figure of Hagnon in the central portion of the extant poem and argues that Grattius takes us on an intertextual journey back through Virgil’s Eclogues (the figure of Menalcas) to Lucretius (the figure of Epicurus), and ultimately to Theocritus (the figure of Daphnis), in an effort to secure for hunting positive associations that are absent from the Roman forebears. By means of such intertextual dialogue, as well as pointed use of the language of dowries, Grattius subtly promotes the notion that hunting is an eternal symbiotic relationship between man, god, and nature, which ensures its sustainability.
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Elkins, Nathan T. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190648039.003.0001.
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Although Nerva’s reign is largely the province of historians, owing to the lack of state-sanctioned art from his short reign, his coinage is very diverse and has been an untapped resource for studying contemporary “self-representation” in this period. It is argued that the emperor did not necessarily formulate coin iconography or messaging, as often assumed, but that it was directed at him, as were contemporary panegyric and poetry. He was, however, not the only audience. Coins were used by people throughout Roman society and so deploying quantitative and finds-based methods informs what images played the biggest role in contemporary praise and rhetoric and, to some degree, at what populations they were targeted.
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Moland, Lydia L. Hegel’s Philosophy of Art. Edited by Dean Moyar. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199355228.013.26.
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Despite Hegel’s effusive praise for art as one of the ways humans express truth, art by his description is both essentially limited and at perpetual risk of ending. This hybrid assessment is apparent first in Hegel’s account of art’s development, which shows art culminating in classical sculpture’s perfect unity, but then, unable to depict Christianity’s interiority, evolving into religion, surrendering to division, or dissipating into prose. It is also evident in his ranking of artistic genres from architecture to poetry according to their ability to help humans produce themselves both individually and collectively: the more adequately art depicts human self-understanding, the more it risks ceasing to be art. Nevertheless, art’s myriad endings do not exhaust its potential. Art that makes humans alive to the unity and interdependence at the heart of reality continues to express the Idea and so achieves Hegel’s ambitions for its role in human life.
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Martin, Richard P. Hesiodic Theology. Edited by Alexander C. Loney and Stephen Scully. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190209032.013.6.
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The Hesiodic view of the supernatural varies within individual compositions, in tune with oral-traditional poetic practice. The flexibility and dramatization inherent in the medium led ancient philosophers to treat Hesiod and Homer as deficient “theology.” Taken as religious fictions, with attention to their diction and devices, the Hesiodic poems are distinct from the Homeric in orientation toward and expressions about the divine world. The Theogony frames itself as a praise poem to Zeus but must downplay the self-interested character of such compositions. Zeus’s sovereignty is depicted in diachronic terms as wisely integrating earlier powers. The Works and Days deals synchronically with the upshot of the world-shaping Prometheus and Pandora complex, projecting onto the mythic level its tale of contemporary fraternal strife and advice for living under a regime of divine justice.
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Boyce, Kristin. Philosophy, Theater, and Love. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190467876.003.0007.
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In the tenth book of Plato’s The Republic, Socrates famously invokes an ancient quarrel between philosophy and tragedy (among other art forms). In the Symposium, he shows philosophy triumphing over tragedy when Socrates bests Agathon, a tragic poet who has just taken first place at the Festival of Dionysus, in a competition for the best speech in praise of love. This chapter argues that Hedda Gabler represents an important further stage in this ongoing quarrel, one that takes the fight to philosophy’s home turf: that of soul-transforming conversation. In plays such as A Doll’s House, Ibsen develops a form of theater that takes on the Socratic aspiration to facilitate serious conversation. Hedda Gabler, though, goes even further. In this play Ibsen develops a form of theater that not only takes over the Socratic aspiration, but at the same time transforms it by transforming our understanding of what such conversation might consist in.
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Price, Kenneth M. Whitman in Washington. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198840930.001.0001.
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During Walt Whitman’s decade in Washington, DC, 1863–73, he labored intensely, at times seeming to have three lives at once. He wrote the most distinguished journalism of his career; came into his own as a writer of letters; crafted memorable Civil War poetry, Drum-Taps and Sequel to Drum-Taps (1865) and later folded it into heavily revised and expanded versions of Leaves of Grass in 1867 and 1871; and produced his searching but also flawed critique of American culture, Democratic Vistas. Whitman’s work through the first three editions of Leaves (1855, 1856, 1860–61) often receives the highest praise, yet his writing in the Washington years is exceptional, too, by any reckoning—and is all the more remarkable given that he also cared for thousands of wounded and sick soldiers in Washington hospitals, serving as an attentive visitor. In addition, he served as a government clerk in various positions, most notably in the attorney general’s office when much was accomplished on the road toward a multi-racial democracy, including efforts to suppress the Ku Klux Klan, and much was also missed (both by the attorney general’s office and by Whitman) in the efforts to advance a more just and vibrant union. This book analyzes Whitman’s integrated life, writings, and government work in his urban context to reevaluate the writer and the nation’s capital in a time of transformation.
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Kendall, Tim. ‘Freely Proffered’? Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198806516.003.0008.
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Writing The Times obituary for Rupert Brooke, Winston Churchill, then First Lord of the Admiralty, contended that in times of crisis ‘no sacrifice but the most precious is acceptable, and the most precious is that which is most freely proffered’. In an age when faith in an afterlife was waning, a freely proffered sacrifice appeared especially virtuous. To praise it was, paradoxically, to insult it—hence the soldier’s insistence, in Brooke’s most famous sonnet, that posterity should remember him strictly according to his own stipulations: ‘think only this of me’. Brooke was a pioneer, understanding that his writings must articulate a new kind of sacrifice. His five sonnets of the sequence ‘1914’ were the first of any significance to be published by a soldier–poet who had seen active service. Dwelling on the reasons to fight and to die, they remained the most influential literary works during the war and afterwards.
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Kelly, Anne. Richard Holland’s Buke of the Howlat. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198787525.003.0005.
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This essay reassesses Chaucer’s influence on the Older Scots poem The Buke of the Howlat (c.1448), written by the Orkney poet Richard Holland (d. in or after 1483) in the mid-fifteenth century. The poem celebrates the virtues of the ‘Black Douglases’, one of Scotland’s most powerful magnate families at the time of the Howlat’s composition. Together with his dedication of the work to his patrons, Archibald Douglas and his wife Elizabeth, such explicit praise has led critics to regard the Howlat as a political poem. Yet there remains an element of ambivalence to the Howlat which works against such an interpretation, suggesting rather that Holland’s purpose in writing the poem might be less controversial than is commonly assumed. This essay argues for ways in which Holland is indebted to Chaucer in this regard, offering a broader perspective on the Chaucerianism of the Howlat than has generally been considered.
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Bollig, Benjamin. Music for Unknown Journeys by Cristian Aliaga. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800348097.001.0001.
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What is the purpose of travel in an age when millions are displaced against their will or have no home to speak of in the first place? How can we travel without being tourists, without erasing the stories of those who live where we visit? These are some of the questions addressed in Cristian Aliaga’s compelling collection of prose poems, Music for Unknown Journeys. This collection contains Aliaga’s “travelling sketches,” in the tradition of Matsuo Bashō, John Berger, or W.G. Sebald. Each prose poem is geographically situated in his travels across Patagonia or his more recent journeys around the edge-lands of Europe. His work is politically acute, exploring struggles over territory, resources, and culture, in the places he visits. There is an intense emotional charge as he records the stories of those who globalization and contemporary capitalism have used and left behind. This volume brings together a generous selection of Aliaga’s prose poems, the majority previously unseen in English, as well as a substantial introduction to the author’s work and its context, both literary and political, by the editor and translator. Cristian Aliaga (b. 1962, Tres Cuervos, Province of Buenos Aires) is one of Argentina’s foremost contemporary poets. His work has been highly praised in the TLS and elsewhere. “No poet has been as intrepid as Aliaga in exploring that outer edge of modern consciousness at which the individual mind and the macroeconomic order meet,” Michael Kerrigan, TLS.
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Hall, Edith, ed. New Light on Tony Harrison. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266519.001.0001.
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This volume of essays arose from a conference which marked the 80th birthday of prizewinning British poet Tony Harrison on 30 April 2017 and with his agreement constitutes his ‘official’ Festschrift. The contributors include practising poets, playwrights, specialists in Classics, Theatre, Translation Studies, English and World Literature, and professionals in media (radio, newspapers, TV and film) where Harrison’s extensive work has been least researched. The aim of the volume is to open up new approaches to the understanding of the work of one of our most important poets. Although it is indeed intended to provide the substantial and sufficiently comprehensive contribution to Harrison scholarship that his official eight-decades-alive merit, and the Editor’s Introduction to the volume is sensitive to the needs of the reader in terms of bibliographical signposts, the four sections focus primarily on areas that have been hitherto little explored: (1) his more recent poems; (2) the continuation of his relationship with ancient theatre after the landmark Oresteia and Trackers of the 1980–1990 decade, his evolving dramatic relationship with Euripides, and with French authors (Hugo, Molière, Racine); (3) the international angle. This entails both the profound contribution made to his work by his periods of residence abroad, in Africa, North America, Moscow and Prague, and his popularity in French and Italian translation (both European translators have agreed to speak); (4) his extensive body of poems (about which almost nothing has been published) written specifically for delivery in the media of film, television and radio.
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Curtis, Cathy. Alive Still. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190908812.001.0001.
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In 1942, at age twenty, after a vision-impaired and rebellious childhood in Richmond, Virginia, Nell Blaine decamped for New York. Operations had corrected her eyesight, and she was newly aware of modern art, so different from the literal style of her youthful drawings. In Manhattan, she met rising young artists and poets. Her life was hectic, with raucous parties in her loft, lovers of both sexes, and freelance design jobs, including a stint at the Village Voice. Initially drawn to the rigorous formalism of Piet Mondrian, she received critical praise for her jazzy abstractions. During the 1950s, she began to paint interiors and landscapes. By 1959, when the Whitney Museum purchased one of her paintings, her career was firmly established. That year, she contracted a severe form of polio on a trip to Greece; suddenly, she was a paraplegic. Undaunted, she taught herself to paint in oil with her left hand, reserving her right hand for watercolors. In her postpolio work, she achieved a freer style, expressive of the joy she found in flowers and landscapes. Living half the year in Gloucester, Massachusetts, and the other half in New York, she took special delight in painting the views from her windows and from her country garden. Critics found her new style irresistible, and she had a loyal circle of collectors; still, she struggled to earn enough money to pay the aides who made her life possible. At her side for her final twenty-nine years was her lover, painter Carolyn Harris.
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Cervenak, Sarah Jane. Black Gathering. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021773.
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In Black Gathering Sarah Jane Cervenak engages with Black artists and writers who create alternative spaces for Black people to gather free from interruption or regulation. Drawing together Black feminist theory, critical theories of ecology and ecoaesthetics, and Black aesthetics, Cervenak shows how novelists, poets, and visual artists such as Gayl Jones, Toni Morrison, Clementine Hunter, Samiya Bashir, and Leonardo Drew advance an ecological imagination that unsettles Western philosophical ideas of the earth as given to humans. In their aestheticization and conceptualization of gathering, these artists investigate the relationships among art, the environment, home, and forms of Black togetherness. Cervenak argues that by offering a formal and conceptual praxis of gathering, Black artists imagine liberation and alternative ways of being in the world that exist beyond those Enlightenment philosophies that presume Black people and earth as given to enclosure and ownership.
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Donato, Gerson. Pompa e circunstância. Brazil Publishing, 2020. http://dx.doi.org/10.31012/978-65-5861-084-7.
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The following work tries to disclose the obscure happening of 1926 in the city of São Paulo. Obscure because it vanished from the annals of History, but very argued by São Paulo’s newspapers and magazines of the period. There would be two presentations in Teatro Municipal which ended up, because of the success with the public, having two more performances with popular prices. The theatrical show had the purpose of raising funds to build a women’s school, from the Liga das Senhoras Católicas. To write the text the poet and writer Paulo Setúbal was invited, he never published this work and it is not even mentioned in his previous works published for decades by a São Paulo’s publisher. The cast consisted of amateur “actors”, members of São Paulo’s elite, carrying traditional family’s names from the city and some new ones, who had migrants’ surnames. The play is about a party that happens in Paço de São Cristóvão, where the guests talk to the birthday “girl”, the empress, and altogether remember the facts that led them to independence, while waiting for D. Pedro I’s arrival. What is intended from this praise? Glorify the empress? Glorify D. Pedro I’s role? And therefore, glorify the Empire? What was this republican elite intending?