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Books on the topic 'Subject of the poem'

Author: Grafiati

Published: 25 May 2024

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1

Jordan, Matthew Rufus. Himself a true poem: Milton and the subject. Manchester: University of Manchester, 1996.

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2

Subject matters: Prose poems. United States]: Xlibris LLC, 2014.

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Subject matter: Poems. Louisville, Ky: Sarabande Books, 2003.

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4

Thorburn, Matthew. Subject to change: [poems]. Kalamazoo, MI: Western Michigan University, 2004.

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5

Cervantes, James. Changing the subject: Poems. Los Angeles: Red Hen Press, 2004.

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6

Subject to change: [poems]. Kalamazoo, MI: New Issues/Western Michigan University, 2005.

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7

Thorpe, Michael. The unpleasant subject: Sketches around Hitler : poems. Toronto: TSAR, 2001.

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8

The new where's that poem?: An index of poems for children : arranged by subject, with a bibliography of books of poetry. Cheltenham: Stanley Thornes, 1994.

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9

1909-, Morris Helen, ed. The new Where's that poem: An index of poems for children, arranged by subject with a bibliography of books of poetry. Oxford: Blackwell, 1985.

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10

1909-, Morris Helen Soutar, ed. The new Where's that poem: An index of poems for children, arranged by subject with a bibliography of books of poetry. 4th ed. Hemel Hempstead, Herts: Simon & Schuster Education, 1992.

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11

The true subject: Selected poems of Faiz Ahmed Faiz. Princeton, N.J: Princeton University Press, 1988.

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12

Ahmad, Faiz Faiz. The true subject: Selected poems of Faiz Ahmed Faiz. Lahore, Pakistan: Vanguard Books, 1988.

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13

Hunt, Roderick. Wizard Blot: Stories and poems. (Oxford): Oxford University Press, 1987.

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14

The subject tonight is love: 60 wild and sweet poems. New York: Penguin Compass, 2003.

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15

1950-, Moses Brian, and Corbett Pie, eds. The works 2: Poems on every subject and for every occasion. London: Macmillan Children's, 2002.

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16

Clocking in, clocking out: Poems and photographs on the subject of work. Edinburgh: Luath Press Limited, 2012.

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17

Ḥāfiẓ. The subject tonight is love: 60 wild and sweet poems of Hafiz. North Myrtle Beach, S.C: Pumkin House Press, 1996.

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18

John, Adlard, ed. Restoration bawdy: Poems, songs and jests on the subject of sensual love. New York: Routledge, 2003.

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19

Waldrop, Keith. The real subject: Queries and conjectures of Jacob Delafon : with sample poems. Richmond, Calif: Omnidawn, 2004.

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20

J, Foley Daniel, ed. Christmas in the good old days: A victorian album of stories, poems, and pictures of the personalities who rediscovered Christmas. Detroit: Omnigraphics, 1993.

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21

Bantock, Gavin. Floating world: A Japanese collection. Bradford: Redbeck Press, 2002.

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22

T'aja ŭi si ilki, chuch'e ŭi kŭl ssŭgi: Reading poems of the others, writing of the subject. Sŏul-si: P'urŭn Sasang, 2015.

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23

Coleridge, Samuel Taylor. Poems on various subjects. Oxford [England]: Woodstock Books, 1990.

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24

Yearsley, Ann. Poems on various subjects, 1787. Oxford [England]: Woodstock Books, 1994.

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25

Betteridge, Tom. Badiou, Poem and Subject. Bloomsbury Publishing Plc, 2021.

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26

Badiou, Poem and Subject. Bloomsbury Publishing Plc, 2020.

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27

Wormser, Baron. Subject Matter: Poems. Sarabande Books, 2004.

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28

Wormser, Baron. Subject Matter: Poems. Sarabande Books, 2004.

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29

Correspondences: A poem. 2013.

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30

Foley, Hugh. Lyric and Liberalism in the Age of American Empire. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192857095.001.0001.

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Abstract Lyric and Liberalism in the Age of American Empire considers, in the work of five exemplary poets, a particular tension between the lyric representation of individual consciousness and a sense (individual, but part of a wider collective anxiety) that these representations justify, dignify, or ornament the American state, even when raised to the pitch of dissent. The poets discussed are Elizabeth Bishop and Robert Lowell (taken together), Amiri Baraka, John Ashbery, and Jorie Graham. This book examines how questions about the nature of the individual in liberal thought animate poems, and how poets were driven to ask these questions when confronting the nature of American empire. The book argues that each poet saw a resemblance between their own understanding of what poems do, and the liberal idea of the individual. It shows that each poet was able to make use of techniques associated with making a person visible in a lyric poem, in order to stage a critique of liberalism, and to distinguish the subject of a lyric poem from the liberal subject of rights.

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31

Poems on the Subject of Love. Lulu Press, Inc., 2014.

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32

Lazard, Naomi, and Faiz Ahmed Faiz. True Subject: Selected Poems of Faiz Ahmed Faiz. Princeton University Press, 2016.

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33

Lazard, Naomi, and Faiz Ahmed Faiz. True Subject: Selected Poems of Faiz Ahmed Faiz. Princeton University Press, 2014.

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34

Lazard, Naomi. True Subject: Selected Poems of Faiz Ahmed Faiz. Oxford University Press, 2012.

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35

Lazard, Naomi, and Faiz Ahmed Faiz. True Subject: Selected Poems of Faiz Ahmed Faiz. Princeton University Press, 2014.

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36

Lazard, Naomi, and Faiz Ahmed Faiz. True Subject: Selected Poems of Faiz Ahmed Faiz. Princeton University Press, 2014.

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37

Green, Steven J., ed. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198789017.003.0001.

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The Introduction sets out the state of scholarship on Grattius’ poem to date and the central aim of the volume to bring the poem to the attention of a range of new audiences. It offers short introductory sections on the name and reputation of the poet; the scope of the poem beyond its current extant form; the date parameters for the poem; and its subject matter and generic affiliation with both didactic poetry and hunting literature. For the benefit of reader orientation, it also provides a summary of the papers in the volume, and sets out in tabular form the structure of the extant poem.

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38

The Subject Tonight Is Love: 60 Wild & Sweet Poems of Hafiz. 2nd ed. Pumpkin House Press, 1996.

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39

Rosario, Vanessa Pérez. Writing the Nation. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038969.003.0002.

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This chapter describes the development of Burgos's social, political, and creative consciousness during the 1930s. It focuses on her first poetry collection, Poema en veinte surcos (Poem in Twenty Furrows, 1938), where she creates images of routes, travel, and water as a way to escape containment. In Poema en veinte surcos, Burgos experimented with various styles of writing prevalent among Puerto Rican writers of the time, including telurismo and neocriollismo, the negrista poetry of Luis Palés Matos, and the eroticism of Luis Lloréns Torres. Her nomadic subject championing freedom and justice fundamentally and ideologically distinguishes her work and aligns her with the vanguardias. Eventually, the nomadic subject becomes a “form of political resistance to hegemonic, fixed, unitary, and exclusionary views of subjectivity.”

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40

Lewis, Maxine. Gender, Geography, and Genre. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198768098.003.0006.

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This chapter offers a new reading of Catullus’ Lesbia by examining the poet’s spatial poetics. These poetics play a crucial role in shaping the worlds created in the poems. Catullus’ collection features three distinct poetics of place: topical, neoteric, and abstracted, clustered in specific groups of poems: the polymetrics, the carmina maiora, and the elegiac epigrams, respectively. As Lesbia is the only character (apart from the ‘Catullus’ persona) who appears in each group, she presents the ideal subject for examining how Catullus’ distinct poetics of place shape characterization in different genres of poetry. Furthermore, as a woman whose gender is frequently thematized, Lesbia presents a fulcrum for investigating how gendered ideologies of certain spaces might have shaped Catullus’ spatial poetics. This chapter offers close readings of three ‘Lesbia’ poems: 37, 68b, and 70, to highlight the importance of place and space to Lesbia’s role in each poem.

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41

Adlard, John. Restoration Bawdy: Poems, Songs, and Jests on the Subject of Sensual Love (Fyfield Books). Carcanet Press Ltd., 2006.

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42

Hutchinson, G. O. Motion in Grattius. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198789017.003.0007.

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This chapter views motion as an important component to this as well as to other didactic poems. The presentation of hunting itself is less astir with lively motion than might have been expected, especially in light of its potential for exciting narrative; rather, verbal networks connect hunting with wider worlds, and a larger ethical and pragmatic vision is conveyed. Humans interact not just with animals but also with the divine and with the forces of disease; hierarchies and power struggles are involved. Yet for all the expansion of the poem’s universe, the purposeful and rational ethos of Grattius’ poem is embedded in its treatment of the primary subject matter.

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43

Lazard, Naomi, and Faiz Ahmed Faiz. The True Subject: Selected Poems of Faiz Ahmed Faiz (Lockert Library of Poetry in Translation). Princeton Univ Pr, 1987.

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44

Fairer, David. Coleridge's Early Poetry, 1790–1796. Edited by Frederick Burwick. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199644179.013.0020.

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This article examines the early poetry of Samuel Taylor Coleridge written between 1790 and 1796, focusing on his 1796 Poems on Various Subjects. It suggests that this 1796 work shows a disingenuousness in which naivety is being performed alongside self-assurance, and that it was organised so that maturity and adolescence alternate, and youthful love-verses sit alongside a politically committed public voice. The article discusses the changes in the tone of the poem when memory distracts Coleridge from the immediate scene.

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45

Dobbs, Francis. By Authority. Memoirs of Francis Dobbs, Esq. Also Genuine Reports of His Speeches in Parliament, on the Subject of an Union, ... with Extracts from His Poem on the Millennium. Gale Ecco, Print Editions, 2018.

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46

Barrett, Chris. Time River Body. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198816874.003.0003.

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Relying on sustained, relentless personification, Drayton’s chorographical epic Poly-Olbion retains the ethical work of The Faerie Queene’s allegory in restoring to the national narrative the embodied immanence of the people within it; but Drayton’s poem takes personification as its dominant representation mode. The poem explores and exploits the paradoxical nature of personification, a device that is simultaneously evocative and anti-mimetic. The case of personification demonstrates the ways description distances itself from its subject, and Poly-Olbion uses its personified topography to interrogate the very possibility of representing space—in cartographic image or topographical text—by troubling the temporal assumptions underlying the cartographic and problematizing the relationship between description and detail. In doing so, the poem generates a mode of descriptive writing reliant on the generative distortion of its subject, ultimately positing an anti-mimetic program—one that lays bare the limitations and fictions of the cartographic—for the representation of space.

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47

Wilson, William. A Little Earnest Book Upon A Great Old Subject: With The Story Of The Poet-Lover. Kessinger Publishing, LLC, 2007.

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48

Wilson, William. A Little Earnest Book Upon A Great Old Subject: With The Story Of The Poet-Lover. Kessinger Publishing, LLC, 2007.

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49

Bantock, Gavin. Floating World. Redbeck Press, 2001.

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50

Green, Steven J. Grattius and Augustus. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198789017.003.0008.

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This chapter argues that, although Grattius’ poem is not ostensibly designed for Augustus—who is nowhere evoked in the poem and showed little interest in the subject of hunting—it remains prudent to think about the Cynegetica as a poem about Augustus, or rather, Augustan Rome. Through extensive use of anthropomorphic language, the craft of hunting is subtly configured to promote Augustan-style leadership, in the figures of the master of hounds, the dog breeder, and the tree cultivator, and to celebrate the expanse of the Roman Empire; this is all set, however, within a divine framework that plays out the implications of Augustus’ (at times radical) programme of religious reform.

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