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Journal articles on the topic 'Thomas`s poetry'

Author: Grafiati

Published: 18 May 2024

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1

Sulaiman, Maha Qahatn. "Woman’s Self-Realisation in the Poetry of Thomas Hardy." English Language and Literature Studies 8, no. 4 (November 28, 2018): 58. http://dx.doi.org/10.5539/ells.v8n4p58.

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A comprehensive investigation of Thomas Hardy’s poetry reveals the doctrines of Existentialism which were new and not common during the 19th century. Hardy’s poetry, combining both Modern and Victorian elements, proclaims the emancipation from the fetters of money and religious oriented orthodox heritage. Hardy believes that the struggle for existence is the canon of life and, therefore, human cooperation is a necessity to man’s wellbeing. Though Hardy’s religious beliefs declined, mainly the concepts of divine intervention, absolution, and afterlife, he did not relinquish his faith in the moral principles of the Christian Church. This is expressed in his poetry through an intense desire to elevate man’s status in the world, to secure the transition of man’s existence from insignificance to accomplishment and excellence. The present study examines Hardy’s poetry in the light of the existentialists’ belief that man can achieve supremacy by being conscious of one’s limitations, ethical responsibilities, and duties. The focus of the study is on female characters in Hardy’s poetry, whose elevated consciousness and self-realisation present an ethical model that can assist the development of humanity and improve the world.

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2

Griffiths, Richard. "R. S. Thomas and the Role of Poetry." Theology 100, no. 796 (July 1997): 275–85. http://dx.doi.org/10.1177/0040571x9710000406.

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3

Kim, Myeong Jin. "Attributes of God in the Poetry of R. S. Thomas." NEW STUDIES OF ENGLISH LANGUAGE & LITERATURE 67 (August 31, 2017): 1–21. http://dx.doi.org/10.21087/nsell.2017.08.67.1.

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4

Hurst, J. S. "Poetry is Religion: The Evolution of R. S. Thomas." Expository Times 97, no. 7 (April 1986): 195–200. http://dx.doi.org/10.1177/001452468609700702.

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5

Mohammed, Rafed Kawan. "The Effect Of The Nature In Thomas Hardy, S Poetry." Psychology and Education Journal 58, no. 1 (January 29, 2021): 1023–26. http://dx.doi.org/10.17762/pae.v58i1.850.

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This research aims to discover the effect of Nature in Thomas Hardy's chosen literary works. The treatment of Hardy's ecology illustrates the roots of thought that have led to our contemporary environmental crisis. Hardy shares affinity by philosophically reconstructing society in the center of natural elements and images by introducing the true meaning of literary art and nature. Hardy self-consciously depicts the naked reality of nature, property, and the place of man as a reaction towards a mechanized and materialized culture that values technological innovations and expositions politically. Hardy has distinguished nature with his distinctive style and insight. Analyzing the work of Hardy helps to know the social and ecological critiques of Victoria on the relationship between the human environment that are biologically and psychologically fascinating and strange when it comes to placing humans into the universe. The research demonstrates how someone such as Hardy represented his knowledge of nature as a mere reflection of man's harmony or disharmony with his climate. Hardy promotes the belief that setting is an important and fundamental factor of human lives that has a direct effect on their lives consciously and unconsciously. Discussing different characters and their various attributes and functions concerning the natural world around them are of great importance for understanding the link between man and the environment. Hardy not only depicts in his novels but also in his poetry the portrayal of the true position of man in nature and the significance of this representation in human life.

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Groom, Nick. "Thomas Chatterton: four ways of literary terra-forming." Journal of the British Academy 10 (2022): 135–55. http://dx.doi.org/10.5871/jba/010.135.

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This article considers how the 18th-century poet Thomas Chatterton created literary worlds by examining and revealing the connections between four very different areas in which he �terra-formed�: mediaevalism, political satire, anti-slavery poetry, and environmentalism. Although these areas of Chatterton�s writing are usually treated separately by critics, the article argues that they in fact share many common features, and between them characterise Chatterton�s distinctive � if extraordinarily precocious � poetic voices. These shared characteristics have, moreover, been brought into sharp relief by pressing current issues, from the traumas of the pandemic to the debates on the commemoration (and misrepresentation) of historical figures such as Edward Colston and indeed Chatterton himself. The article concludes by showing how readers can find in the poetry of Thomas Chatterton not only an unexpected influence on some of the major cultural touchstones of the 21st century, but contemporary significance and relevance through the consolation of literature.

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Jones, Ethan C. "Forming the imagination: Reading the Psalms with poets." Scottish Journal of Theology 75, no. 4 (October 14, 2022): 329–46. http://dx.doi.org/10.1017/s0036930622000618.

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AbstractGenre, parallelism and canonical shaping have long been important to Psalms studies. Scholarly advances on these fronts are easily observed. Instead of working the same ground once more, this article sets off on a different path. It aims to read Hebrew poetry, especially the Psalter, with poets. It intends to listen carefully to three influential voices: George Herbert (1593–1633), R. S. Thomas (1913–2000) and Malcolm Guite (1957–). These poets help shape our imagination and prepare us to read the Psalms as poetry. Specifically, this results in sounds, repetitions, the constraining and freeing possibilities of forms, and theological themes taking centre stage in experiencing the poetry of Psalms.

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[Donald] Allchin, A. M. "1978 Emerging: a look at some of R. S. Thomas’ more recent poems." Theology 123, no. 4 (July 2020): 281–88. http://dx.doi.org/10.1177/0040571x20934030.

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A. M. ‘Donald’ Allchin (1930–2010) worked at Pusey House, Oxford, in the 1960s before serving as a Residentiary Canon at Canterbury Cathedral (1973–87). This article reflects his love of the influential poetry of the craggy Welsh poet and Anglican priest R. S. Thomas (1913–2000). Allchin taught himself Welsh by following the daily liturgical readings in Welsh and was fascinated by Celtic culture and ritual and Eastern Orthodoxy, writing a number of devotional books. Editor.

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9

Davies, William. "Thomas MacGreevy’s Combatant Modernism." Irish University Review 52, no. 2 (November 2022): 283–301. http://dx.doi.org/10.3366/iur.2022.0568.

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This article examines Thomas MacGreevy’s poetry in the context of combatant modernism. It argues that the preoccupations with themes of perception and violence in MacGreevy’s poems represent a prolonged engagement with the First World War and its legacy in Irish and British culture and politics. The article considers how this reframing of MacGreevy’s work helps elaborate on combatant modernism as an intersecting tradition with the more familiar forms of European modernism represented by the work of T. S. Eliot, James Joyce and others, one in which recognizable techniques of fragmentation and disorientation are brought about not just by aesthetic experimentation but the need to find novel modes of poetic witnessing suitable to the new kind of conflict and suffering the First World War represented. This reorientation places MacGreevy alongside writers such as David Jones and Richard Aldington to reveal how combat service generated its own kind of modernist writing.

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10

VICARY, J. D. "Via negativa: absence and presence in the recent poetry of R. S. Thomas." Critical Quarterly 27, no. 3 (September 1985): 41–51. http://dx.doi.org/10.1111/j.1467-8705.1985.tb00796.x.

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11

Joseph, Celucien L. "Carnival and National Identity in the Poetry of Afrocubanismo by Thomas S Anderson." Callaloo 36, no. 2 (2013): 498–500. http://dx.doi.org/10.1353/cal.2013.0099.

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12

Lavan, Rosie. "S. J. Perry, Chameleon Poet: R. S. Thomas & the Literary Tradition.Rory Waterman, Belonging and Estrangement in the Poetry of Philip Larkin, R. S. Thomas and Charles Causley." Notes and Queries 64, no. 1 (February 2, 2017): 195–97. http://dx.doi.org/10.1093/notesj/gjw279.

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13

Pavlović, Tomislav M. "BECAUSE THERE IS (NO) HOPE FOR GUIDO CAVALCANTI AND T. S. ELIOT." Nasledje, Kragujevac XX, no. 54 (2023): 269–83. http://dx.doi.org/10.46793/naskg2354.269p.

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The aim of the research is to carry out the analysis of the echoes of one of the most famous love ballads composed by the Italian medieval poet Guido Cavalcanti in Thomas Stearns Eliot’s conversion poem Ash Wednesday. Eliot’s reception of Cavalcanti’s poetry is somewhat par- adoxical, since in one of his critical essays the Italian poet is labelled as a “pagan” and Ash Wednesday represents Eliot’s first greater work of high religiosity. Cavalcanti’s poetry was known for not playing as significant a role in the formation of Eliot’s poetic expression as Dante Alighieri’s. On the other hand, claiming that he did not exert any influence on the English author’s work would be wrong. The analysis starts from Eliot’s use of the initial line of Cavalcanti’s ballatetta as a leitmotif concentrating subsequently on the corresponding topics in the works of both authors and the way they are treated. Those are the ones of exile, transience of life, adoration of the Lady, the prob- lem of obstacles preventing hero to reach the ideal and the theme of spiritual fulfilment. The research lays emphasis on the fact that Eliot’s Ash Wednesday is modelled upon the essentially mythical pattern of quest set by Cavalcanti in his ballatetta and proves that Eliot’s poem is a unique attempt to make the poetic tradition of former centuries eternally alive.

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Kuchumova, Galina V. "MODERN POETIC DISCOURSE: THE LINGUISTIC NATURE OF HERMETICISM." Вестник Пермского университета. Российская и зарубежная филология 13, no. 1 (2021): 99–108. http://dx.doi.org/10.17072/2073-6681-2021-1-99-108.

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The paper provides review of the monograph by Ekaterina Evgrashkina The Semiotic Nature of Semantic Uncertainty in Modern Poetic Discourse (based on German and Russian poetry), published in the Russian language as part of the series NEUERE LYRIK. Interkulturelle und interdisziplinäre Studien. Herausgegeben von Henrieke Stahl, Dmitrij Bak, Hermann Korte, Hiroko Masumoto und Stephanie Sandler. BAND 5. Berlin: Peter Lang, Internationaler Verlag der Wissenschaften, 2019. 173 s. ISBN 978- 3-631-78193-7. The monograph deals with the main trends of German and Russian poetry of the last decades. The focus is on the phenomenon of hermetic poetry. Modern authors consciously choose writing strategies such as literary improvisation, language play, and various intermedial inclusions. The first chapter ‘The problem of poetic meaning’ provides a theoretical framework for the field of research. It introduces the definitions of discourse, the concepts ‘language games’ (developed by L. Wittgenstein), ‘text / discourse’, ‘text / work’, dialogical dimensions of poetic text. The second chapter ‘Semiotics of modern poetry’ covers the concept ‘mobile semiosis’ (J. Baudrillard) and some others. In hermetic poetic discourse, generation of meaning is based on mobile semiosis, in which the relationship of stability between the signifier and the signified is called into question. In The Role of the Reader, Umberto Eco describes two models of the reader, different strategies for interpreting text. Susan Sontag denies the possibility of final interpretation of a text, she suggests eroticism of art instead of hermeneutics. The third chapter ‘Linguistic installations’ considers various manifestations of poetic Hermeticism in modern poetry, the experience of concrete and visual poetry in German: Timm Ulrichs (1940), Klaus Peter Dencker (1941), Barbara Köhler (1959), Werner Herbst (1943–2008), Anatol Knotek (1977), Herta Müller (1953). The final chapter ‘The self-reflexive discourse’ deals with the trend of modern poetry towards free verse and construction of new complex poetic forms. The process of occasional word formation is shown in the lyrical texts by German poets Thomas Kling (1957–2005), Lutz Seiler (1963), Konstantin Ames (1979), Lioba Happel (1957), Thomas Böhme (1955), and by Russian authors Polina Andrukovich (1969), Alexander Ulanov (1963), Dmitry Vorobyov (1979). In poetic discourse, the constitution of the poetic subject correlates with the introduction of new elements of culture into the poetic text. Such innovations do not lead to a mechanical increment of the elementary meaning, but to a structural transformation of the whole picture. The reviewed monograph is significant in that it provides theoretical understanding of individual poetic practices and the analysis of specific empirical material – the latest German and Russian poetry.

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15

Milewska-Waźbińska, Barbara. "Kilka uwag na temat recepcji twórczości Owidiusza w chrześcijańskeij poezji nowołacińskiej doby baroku." Symbolae Philologorum Posnaniensium Graecae et Latinae 33, no. 1 (September 20, 2023): 227–42. http://dx.doi.org/10.14746/sppgl.2023.xxxiii.1.17.

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In the Neo-Latin poetry written from the fifteenth to the eighteenth centuries, one can find numerous references to the works of Ovid. The aim of this article is to reflect on the ways works by the famous Roman poet were received in Neo-Latin Christian literature of the Baroque period. The article discusses three poetry cycles inspired especially by Ovid`s elegies. Ovidius Christianus, whose author is the Jesuit Laurent Le Brun, refers to the Bible and informs about the New World in the form of poetic letters. Ovidius Christianus by Johannes Baptista Bebber presents in the form of elegies the moral principles of Thomas à Kempis contained in his work De imitatione Christi. The third item described is the booklet Novum liber tristium, which contains a series of seven elegies dedicated to the sorrows of Our Lady. The author of the article tries to show how the works of Ovid influenced the poetic imagination of Christian authors.

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16

Morgan, Barry. "The Religious Poetry of R. S. Thomas - Questions not Answers - a way forward for the Anglican Communion?" Modern Believing 49, no. 4 (October 2008): 7–23. http://dx.doi.org/10.3828/mb.49.4.7.

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17

Wootten, William. "Friendship and the Gift in the Poetry of George Barker, W. S. Graham, Dylan Thomas, and Vernon Watkins." English 65, no. 249 (June 2016): 115–37. http://dx.doi.org/10.1093/english/efw007.

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18

Yashina, Tatiana A., and Dmitry N. Zhatkin. "Reception of peri's image in Russian poetry of the XIX century (the second article)." LAPLAGE EM REVISTA 7, no. 3 (August 26, 2021): 560–66. http://dx.doi.org/10.24115/s2446-62202021731342p.560-566.

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The article presents additions to the scientific research of D.N. Zhatkin and A.P. Dolgov «Peri in Russian poetry», published in 2007 in the magazine «Russian speech» and comprehending the facts that influenced on the process of assimilation of the symbolic image of Peri, who came from Eastern mythology and appeared in the works of Russian writers and translators thanks to the reception of the works of Thomas Moore, namely one of his frame tales of the eastern story «Lalla Rookh» «Paradise and Peri». This article is the first to systematize materials on the topic related to the literary work of such poets of the «second row» as D.V. Davydov, I.P. Myatlev, E.P. Rostopchina, L.A. Yakubovich, V.S. Pecherin, S. Ya.Nadson, P.F. Yakubovich. In their works, Russian poets of the «second row» traditionally continued to use the symbolic image of the peri to describe a woman with an unusual attractiveness and lightness.

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19

Vishnyakova, Olga Dmitrievna, Elizaveta Aleksandrovna Vishnyakova, and Natalia Viktorovna Sharyshova. "Function of Sound Devices in the Construction of Metaphoric Meaning in Poetry." International Journal of English Linguistics 9, no. 4 (July 12, 2019): 307. http://dx.doi.org/10.5539/ijel.v9n4p307.

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This paper presents a study of the relation between the meaning of the words and their phonological features within the poetic context. The article presents a short overview of the existing theories and assumptions in the researched area. Special attention is given to the theory of the arbitrariness of signs and recent studies, suggesting this claim to be incomplete and subject to numerous exceptions. This research is aimed at finding the evidence of metaphorical use of sounds patterns in the poetry of Dylan Thomas. This paper presents a detailed analysis of four poems: “From Love’s First Fever to Her Plague”, “Light Breaks Where No Sun Shines”, “Especially When the October Wind” and “After the Funeral” with a few examples from other poems. The results of the analysis show that sound, being one of the most important elements of poetic texts, is able to obtain a specific semantic meaning of its own but is highly dependent on the context. Interpretation of sound patterns and their expressive potential is crucial for a comprehensive analysis of poetic texts.

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20

Greatrex, Richard. "Tim McKenzie, Vocation in the Poetry of the Priest-Poets George Herbert, Gerard Manley Hopkins and R. S. Thomas." Political Theology 6, no. 2 (February 11, 2005): 264–66. http://dx.doi.org/10.1179/pol.6.2.f025473031216485.

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21

Davis, William V. "“The Tide's Pendulum Truth”: A Reading of the Poetry of Theological Crisis from Matthew Arnold to R. S. Thomas." Christianity & Literature 55, no. 3 (June 2006): 369–91. http://dx.doi.org/10.1177/014833310605500305.

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22

Polilova, V. S. "Two Moorish Romances Translated by R. T. Gonorsky." Russkaya literatura 1 (2020): 75–79. http://dx.doi.org/10.31860/0131-6095-2020-1-75-79.

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The article argues that R. T. Gonorsky made his translations of two Spanish Moorish romances (1816) from the Spanish originals reproduced in the fi fth volume of I. I. Eschenburg’s anthology Beispielsammlung zur Theorie und Literatur der schönen Wissenschaften (1788-94). This fact confirms K. S. Korkonosenko’s hypothesis that Gonorsky’s translations were the earliest translations of Spanish poetry into Russian made directly from the originals. It is important that, in his anthology, Eschenburg used the texts found in the book of ballads and popular songs The Reliques of Ancient English (1765) edited by Bishop Thomas Percy. Following Percy’s edition, the Spanish romance «Río verde, río verde...» was published (e. g. in Eschenburg’s anthology, 1790) and translated (e. g. in J. G. Herder’s Volkslieder, 1778) without the six lines that Percy considered superfluous. Gonorsky also used this abbreviated version of the romance.

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23

Burley, Mikel. "Reproaching the Divine: Poetic Theologies of Protest as a Resource for Expanding the Philosophy of Religion." Journal of the American Academy of Religion 89, no. 4 (December 1, 2021): 1229–55. http://dx.doi.org/10.1093/jaarel/lfab101.

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Abstract Engaging with works of poetry is one effective, yet hitherto underdeveloped, means of diversifying the philosophy of religion beyond the standard preoccupations with narrow formulations of theism. This article explores and exemplifies this potential in relation to two major poetic figures, namely R. S. Thomas and Rāmprasād Sen. Despite their locations in very different religious contexts—Anglican Christianity in twentieth-century Wales, in the one case, and Hindu Goddess devotion in eighteenth-century Bengal, in the other—each of these poets voices sentiments that are redolent of a theology (or thealogy) of protest. Such protest is exhibited not in an outright rejection of the divine but in a troubled relationship through which the deity is questioned, reproached, and sometimes railed against. Attending to such materials affords the philosophy of religion, and the study of religion more broadly, an enriched appreciation of the possibilities both of religious viewpoints and of conceptions of divinity.

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24

MacKenzie, Garry. "ELIZABETH BLACK. The Nature of Modernism: Ecocritical Approaches to the Poetry of Edward Thomas, T. S. Eliot, Edith Sitwell and Charlotte Mew." Review of English Studies 70, no. 293 (June 22, 2018): 197–99. http://dx.doi.org/10.1093/res/hgy060.

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25

Neill, Edward. "What We Talk about When We Talk about Hardy's Poetry, or How They Brought the Bad News from Essex to Wessex." Victorian Literature and Culture 26, no. 2 (1998): 489–505. http://dx.doi.org/10.1017/s1060150300002540.

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One of the most influential of recent efforts to take Hardy's strange poetic reputation in hand has been that of Donald Davie, himself a poet, who in Thomas Hardy and British Poetry saluted Hardy's “scientific humanism” and noted his poetic “engineering” as that of a poetically “self-made man.” Thus Davie re-made Hardy, creating a combination of a poetic Samuel Smiles and a poetic Isambard Kingdom Brunei conducting himself with technical assurance and brio — but with limited and “mechanical” poetic aims (13, 40). Perhaps it's the “visibly ideological” nature of Davie's performance here which makes it still so arresting, and “smaller and clearer as the years go by.” In a once-famous essay, “Shakespeare and the Stoicism of Seneca,” T. S. Eliot complained (or at least explained) that the many writers about him re-made Shakespeare in their own images. Coleridge's “smack of Hamlet,” which read off a Hamlet invested with his own qualities as he construed them, perhaps also indicates how common this sort of thing may be.

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26

Kurakina, N. A., and I. S. Achinovich. "Translation Pragmatics of Phonic Expressive Means in English Poetic Texts." Bulletin of Kemerovo State University 23, no. 4 (January 8, 2022): 1041–50. http://dx.doi.org/10.21603/2078-8975-2021-23-4-1041-1050.

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Phono-stylistics is a promising research area. Expressive power of a text depends on its phonetic imagery. The research objective was to identify the pragmatic features of phonic expressive means in translations of contemporary English poetry. The methods included a comparative analysis, phono-semantic and phono-stylistic interpretation of the original poems and their translations, and O. N. Tynyanov's law of versification. The method of sound counting developed by E. V. Elkina and L. S. Yudina was used to calculate the frequency of sounds in the context of phono-semantic analysis in the Russian translations. The method of sound counting designed by Tsoi Vi Chuen Thomas was used to calculate the frequency of sounds in the original English texts. The theoretical foundation of the research was formed by the works by M. A. Balash, G. V. Vekshin, Z. S. Dotmurzieva, V. N. Elkina, A. P. Zhuravlev, L. V. Laenko, F. Miko, L. P. Prokofyeva, E. A. Titov, etc. The study featured the phonics and pragmatics of S. Dugdale’s poem Zaitz and its three translations made by E. Tretyakova, A. Shchetinina, and M. Vinogradova, and C. E. Duffy’s Anne Hathaway translated by Yu. Fokina. The author compared the pragmatics of sound imagery in the English originals and their Russian translations. The research made it possible to define the role of sound imagery in the poetic discourse, as well as the relationship between the sound organization of poetic speech and the pragmatic value at the phonographic level. The results can be used in courses of translation, stylistics, and phonetics.

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Garza, Ana Alicia, Lois Burke, Christian Dickinson, Helen Williams, Lucy Barnes, and William Baker. "XIII The Victorian Period." Year's Work in English Studies 98, no. 1 (2019): 702–857. http://dx.doi.org/10.1093/ywes/maz015.

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Abstract This chapter has six sections: 1. General and Prose; 2. The Novel; 3. Poetry; 4. Periodicals and Publishing History; 5. Drama; 6. Miscellaneous and Cross-Genre. Section 1 is by Ana Alicia Garza; section 2 is by Lois Burke with assistance from Christian Dickinson, who writes on Dickens; section 3 is by Ana Alicia Garza; section 4 is by Helen Williams; section 5 is by Lucy Barnes; section 6 is by William Baker. Thanks for assistance with this chapter must go to Dominic Edwards, Steven Amarnick, Richard Bleiler, Nancy S. Weyant, the bibliographer of Mrs Gaskell, and Patrick Scott. In a departure from previous years, and in order to avoid confusion as to who has contributed what to this chapter, George Borrow, Thomas and Jane Welsh Carlyle, and Richard Jefferies, previously found in the General and Prose section, and the Brontës, Samuel Butler, Wilkie Collins, George Eliot, George Henry Lewes, George Gissing, and Anthony Trollope, previously found in the Novel section, will be found in section 6, Miscellaneous and Cross-Genre, as will materials that came in too late to be included in other sections.

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Holden, James. "William V. Davis, R. S. Thomas: Poetry and Theology (Baylor University Press 2007), pp. xiv + 219, £26.99, ISBN 978-1-932792-49-2 (pbk)." International Journal of Public Theology 4, no. 3 (2010): 381. http://dx.doi.org/10.1163/156973210x510956.

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Middleton, Darren J. N. "A Masterwork of Doubting-Belief: R. S. Thomas and his Poetry. By John G. McEllhenney. Eugene, OR: Wipf and Stock, 2013. Pp. ix + 132. Paper, $18.00." Religious Studies Review 40, no. 4 (December 2014): 214. http://dx.doi.org/10.1111/rsr.12173_9.

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Chernokova, Yevheniya S. "THE ESSENCE OF AN IMAGE IN ENGLISH-AMERICAN IMAGISM: SINGULAR VERSUS UNIVERSAL." Alfred Nobel University Journal of Philology 1, no. 25 (May 30, 2023): 8–19. http://dx.doi.org/10.32342/2523-4463-2023-1-25-1.

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The paper is aimed at filling the gap in learning the formative image peculiarities of the English and American Imagistic poetry by analyzing the correspondence of the internal and the external and their correlation. This is where the answer lies, why T.S. Eliot called Imagism “an opening salvo” of English/ American Modernist poetry. It also explains the reason for a long-term effect of this short-term “school” in the English poetry of the twentieth century. Imagism hasn’t left any extended or profound theory as far as the criteria for producing “hard, dry images” (T.E.Hulme) are concerned. Since then the problem has been under-studied and calls for more in-depth analysis. The modern theoretical background of the paper includes the ideas of S. Averintsev and M. Gasparov, Paul Ricoeur and Gaston Bachelard; the criticism of the Imagism founders (T.E. Hulme and E. Pound) as well as its present-day English and American researchers. The major theoretical points highlight the important features of image transformation in Imagism: the dual (semantic and psychological) nature of an image (P. Ricoeur); loss of its axiological constituent thus forfeiting its wholeness (M. Girshman); its non-permanent essence (G. Bachelard). All these “new” sides underlie too general and vague definition of an image as “an intellectual and emotional complex in an instant of time” given by Ezra Pound, his definitive denial of using images as “ornaments” and the emphasis on the image affiliation with speech, not language. The fight doesn’t have to be limited only to opposing Romanticism (as in Hulme’s “Romanticism and Classicism”). Equally significant and far more sophisticated is the distinction between Symbolic and Imagistic essence of an image (Pound’s “Retrospect” and “Gaudier Brzeska”). For Pound, the main criterion is the receptive potential of an image, its semantic openness which offsets its meaning as finally fixed in some symbol. The paper examines the possibility to apply Roland Barthes’s idea (“L`imagination du signe”, 1962) of the crucial influence of the interior (symbolic) relationship and two exterior (paradigmatic and syntagmatic) relationships on the formation of both single image and the total imagery of a certain type of art conscience – consequently, of Symbolism, Romanticism and Imagism. In the early period of Imagism development (the poetry of F. Flint, E. Storer, to a lesser extent, of T.E. Hulme) the images still preserve the inner affinity with the signified objects (concepts) as seen in Romantic and Symbolic image “patterns”. And throughout Imagism development, this inner affinity is being weakened until a distant outer resemblance is left. It is clearly seen in Hulme’s “Autumn”, Pound’s “In a Station of the Metro”, H.D.’s “Oread”, “Hermes of the Ways” et al. The close reading of the W.C. Williams’s poem “The Red Wheelbarrow” is carried out in front of the “Tall Nettles” by Edward Thomas (1878–1917), his contemporary, who is now considered to be one of the “non-Modernist modern” poets. It is stated that the central image of the red wheelbarrow in its every detail constitutes a modern pastoral while Thomas’s nettles stand for psychological matrix of personal melancholy and despair. Syntagmatic relations also involve the further interaction of signs in the form of “superposition”, forming montage as one of the important Мodernist techniques not only in poetry, but also in Мodernist prose. And it becomes evident that it is not a mechanically borrowed cinema technique, as it is commonly viewed, but a deeper, “syntagmatic” similarity. The result of the research, based on the analysis undertaken, seems to prove its initial point: the poems of T.E. Hulme, Ezra Pound, W. Carlos Williams, Hilda Doolittle (H.D.) taken as models, manifest that the image in Imagism is every time constructed as a new actual syntagma of the common imagination of a poet and a reader to become the unique image for every single poem without its further “universal” use in any virtual paradigm.

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McMahon, Donal. "Book Review: THEOLOGY AND LITERATURE R. S. Thomas: Poetry and Theology. By William V. Davis. Waco, TX: Baylor University Press, 2007. Pp. xvi+219. Price: $39.95. ISBN 978-1-932792-49-2." Irish Theological Quarterly 74, no. 1 (February 2009): 111. http://dx.doi.org/10.1177/00211400090740010813.

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Tuszyńska, Krystyna, and Nina Trzaska. "Teoria Poezji Nieosobistej Thomasa Eliota a Kanon Konstandinosa Kawafisa. Porównanie poglądów i założeń dwóch klasycystów." Porównania 25 (December 15, 2019): 291–316. http://dx.doi.org/10.14746/por.2019.2.17.

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Artykuł ma na celu ukazanie zbieżności poglądów dwóch przedstawicieli modernizmu, Thomasa S. Eliota i Konstandinosa P. Kawafisa. Studium porównawcze poprzedza krótka charakterystyka epoki, pozwalająca wysunąć tezę badawczą: Kawafis mógł wyprzedzić o kilkanaście lat postulaty literackie Eliota. Tekst skupia się na podobieństwie postaw literackich obu autorów, dlatego podstawę analiz stanowi wybrana twórczość eseistyczno-krytyczna Eliota oraz Kanon i pisma teoretyczne Kawafisa. Tekst koncentruje się na następujących aspektach: zestawienie świata przedstawionego Kawafisa z klasycystycznymi poglądami Eliota, omówienie głębszej warstwy założeń literackich obu autorów (porównanie Ars Poetica Kawafisa z Theory of Impersonal Poetry Eliota), spojrzenie na styl Aleksandryjczyka przez pryzmat sądów estetycznych Eliota oraz kwestie związane z procesem twórczym i cechami artysty (dojrzałość i miejsce poety w spektrum homo vates – homo faber).

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Byron, Mark. "Wordly Corrasions: Philology and Narrative inWorstward Ho." Journal of Beckett Studies 26, no. 1 (April 2017): 53–68. http://dx.doi.org/10.3366/jobs.2017.0187.

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Scholarly research over the last twenty years has marked a profound shift in the understanding of Beckett's sources, his methods of composition, and his attitudes towards citation and allusion in manuscript documents and published texts. Such landmark studies as James Knowlson's biography, Damned to Fame (1996), and John Pilling's edition of the Dream Notebook (1999), and the availability of primary documents such as Beckett's reading notes at Reading and Trinity libraries, opened the way for a generation of work rethinking Beckett's textual habitus. Given this profound reappraisal of Beckett's material processes of composition, this paper seeks to show that Beckett's late prose work, Worstward Ho, represents a profound mediation on writing, self-citation, and habits of allusion to the literary canon. In its epic gestures, it reorients the heavenly aspiration of Dante's Commedia earthwards, invoking instead the language of agriculture, geology and masonry in the process of creating and decreating its imaginative space. Beckett's earthy epic invokes and erodes the first principles of narrative by way of philology as well as by means of deft reference to literary texts and images preoccupied with land, farming, and geological formations. This process is described in the word corrasion, a geological term referring to the erosion of rock by various forms of water, ice, snow and moraine. Textual excursions into philology in Worstward Ho also unearth the strata comprising Beckett's corpus (in particular Imagination Dead Imagine, The Lost Ones, and Ill Seen Ill Said), as well as the rock or canon upon which his own literary production is built. A close reading of Worstward Ho turns up a number of shrewd allusions to the King James Bible and Thomas Browne, as one might expect, but also perhaps surprisingly sustained affinities with the literary sensibilities of Alexander Pope and the poetry of S. T. Coleridge. The more one digs, the more Beckett's ‘little epic’ seems to become one of earthworks, bits of pipe, and masonry, a site and record of literary sedimentation.

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O'Donoghue, N. D. "A Christian for All Christians: Essays in Honour of C. S. Lewis, edited by Dr. Andrew Walker and Dr. James Patrick; and A Barfield Sampler: Poetry and Fiction by Owen Barfield, Jeanne Clayton Hunter, and Thomas Kranidas." Chesterton Review 20, no. 4 (1994): 527–29. http://dx.doi.org/10.5840/chesterton199420455.

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Lysell, Roland. "Erindringens poetik: William Wordsworth, S. T. Coleridge, Thomas De Quincey." Romantik: Journal for the Study of Romanticisms 1, no. 1 (December 1, 2012): 170. http://dx.doi.org/10.7146/rom.v1i1.15856.

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Barr, Donald F., J. Noorduyn, J. Boneschansker, H. Reenders, H. J. M. Claessen, Albert B. Robillard, Will Derks, et al. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 149, no. 1 (1993): 159–94. http://dx.doi.org/10.1163/22134379-90003142.

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- Donald F. Barr, J. Noorduyn, A critical survey of studies on the languages of Sulawesi, Leiden: KITLV Press, (Bibliographical Series 18), 1991, xiv + 245 pp., maps, index. - J. Boneschansker, H. Reenders, Alternatieve zending, Ottho Gerhard Heldring (1804-1876) en de verbreiding van het christendom in Nederlands-Indië, Kampen, 1991. - H.J.M. Claessen, Albert B. Robillard, Social change in the Pacific Islands. London & New York: Kegan Paul International. 1992, 507 pp. Maps, bibl. - Will Derks, J.J. Ras, Variation, transformation and meaning: Studies on Indonesian literatures in honour of A. Teeuw, Leiden: KITLV Press, (VKI 144), 1991, 236 pp., S.O. Robson (eds.) - Will Derks, G.L. Koster, In deze tijd maar nauwelijks te vinden; De Maleise roman van hofjuffer Tamboehan, Vertaald uit het Maleis en ingeleid door G.L. Koster en H.M.J. Maier, Leiden: E.J. Brill, 1991, 174 pp., H.M.J. Maier (eds.) - Mark Durie, C.D. Grijns, Jakarta Malay: a multi-dimensional approach to spacial variation. 2 vols., Leiden: KITLV Press, ( VKI 149), 1991. - Jan Fontein, Jan J. Boeles, The secret of Borobudur, Bangkok, privately published, 1985, 90 pp. + appendix, 29 pp. - M. Heins, L. Suryadinata, Military ascendancy and political culture: A study of Indonesia’s Golkar. Ohio: Ohio University, Monographs in International Studies, Southeast Asia Series, no.85, 1989, xiii + 223 pp. - V.J.H. Houben, Ismail Hussein, Antara dunia Melayu dengan dunia kebangsaan. Bangi: penerbit Universiti kebangsaan Malaysia 1990, 68 pp. - Victor T. King, Aruna Gopinath, Pahang 1880-1933: A political history (Monograph/Malaysian branch of the royal Asiatic society, 18). - G.J. Knaap, J. van Goor, Generale Missiven van Gouverneurs-Generaal en Raden aan heren XVII der Verenigde Oostindische Compagnie, IX: 1729-1737 (Rijks Geschiedkundige publicatiën, grote serie 205). ‘s- Gravenhage: Instituut voor Nederlandse Geschiedenis, 1988, xii + 895 p. - Otto D. van den Muijzenberg, John S. Furnivall, The fashioning of Leviathan: The beginnings of British rule in Burma, edited by Gehan Wijeyewardene. Canberra: Occasional paper of the department of Anthropology, Research school of Pacific studies, The Australian National University, 1991, ii+178 p. - Joke van Reenen, Wim van Zanten, Across the boundaries: Women’s perspectives; Papers read at the symposium in honour of Els Postel-Coster. Leiden: VENA, 1991. - Reimar Schefold, Roxana Waterson, The living house; An anthropology of architecture in South-East Asia. Singapore: Oxford University Press, 1990, xx + 263 pp. - Gunter Senft, Jürg Wassmann, The song to the flying fox. Translated by Dennis Q. Stephenson. Apwitihiri:L Studies in Papua New Guinea musics, 2. Cultural studies division, Boroko: The National Research Institute , 1991, xxi + 313 pp. - A. Teeuw, Thomas John Hudak, The indigenization of Pali meters in Thai poetry. Athens, Ohio: Ohio University Center for International studies, Monographs in international studies, Southeast Asia series number 87, 1990, x + 237 pp. - A. Teeuw, George Quinn, The novel in Javanese: Aspects of its social and literary character. Leiden: KITLV press, (VKI 148), 1992, ix + 330 pp. - Gerard Termorshuizen, Evert-Jan Hoogerwerf, Persgeschiedenis van Indonesië tot 1942. Geannoteerde bibliografie. Leiden: KITLV Uitgeverij, 1990, xv + 249 pp. - A. Veldhuisen-Djajasoebrata, Daniele C. Geirnaert, The AÉDTA batik collection. Paris, 1989, p. 81, diagrams and colour ill., Sold out. (Paris Avenue de Breteuil, 75007)., Rens Heringa (eds.)

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McGill, William J. "A Priest/Poet'S Christmas in Wales: R. S. Thomas and the Incarnation." Theology Today 57, no. 1 (April 2000): 75–89. http://dx.doi.org/10.1177/004057360005700107.

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Talvinska, Maria. "Samuel Barber’s chamber and vocal lyrics in the mirror of performance interpretation (on the example of «Three songs», op. 10 to the words by J. Joyce)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 65, no. 65 (December 9, 2022): 170–84. http://dx.doi.org/10.34064/khnum1-65.10.

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The substantiation of the topic. Samuel Barber is an outstanding composer of the 20th century, who is one of the most performed American composers in the world. However, his orchestral and instrumental compositions are popular. Few people are familiar with the huge number of equally talented compositions of S. Barber in the genre of chamber and vocal lyrics. Songs for voice with piano are simply unknown to the Ukrainian listener. Perhaps this is due to their complexity to perform and perceive. Thus, the stylistic and performing analysis of the vocal cycle op. 10 is a relevant topic because it represents one of the first attempts to study S. Barber’s chamber compositions for their entry into the artistic space of Ukraine. The purpose of the article. The purpose of the article is to reveal the genre and stylistic features of the cycle of songs by S. Barber op. 10 «Three Songs» in terms of stylistic specificity and performance interpretation. The object of research is chamber and vocal music of the 20th century; the subject – the cycle of songs by S. Barber op. 10 as an expression of the author’s reflection. The analysis of recent publications on the topic. Available Englishlanguage editions are mainly devoted to the biography of the composer or genres of instrumental creativity. Thus, Barbara Heyman’s book «Samuel Barber: the composer and his music» (1992) contains biographical materials. As for opus 10, we find only the history of its writing. The research methods. A functional-structural approach (in particular, intonation, dramaturgy and compositional levels) is used to identify the dominant chamber-vocal style. On this basis, there is a need for a performance approach to reveal the specifics of the creative vision of S. Barber’s songs by various singerinterpreters. The research methods. A functional-structural approach (in particular, intonation, dramaturgy and compositional levels) is used to identify the dominant of the chamber-vocal style. On this basis, there is a need for a performance approach to reveal the specifics of the creative vision of S. Barber’s songs by various singer-interpreters. The presentation of the main material. The vocal cycle «Three Songs, op. 10» to the words by J. Joyce belongs to the early period of S. Barber’s creative work. The main leitmotif of the vocal cycle is the loss of a loved one. From song to song, the hero experiences the tragic fate of his love in different ways. The psychological reactions of the hero (a state of quiet, light sadness, pain and hopelessness, and, finally, the cry of the soul on the verge of insanity) form two plans of the dramaturgy (the external one – event-psychological; the internal one – lyrical and reflective). Each new stage increases the degree of drama of the story. The main task of the performer is to create an appropriate visual and psychological state of psychological sensations; therefore, in each song, its figurative order should be kept internally. A comparison of two performances is proposed – conditionally «male» and «female». Thomas Hampson perfectly achieves the author’s remarks and instructions of dynamics, tempo, articulation, and most importantly, he is in the corresponding visual and psychological state. Shannon Chauville is a soprano, an American opera singer who has a big voice and a rich timbre. But subtle dynamic nuances are not easy for her; singing at the piano does not always turn out to be of high quality. She sings song No. 1 loudly, sometimes changing the dynamics suggested by the author. She selects a faster tempo than specified. Therefore, the image sounds more hectic, agitated than the poetic text suggests («the rain has passed»): the accompaniment depicts drops of quiet rain, which gives the hero a nostalgic mood, which is present in Hampson’s version. In Chauville’s, this state was somewhat lost; due to the fast tempo, she «tears» the phrases into small «chains», which adds unnecessary anxiety to the image. Therefore, the most adequate, in the opinion of the author of the article, is the male interpretation. The same applies to songs No. 2 and No. 3. The vocal difficulties consist in articulation tasks that depend not only on the stylistic intonation of Barber’s vocal style, but also on the peculiarities of Englishlanguage stylistics, which singers should possess, reproducing the specifics of various national musical traditions of the 20th century. Conclusions. The stylistic dominants of the vocal cycle op. 10 of S. Barber are conditioned by the psychological and author’s experience of Joyce’s poetry. Barber’s vocal style is characterized by a tendency towards increased expression and declassification plasticity of canto with a virtuoso-sensitive presentation of the piano, careful and sensitive imitation of poetic meanings. Love semantics is embodied in «dual» drama through the declamatory melos in the canto part (the hero’s reflections) and the instrumental accompaniment (the external reflection of his soul), which form the stylistics of expressionism. Piano accompaniments are consonant with the voice, supporting it with articulatory counterpoints and textural-timbre and mode-harmonic variations. The compositional features of Joyce’s poems determine the individualization of the musical form of each song. The more complex the emotional state expressed in the song, the more complex the form: the first song is a couplet one, the second is a simple three-movement one, and the third is completely unstrophic. Among the parameters of musical and linguistic expression of S. Barber’s vocal cycle, the following are notable: a mode (minor) and metrical unity (4/4 metre); monologue quality and declamation of vocal speech; complementarity of textural and timbre layers. The stylistic dominants of the analysed composition by S. Barber: complexity of mode-harmony (frequent changes of tonality, alterations, dissonances); metrorhythm variability, polyrhythm, micro-agogy, dynamic contrasts at the macro- and micro-levels (phrase, sentence).

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Maszkiewicz, Magdalena. "Hermeneutyka i teoria intertekstualności jako metodologia badań modernizmu w poezji serbskiej drugiej połowy XX w. na przykładzie cyklu „Deset soneta nerođenoj kćeri" Ivana V. Lalicia." Adeptus, no. 6 (December 24, 2015): 1–10. http://dx.doi.org/10.11649/a.2015.009.

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Hermeneutics and the theory of intertextuality as a method of researching modernism in Serbian poetry of the second half of the 20th century on the example of poetic cycle Deset soneta nerođenoj kćeri by Ivan V. LalićThe aim of this paper is to show that hermeneutics and the theory of intertextuality provide useful tools for the research in post-war Serbian modernism in poetry. The argumentation takes two steps. Firstly, the use of these methods is being legitimized in the context of general characteristics of the literature under consideration. Secondly, the functioning of such tools is presented in the example of a particular text, which in this case is Deset sonata nerođenoj kćeri ['Ten Sonnets for The Unborn Daughter'], a poetic cycle by Ivan V. Lalić. The kind of poetry researched in this paper is strongly influenced by the ideas of T. S. Eliot who said that an original literary work is the result of the author’s awareness of his place in tradition. For this reason such poetry contains numerous cultural and literary references which are an inevitable context of its interpretation. A hermeneutic and intertextual approach helps to expose such references and make them part of the process of understanding the poetry in question. Hermeneutyka i teoria intertekstualności jako metodologia badań modernizmu w poezji serbskiej drugiej połowy XX w. na przykładzie cyklu Deset soneta nerođenoj kćeri Ivana V. LaliciaZadaniem pracy jest wykazanie, że hermeneutyka i teoria intertekstualności dostarczają narzędzi do badania poezji powojennego modernizmu serbskiego. Argumentacja opiera się na uzasadnieniu użycia tych metod najpierw w świetle ogólnej charakterystyki omawianej twórczości, a następnie na podstawie ich funkcjonowania w interpretacji konkretnego tekstu będącego jej typowym przykładem (cykl Ivana V. Lalicia Deset soneta nerođenoj kćeri). Poezja będąca przedmiotem zainteresowania tej pracy pozostaje pod silnym wpływem poglądów Thomasa S. Eliota, według którego oryginalna twórczość powinna wynikać ze zrozumienia przez autora swojego miejsca w tradycji. To powód występowania w omawianych utworach licznych nawiązań kulturowych i literackich, które stanowią kontekst niezbędny do interpretacji tej twórczości. Podejście hermeneutyczne i metody teorii intertekstualności pozwalają te elementy wydobyć i uwzględnić w rozumieniu sensu tekstu.

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Maszkiewicz, Magdalena. "Hermeneutyka i teoria intertekstualności jako metodologia badań modernizmu w poezji serbskiej drugiej połowy XX w. na przykładzie cyklu „Deset soneta nerođenoj kćeri" Ivana V. Lalicia." Adeptus, no. 6 (December 24, 2015): 1–10. http://dx.doi.org/10.11649/sn.2015.009.

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<p><strong>Hermeneutics and the theory of intertextuality as a method of researching modernism in Serbian poetry of the second half of the 20th century on the example of poetic cycle <em>Deset soneta nerođenoj kćeri</em> by Ivan V. Lalić</strong></p><p>The aim of this paper is to show that hermeneutics and the theory of intertextuality provide useful tools for the research in post-war Serbian modernism in poetry. The argumentation takes two steps. Firstly, the use of these methods is being legitimized in the context of general characteristics of the literature under consideration. Secondly, the functioning of such tools is presented in the example of a particular text, which in this case is <em>Deset sonata nerođenoj kćeri</em> ['Ten Sonnets for The Unborn Daughter'], a poetic cycle by Ivan V. Lalić. The kind of poetry researched in this paper is strongly influenced by the ideas of T. S. Eliot who said that an original literary work is the result of the author’s awareness of his place in tradition. For this reason such poetry contains numerous cultural and literary references which are an inevitable context of its interpretation. A hermeneutic and intertextual approach helps to expose such references and make them part of the process of understanding the poetry in question.</p><p> </p><p><strong>Hermeneutyka i teoria intertekstualności jako metodologia badań modernizmu w poezji serbskiej drugiej połowy XX w. na przykładzie cyklu Deset soneta nerođenoj kćeri Ivana V. Lalicia</strong></p><p>Zadaniem pracy jest wykazanie, że hermeneutyka i teoria intertekstualności dostarczają narzędzi do badania poezji powojennego modernizmu serbskiego. Argumentacja opiera się na uzasadnieniu użycia tych metod najpierw w świetle ogólnej charakterystyki omawianej twórczości, a następnie na podstawie ich funkcjonowania w interpretacji konkretnego tekstu będącego jej typowym przykładem (cykl Ivana V. Lalicia Deset soneta nerođenoj kćeri). Poezja będąca przedmiotem zainteresowania tej pracy pozostaje pod silnym wpływem poglądów Thomasa S. Eliota, według którego oryginalna twórczość powinna wynikać ze zrozumienia przez autora swojego miejsca w tradycji. To powód występowania w omawianych utworach licznych nawiązań kulturowych i literackich, które stanowią kontekst niezbędny do interpretacji tej twórczości. Podejście hermeneutyczne i metody teorii intertekstualności pozwalają te elementy wydobyć i uwzględnić w rozumieniu sensu tekstu.</p>

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Ward, Frances. "Elizabeth S. Dodd, Boundless Innocence in Thomas Traherne’s Poetic Theology: ‘Were all Men Wise and Innocent …’." Theology 119, no. 4 (June 20, 2016): 288–89. http://dx.doi.org/10.1177/0040571x16640234f.

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Salim, Taha Khalaf. "The Concomitance of Asceticism and Valor in T. S. Eliot's Poetic Tragedy Murder in the Cathedral." JOURNAL OF LANGUAGE STUDIES 3, no. 4 (September 8, 2023): 226–35. http://dx.doi.org/10.25130/jls.3.4.13.

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Despite the truth that some modern dramatists have serious endeavorsto originate a fondness for poetic plays after a long time of absence, itis T. S. Eliot who is able to propound its theory and to found thetradition of this drama. His Murder in the Cathedral is the first poetictragedy in the modern age that is structured in full-length. The recentresearch is an attempt to examine in depth the main character of thisplay, Thomas Beckett, and the aim is to investigate the inseparabilitybetween his asceticism and bravery that enables him to confront hisself-will and then the tyrant king, Henry II. For being necessary toinstitute the proper background of the study, the reader is providedwith the essential information concerning the development of dramain verse as well as Eliot's great efforts to revive it. In summing up theresearcher concludes that expressing courage by the Archbishopcomes to be the natural consequence of defying mundane affairs.Followed by a bibliography that encompasses the references, theendnotes come at the end of this treatise.

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Vassilatos, Alexia. "A MISREADING OF POETIC PROPORTIONS: THOMAS MOFOLO AND LÉOPOLD SÉDAR SENGHOR'SCHAKA(S): TWO AFRICAN TEXTS IN CONVERSATION." English Studies in Africa 54, no. 2 (October 2011): 136–53. http://dx.doi.org/10.1080/00138398.2011.626195.

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García Calderón, Ángeles. "El enfrentamiento entre “New Science” y Literatura en el siglo XVII en Inglaterra: la cosmología vitalista de Anne Conway." SKOPOS. Revista Internacional de Traducción e Interpretación. e-ISSN: 2695-8465. ISSN: 2255-3703 3 (December 1, 2013): 49–62. http://dx.doi.org/10.21071/skopos.v3i.4388.

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Trabajo que versa sobre la diferencia entre el lenguaje de la ciencia y el lenguaje de la literatura, con especial incidencia en la poesía. El racionalismo científico denigrará el lenguaje de la poesía que utiliza lo sobrenatural, lo imponderable, la magia y el poder de encantamiento, manejando el lenguaje a su antojo según los poderes de la imaginación. Locke llegará a argumentar que si la verdad y la realidad pertenecen a la ciencia, la poesía pertenece al mundo de los fantasmas, minando con esta afirmación el mundo de la imaginación, fuente de todas las aberraciones mentales. El racionalismo científico desencadena, según los términos utilizados por T. S. Eliot, una “Dissociation of sensibility”, de ahí que en la obra de los poetas de finales del XVII ya no se encuentre la unión entre la inteligencia y la imaginación. Representando la posición del racionalismo científico en el XVII, se traza un esbozo de Anne Conway, escritora que estuvo asociada al denominado Cambridge Platonists, la tercera corriente en importancia de la filosofía inglesa del siglo XVII, tras Thomas Hobbes y John Locke.

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Halldén, Philip. "Hoffmann, Thomas: The Poetic Qur'ân: Studies on Qur'ânic Poeticity. Hartmut Bobzin och Angelika Neuwirth (red.): Diskurse der Arabistik, Band 12. Harrassowitz Verlag, Wiesbaden 2007. 192 s." Tidsskrift for Islamforskning 3, no. 3 (November 24, 2008): 102. http://dx.doi.org/10.7146/tifo.v3i3.24577.

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Berghahn, Klaus L. "Emblematik der Zukunft. Poetik und Geschichte literarischer Utopien von Thomas Morus bis Robert Musil. Von Wilhelm Voßkamp. Berlin, Boston: de Gruyter, 2016. vii + 384 Seiten + 8 s/w Abbildungen. €99,95/$140.00." Monatshefte 109, no. 1 (March 2017): 130–32. http://dx.doi.org/10.3368/m.109.1.130.

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Mayer, Mathias. "Thomas Martinec, Unsagbarkeit und Musik in der Poetik um 1900. Ein Beitrag zur Rezeption des romantischen Musikbegriffs. (Reihe Musik und Literatur 2) Rombach Wissenschaft, Baden-Baden 2023. 359 S., € 79,80." Arbitrium 42, no. 1 (April 1, 2024): 82–85. http://dx.doi.org/10.1515/arb-2024-0017.

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KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 68, no. 1-2 (January 1, 1994): 135–205. http://dx.doi.org/10.1163/13822373-90002664.

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-Peter Hulme, Simon Gikandi, Writing in limbo: Modernism and Caribbean literature. Ithaca: Cornell University Press, 1992. x + 260 pp.-Charles V. Carnegie, Alistair Hennessy, Intellectuals in the twentieth-century Caribbean (Volume 1 - Spectre of the new class: The Commonwealth Caribbean). London: Macmillan, 1992. xvii 204 pp.-Nigel Rigby, Anne Walmsley, The Caribbean artists movement, 1966-1972: A literary and cultural history. London: New Beacon Books, 1992. xx + 356 pp.-Carl Pedersen, Tyrone Tillery, Claude McKay: A black poet's struggle for identity. Amherst: University of Massachusetts Press, 1992. xii + 235 pp.-Simone Dreyfus, Irving Rouse, The Tainos: Rise and decline of the people who greeted Columbus. New Haven: Yale University Press, 1992. xii + 211 pp.-Louis Allaire, Antonio M. Stevens-Arroyo, Cave of the Jagua: The mythological world of the Taino. Alburquerque: University of New Mexico Press, 1988. xiii + 282 pp.-Irving Rouse, William F. Keegan, The people who discovered Columbus: The prehistory of the Bahamas. Gainesville: University of Florida Press, 1992. xx + 279 pp.-Neil L. Whitehead, Philip P. Boucher, Cannibal encounters: Europeans and Island Caribs, 1492-1763. Baltimore: John Hopkins University Press, 1992. xii + 217 pp.-Peter Kloos, Kaliña, des amérindiens à Paris: Photographies du prince Roland. Présentées par Gérard Collomb. Paris: Créaphis, 1992. 119 pp.-Maureen Warner-Lewis, Alan Gregor Cobley ,The African-Caribbean connection: Historical and cultural perspectives. Bridgetown, Barbados: Department of History, University of the West Indies, Cave Hill, 1990. viii + 171 pp., Alvin Thompson (eds)-H. Hoetink, Jean-Luc Bonniol, La couleur comme maléfice: une illustration créole de la généalogie des 'Blancs' et des 'Noirs'. Paris: Albin Michel, 1992. 304 pp.-Michael Aceto, Richard Price ,Two evenings in Saramaka. Chicago and London: University of Chicago Press, 1991. xvi + 417 pp., Sally Price (eds)-Jorge Pérez Rolón, Vernon W. Boggs, Salsiology: Afro-Cuban music and the evolution of Salsa in New York City. New York: Greenwood, 1992. xvii + 387 pp.-Martin F. Murphy, Sherri Grasmuck ,Between two islands: Dominican international migration. Berkeley: University of California Press, 1991. xviii + 247 pp., Patricia R. Pessar (eds)-Rosario Espinal, Richard S. Hillman ,Distant neighbors in the Caribbean: The Dominican Republic and Jamaica in comparative perspective. New York: Praeger, 1992. xviii + 199 pp., Thomas D'Agostino (eds)-Svend E. Holsoe, Neville A.T. Hall, Slave society in the Danish West Indies: St. Thomas, St. John and St. Croix. Edited by B.W. Higman. Mona, Jamaica: University of the West Indies Press, 1992. xxiv + 287 pp.-Light Townsend Cummins, Francisco Morales Padrón, The journal of Don Francisco Saavedra de Sangronis 1780-1783. Translated by Aileen Moore Topping. Gainesville: University of Florida Press, 1989. xxxvii + 380 pp.-Francisco A. Scarano, Laird W. Bergad, Cuban rural society in the nineteenth century: The social and economic history of monoculture in Matanzas. Princeton: Princeton University Press, 1990. xxi + 425 pp.-Robert L. Paquette, Larry R. Jensen, Children of colonial despotism: Press, politics, and culture in Cuba, 1790-1840. Tampa: University of South Florida Press, 1988. xviii + 211 pp.-Robert L. Paquette, Anton L. Allahar, Class, politics, and sugar in colonial Cuba. Lewiston NY; The Edwin Mellen Press, 1990. xi + 217 pp.-Aline Helg, Josef Opatrny, U.S. Expansionism and Cuban annexationism in the 1850s. Prague: Charles University, 1990. 271 pp.-Rita Giacalone, Humberto García Muñiz ,Bibliografía militar del Caribe. Río Piedras PR: Centro de Investigaciones Históricas, Universidad de Puerto Rico, 1992. 177 pp., Betsaida Vélez Natal (eds)-Carlos E. Santiago, Irma Tirado de Alonso, Trade issues in the Caribbean. Philadelphia: Gordon & Breach, 1992. xv + 231 pp.-Drexel G. Woodson, Frantz Pratt, Haiti: Guide to the periodical literature in English, 1800-1990. Westport CT: Greenwood, 1991. xiv + 313 pp.-Gary Brana-Shute, Livio Sansone, Hangen boven de oceaan: het gewone overleven van Creoolse jongeren in Paramaribo. Amsterdam: Het Spinhuis, 1992. 58 pp.-Ronald Gill, Dolf Huijgers ,Landhuizen van Curacao en Bonaire. Amsterdam: Persimmons Management. 1991. 286 pp., Lucky Ezechiëls (eds)-Alex van Stipriaan, Waldo Heilbron, Colonial transformations and the decomposition of Dutch plantation slavery in Surinam. Amsterdam: Amsterdam centre for Caribbean studies (AWIC), University of Amsterdam, 1992. 133 pp.-Rosemarijn Hoefte, Bea Lalmahomed, Hindostaanse vrouwen: de geschiedenis van zes generaties. Utrecht: Jan van Arkel, 1992. 159 pp.-Aart G. Broek, Peter Hoefnagels ,Antilliaans spreekwoordenboek. Amsterdam: Thomas Rap, 1991. 92 pp., Shon Wé Hoogenbergen (eds)

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Kiesel, Helmuth. "Hitler, Mein Kampf. Eine kritische Edition. 2 Bde. Hg. von Christian Hartmann, Thomas Vordermayer, Othmar Plöckinger, Roman Töppel. Im Auftrag des Instituts für Zeitgeschichte, München – Berlin 2016. 1969 S., € 59,–. Othmar Plöckinger (Hg.), Quellen und Dokumente zur Geschichte von ,Mein Kampf‘ 1924–1945. (Beiträge zur Kommunikationsgeschichte 28) Steiner, Stuttgart 2016. 695 S., € 99,–. Albrecht Koschorke, Adolf Hitlers ,Mein Kampf‘. Zur Poetik des Nationalsozialismus. Matthes & Seitz, Berlin 2016. 94 S., € 10,–." Arbitrium 36, no. 3 (November 27, 2018): 318–91. http://dx.doi.org/10.1515/arb-2018-0041.

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Jenkins, Keith, Gary Farnell, Anne Curry, Michael Hicks, Ben Lowe, Simon Barker, Peter Clark, et al. "Reviews: Rethinking Literary History, the Question of Literature: The Place of the Literary in Contemporary Theory, the Performance of Self: Ritual, Clothing and Identity during the Hundred Years War., Reassessing Tudor Humanism, John Foxe and His World, Voyage Drama and Gender Politics 1589–1642, before Orientalism: London's Theatre of the East, 1576–1626, Royal Subjects: Essays on the Writings of James VI and I, Milton and the Terms of Liberty, the Social Circulation of the Past: English Historical Culture 1500–1730, Literature and Utopian Politics in Seventeenth-Century England, Literature and Religious Culture in Seventeenth-Century England, Flesh in the Age of Reason, Patriotism and Poetry in Eighteenth-Century Britain, English Feminists and Their Opponents in the 1780s: Unsex'd and Proper Females, Mary Wollstonecraft and the Feminist Imagination, Women Peasant Poets in Eighteenth-Century England, Scotland and Germany: Milkmaids on Parnassus, in Praise of Poverty: Hannah More Counters Thomas Paine and the Radical Threat, Romanticism and Animal Rights, Slavery and the Romantic Imagination, Performing Shakespeare in the Age of Empire, Unequal Partners: Charles Dickens, Wilkie Collins and Victorian Authorship, across Time and Continents: A Tribute to Victor G. Kiernan, Shakespeare in the PresentHutcheonLinda and ValdésMario (eds), Rethinking Literary History , Oxford University Press, 2002, pp. xiii + 215, £25.BissellElizabeth Beaumont (ed.), The Question of Literature: The Place of the Literary in Contemporary Theory , Manchester University Press, 2002, pp. xii + 236, £45, £15.99 pb.CraneSusan, The Performance of Self: Ritual, Clothing and Identity During the Hundred Years War . University of Pennsylvania Press, 2002, pp. ix + 269, $49.95, $19.95 pb.WoolfsonJonathan (ed.), Reassessing Tudor Humanism , Palgrave, 2002, pp. xi + 286, £47.50.HighleyChristopher and KingJohn N. (eds), John Foxe and His World , Ashgate, 2002, pp. 297, £55.JowittClaire, Voyage Drama and Gender Politics 1589–1642 , Manchester University Press, 2003, pp. vi + 256, £40.BarbourRichmond, Before Orientalism: London's Theatre of the East, 1576–1626 , Cambridge University Press, 2003, pp. xii + 238, £45.FischlinDaniel and FortierMark (eds), Royal Subjects: Essays on the Writings of James VI and I , Wayne State University Press, 2002, pp. 543, £33.50.ParryGraham and RaymondJoad (eds), Milton and the Terms of Liberty , D. S. Brewer, 2002, pp. xvi + 218, £35.WoolfDaniel, The Social Circulation of the Past: English Historical Culture 1500–1730 , Oxford University Press, 2003, pp. xvii + 421, £55.AppelbaumRobert, Literature and Utopian Politics in Seventeenth-Century England , Cambridge University Press, 2002, pp. xi + 256, £40.BarbourReid, Literature and Religious Culture in Seventeenth-Century England , Cambridge University Press, 2002, pp. viii + 282, £42.50.PorterRoy, Flesh in the Age of Reason , Allen Lane, 2003, pp. xviii + 574, £25.GriffinDustin, Patriotism and Poetry in Eighteenth-Century Britain , Cambridge University Press, 2002, pp. x + 316, £42.50.StaffordWilliam, English Feminists and their Opponents in the 1780s: Unsex'd and Proper Females , Manchester University Press, 2002, pp. 239, £45.TaylorBarbara, Mary Wollstonecraft and the Feminist Imagination , Cambridge University Press, 2003, pp. 331, £16.95 pb.KordSusanne, Women Peasant Poets in Eighteenth-Century England, Scotland and Germany: Milkmaids on Parnassus , Camden House, Boydell and Brewer, 2003, pp. xiii + 325, £50.ScheuermannMona, In Praise of Poverty: Hannah More Counters Thomas Paine and the Radical Threat , University Press of Kentucky Press, 2002 pp. xiv + 255, $36.PerkinsDavid, Romanticism and Animal Rights , Cambridge University Press, 2003, pp. xvi + 190, £40.LeeDebbie, Slavery and the Romantic Imagination , University of Pennsylvania Press, 2002, pp. xiv + 296, $55.FoulkesRichard, Performing Shakespeare in the Age of Empire , Cambridge University Press, 2002, pp. x + 235, £45.NayderLillian, Unequal Partners: Charles Dickens, Wilkie Collins and Victorian Authorship , Cornell University Press, 2002, pp. xiv + 221, £23.50.KaratPrashkat (ed), Across Time and Continents: A Tribute to Victor G. Kiernan , New Delhi, Leftword Books, 2003, pp. vii + 255, 450 rupees/ $9HawkesTerence, Shakespeare in the Present , Routledge, 2002, pp. xi + 164, £16.99 pb." Literature & History 13, no. 2 (November 2004): 86–116. http://dx.doi.org/10.7227/lh.13.2.5.

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