Bibliografías temáticas / Larkin’s Poetry

Literatura académica sobre el tema "Larkin’s Poetry"

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Publicado: 18 de mayo de 2024

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Artículos de revistas sobre el tema "Larkin’s Poetry"

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Rajamouly, K. "Philip Larkin’s Poetry". Poetcrit 35, n.º 1 (3 de enero de 2022): 41–52. http://dx.doi.org/10.32381/poet.2022.35.01.5.

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Mole, Tom. "A New Source for Larkin’s ‘Poetry of Departures’". Notes and Queries 64, n.º 4 (3 de octubre de 2017): 673–74. http://dx.doi.org/10.1093/notesj/gjx160.

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Cauldwell, Richard. "Openings, rhythm and relationships: Philip Larkin reads Mr Bleaney". Language and Literature: International Journal of Stylistics 8, n.º 1 (febrero de 1999): 35–48. http://dx.doi.org/10.1177/096394709900800102.

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Mr Bleaney is one of Philip Larkin’s most popular poems. In this article I discuss five recordings, by Larkin himself, of the first two sentences in free direct speech from a presumed landlady: ‘This was Mr Bleaney’s room. He stayed/The whole time he was at the Bodies, till/They moved him’. The recordings are similar in that they all project the opening as being in medias res; they differ, however, because across the five recordings Larkin places prominences in different locations and makes different choices of tone. The differences suggest that Larkin projects the direct speech into differing (imagined) preceding discourse contexts. But their different ways of being in medias res can also be regarded as ‘perfectly normal’ openings to the poem. The rhythms of the recordings of the two sentences are symptomatic of the fact that Larkin reads most of his poetry as non-poetic anecdotal discourse, thus subverting his wish to be perceived more as a poet than as a social commentator. The recordings also provide evidence for issues raised by critics: the relationship between landlady and tenant; the relationship between Larkin and his audience; the rhythm of the landlady’s speech; the meaning of moved him.
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Rajamouly, Dr K. "Time in T.V. Reddy’s Poetry with Reference to Thousand Haiku Pearls in Comparison with Larkin’s Poetry". POETCRIT 32, n.º 2 (20 de junio de 2019): 28–37. http://dx.doi.org/10.32381/poet.2019.32.02.5.

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Bakir, Ardalan Luqman y Khadeeja Saeed Ismail. "ANALYSIS OF THE CAUSES OF PHILIP LARKIN’S WOUNDS IN THE MIRROR OF FREUD’S PSYCHOANALYTIC THEORY". Journal of Tikrit University for Humanities 30, n.º 6, 2 (30 de junio de 2023): 82–105. http://dx.doi.org/10.25130/jtuh.30.6.2.2023.25.

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Philip Larkin is one of the prominent post-modern poets who tackled with various themes in his poems. He approached his ideas directly or indirectly. This study aims to analyze selected poems of Philip Larkin as one of the most vital figures of English poetry. The analysis of the poems is achieved on the basis of Sigmund Freud’s psychoanalytic theory which is regarded as a great criterion used in modern English literature. Psychoanalysis is a well-known method that helps critics and readers to interpret and dive deep beneath the meanings of the lines of the poems to get familiar with the unconscious mind of poets. Sigmund Freud in his work The Interpretation of Dreams (1900) believes that poetry is the dream of poets and writers. So, the one who reads the literary work has to use psychoanalysis as a focal method and technique for finding and figuring out the hidden meanings and intentions of the writer within the work. Psychoanalysis, to a great extent, aids critics and readers to understand the conflict between Id, Ego and Superego as well the inner psyche of the writer in order to comprehend the reasons behind the writer’s actions and behaviors.
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Feldman, Sarah. "Symbolic Cognition in Poetic Experience: Re-representing the Paraphrase Paradox". British Journal of Aesthetics 60, n.º 3 (18 de junio de 2020): 283–98. http://dx.doi.org/10.1093/aesthj/ayz063.

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Abstract This article considers an apparent tension between, on the one hand, a widespread belief among literature teachers that the appreciation of a poem involves an experience of form-content inseparability and, on the other hand, these same teachers’ use of paraphrase to encourage appreciation. Using Terrence Deacon’s model of art experience, I argue that the tensions of this ‘paraphrase paradox’ mirror tensions inherent in poetic experience. Section II draws upon work by Rafe McGregor, Peter Lamarque, and Peter Kivy to frame an approach to the form-content distinction, and to offer a brief overview of the paraphrase paradox. Sections III-IV summarize Deacon’s model of aesthetic experience, and argue that this model implies that poetic experience both triggers an impulse towards paraphrase, and frustrates this impulse. Section V looks at implications for the poetry teacher’s attempts to navigate the paraphrase paradox. Section VI tests these implications through an analysis of Philip Larkin’s poem ‘Faith Healing’.
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Marggraf Turley, Richard y Jennifer Squire. "Haggard and woe-begone: The Arundels’ Tomb and John Keats’s ‘La Belle Dame Sans Merci’". Romanticism 28, n.º 2 (julio de 2022): 154–64. http://dx.doi.org/10.3366/rom.2022.0551.

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The first draft of Keats’s ‘La Belle Dame Sans Merci’ appears abruptly, seemingly from nowhere, in a letter of April 1819. In this famously inconclusive poem, the knight-at-arms, much like the geographic setting in which his psychological drama plays out, also seems to exist in uncoordinated, self-contained space. This essay seeks to connect the apparently mythical reference points in the ballad to actual places known to Keats. In particular, it examines the prompts and cues that Keats found around him in January and February 1819 during a visit to Chichester and Bedhampton. Our focus is on the imaginatively catalysing effigies of an alabaster knight and lady seen in Chichester cathedral – famous from Philip Larkin’s poem, ‘An Arundel Tomb’ – as well as on the topography of hills, lakes and meads that Keats encountered while staying at Lower Mill in Bedhampton. This essay, then, attempts a ‘placing’ of key elements of ‘La Belle Dame Sans Merci’ in Keats’s lived world. The act allows us to expand and deepen our sense of the complex relationship between physical, imaginative and emotional topographies in Keats’s poetry.
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Nikhilesh, Nikhilesh. "Critical Assessment of Poetry of Philip Larkin". International Journal of English Literature and Social Sciences 7, n.º 6 (2022): 200–205. http://dx.doi.org/10.22161/ijels.76.28.

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In the year 1922, Philip Larkin was born in Coventry, which is located in England. In addition to finishing with First Class Honors in English, he received his Bachelor of Arts degree from St. John's College, Oxford, where he also became friends with the author and poet Kingsley Amis. After completing his undergraduate degree, Larkin went on to pursue professional courses in order to become a librarian. He began his career in Shropshire and Leicester, continued it at Queen's College in Belfast, and ended it as the librarian at the University of Hull. He worked in libraries the whole of his life. Not only did Larkin produce volumes of poetry, but he also wrote and published two novels, Jill (1946) and A Girl in Winter (1947), as well as jazz music criticism, essays, and review articles. The latter were compiled into two books: All What Jazz: A Record Diary 1961-1968 (1970; 1985) and Required Writing: Miscellaneous Pieces 1955-1982. Both were published in 1970 and 1985 respectively (1984). Before his death in 1985, he was considered by many to be "England's other Poet Laureate." He was one of the most well-known poets to emerge from England in the decades after World War II. In point of fact, when the post of laureate became available in 1984, numerous poets and critics advocated for Larkin's election to the position; nevertheless, Larkin chose to stay out of the spotlight.
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Blake, Jason. "On Philip Larkin's poetry". Acta Neophilologica 34, n.º 1-2 (1 de diciembre de 2001): 7–16. http://dx.doi.org/10.4312/an.34.1-2.7-16.

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Using his seemingly crass and apparently pessimistic "This Be the Verse" as a point of departure, this paper examines Philip Larkin's poetry with regard to the poet's own attitude towards the reader. His highly accessible poems, penned in common language, resulted in a reputation as both a 'poet of the people' and a 'philistine'. But for all its crudeness, Larkin's mode of writing always showed a keen awareness of the distancing aspects of modernism. In other words, he was not ignorant of the current political trends of his time, rather he was consciously writing against what he deemed elitist art. In conclusion, the paper returns to "This Be the Verse" and considers the moral import of Larkin's ironically acerbic "Get out early as you can, and don't have any kids yourself˝.
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Booth, J. "Why Larkin's Poetry Gives Offence". English 46, n.º 184 (1 de marzo de 1997): 1–19. http://dx.doi.org/10.1093/english/46.184.1.

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Tesis sobre el tema "Larkin’s Poetry"

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Chakraborty, Avijit. "Larkin Lost, Larkin Found: Towards a New Poetics of Reading". Thesis, University of North Bengal, 2019. http://ir.nbu.ac.in/handle/123456789/2851.

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Al-Hajaj, Jinan Fedhil Breyo. "Intellectuality, rationality, and awareness in the poetry of the mind : an exploration of Philip Larkin's poetry". Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11879/.

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This thesis bases its argument on the notion that Philip Larkin’s poetry addresses intellectual and philosophical issues in a way that reflects a profound engagement of the poet’s mind with the world around him. His poetry is often described as direct, transparent, and lucid, but it also harbours esoteric areas and obscurities of thought. The thesis argues that Larkin’s work is preoccupied with fathoming out mental and psychological profundities, and that it tends to philosophise and theorise its own intellectual procedures as it handles and sifts the seemingly everyday commonalities. The poems do not confine themselves to the literality and immediacy of a particular theme, but strive to capture unanticipated contours of thought and contemplation. Larkin’s poetry invokes and triggers a pursuit of underlying perception, enlightenment, and knowledge, and aspires to go beyond that to achieve a sense of wonder and discovery. Hence, a Larkin poem cannot be read linearly without sacrificing what stirs deep in the chosen vocabulary and in the rhetorical and syntactical twists and contortions through which the poems attain their intellectual and meditative impact. Logic and rationality are sometimes enlisted to aid the intellectual quests that Larkin’s poetical personae find themselves engaged in. Imagination, dream, and speculation prevail throughout poems in which the poet seeks to develop an awareness of and understanding of our existential predicament. The study traces the various elements and aspects of this involvement in thought and introspection in Larkin’s poetry from the very early juvenilia through his first published collection The North Ship (1945), all the way across his mature collections, The Less Deceived (1955), The Whitsun Weddings (1965), and High Windows (1974), to his later and posthumous poems. Each of the above collections is researched in depth across six chapters. The thesis includes an introduction in which the notion of the poetry of the mind is profiled, and the ways it applies to Larkin’s poetry are delineated. It concludes with a coda which reflects upon the main findings of the study.
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Hibbett, Ryan. "Proving poetry : Ted Hughes and Philip Larkin, now /". Available to subscribers only, 2006. http://proquest.umi.com/pqdweb?did=1212794171&sid=6&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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Thomson, Winifred Alice. "The collected poetry of Philip Larkin, 1945-1974". Thesis, University of Cape Town, 1986. http://hdl.handle.net/11427/22605.

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Lazic, Boris. ""With Meaning and Meaning's Rebuttal" : A Contrastive Reading of Philip Larkin's The Less Deceived". Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-31058.

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This essay focuses on Philip Larkin’s The Less Deceived, a collection of poems published in 1955, and tries to demonstrate how the poems within it can be organized and understood according to a contrast between more and less deceived. Through close reading and comparative analysis this overarching contrast is shown to be expressed by recurrences of imagery and thematic material as well as by a series of related opposing terms which inform many of the viewpoints expressed within the collection. These oppositions include those between illusion and disillusion, distance and proximity, surface and depth, artifice and reality as well as innocence and guilt. The essay also concludes that the overarching categories of greater and lesser deception are expressed to varying degrees by the different poems and that neither category can thus be considered as favoured above the other.
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Balbi, Alita Fonseca. "'"The less deceived": subjectivity, gender, sex and love in Sylvia Plath's and Philip Larkin's poetry". Universidade Federal de Minas Gerais, 2012. http://hdl.handle.net/1843/ECAP-8SBLZ9.

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In this thesis, I make a comparative reading of Philip Larkin's and Sylvia Plath's poetry. The focus of the reading is on how their works discuss subjectivity and interpersonal relations. The analysis takes into consideration three main concepts: subjectivity, gender and love. First I establish a definition of the term subjectivity for the purposes of this analysis, and then compare and contrast the ways in which Larkin's and Plath's poems depict it. I also explore how gender roles are conveyed in their poetry as preconceptions imposed on people, and how these impositions affect in negative ways the relationships between women and men. The third concept, love, is discussed in light of the possibility of the subject to establish more profound emotional connections with the outer world and with others. Such emotional connections are often portrayed as inspiring the speakers poetic sensibility because they allow them to perceive the world in more subjective terms. I argue that both Larkin's and Plath's poetry depict speakers with conflicting views on subjectivity: at the same time they are aware of the constructed nature of social roles, they also believe in a romantic inner self. Even though their works portray social norms and gender roles as deceiving, their speakers still long for more positive deceptions such as friendship and love. For this reason, their speakers are named in this thesis the less deceived, a reference to one of Larkin's poems. In the poems analyzed, being the less deceived has an ambiguous meaning, conveying both positive and negative aspects. While it reflects the speakers awareness of the manipulative paradigms that underlie social interactions, it also shows a feeling of deprivation because of the discredit that falls upon transcendental matters such as religious faith and love, both of which are deceits that the poetic voices long for. Being the less deceived also refers to the fact that knowing the manipulative character of social norms does not mean they are free from it. Instead, the majority of the speakers in Larkins and in Plaths poetry still find themselves entrapped in meaningless social rites and are incapable of changing the society which they try to be, and at the same time avoid being, a part of.
Nessa dissertação, faço uma leitura comparativa das poesias de Philip Larkin e de Sylvia Plath. O foco da leitura é a maneira como suas obras poéticas retratam a subjetividade e as relações interpessoais. A análise leva em consideração três principais conceitos: subjetividade, gênero e amor. Primeiro, estabeleço uma definição do termo subjetividade para o propósito dessa análise, e então comparo e contrasto as maneiras nas quais os poemas de Plath e de Larkin o retratam. Também discuto como os papéis de gênero são vistos nos poemas como (pre)conceitos impostos, e como esses afetam de maneira negativa as relações entre homens e mulheres. O terceiro conceito, amor, é visto como a possibilidade de o sujeito estabelecer ligações emocionais mais profundas com o mundo e as outras pessoas. Tais ligações são freqüentemente retratadas nos poemas como algo que aflora a sensibilidade poética dos sujeitos, já que elas os permitem enxergar o mundo de uma maneira mais subjetiva. Meu principal argumento é que as vozes poéticas nos trabalhos de Plath e de Larkin apresentam visões conflitantes a respeito do conceito de subjetividade: ao mesmo tempo em que elas estão cientes da construção de papéis sociais, elas também acreditam em um eu interior romântico. Embora suas poesias retratem conceitos como normas sociais e papéis de gênero como ilusórios, suas vozes poéticas ainda desejam certas ilusões como a amizade e o amor. Por essa razão, as vozes poéticas dos poemas de Plath e de Larkin são aqui chamadas de menos enganadas, uma referência a um dos poemas de Larkin. Ser o/a menos enganado/a tem um significado ambíguo nesse contexto, refletindo aspectos negativos e positivos. Ao mesmo tempo em que mostra a consciência que as vozes poéticas têm dos paradigmas manipuladores que permeiam as interações sociais, o termo também se refere ao sentimento de privação causado pelo descrédito em questões transcendentais como a fé religiosa e o amor, ambas as quais são ilusões pelas quais essas vozes poéticas anseiam. Ser o menos enganado também se refere ao fato de que saber do caráter manipulador das normas sociais não quer dizer estar livre delas. Pelo contrário, as vozes poéticas nas poesias de Plath e de Larkin ainda se encontram presas em vãos costumes sociais e incapazes de v mudar a sociedade da qual elas tentam, e ao mesmo tempo evitam, ser parte.
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Cooper, Stephen Andrew. "Revolt and orthodoxy in the work of Philip Larkin". Thesis, Open University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251388.

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Hassan, Salem Kadhem. "Time, tense and structure in contemporary English poetry : Larkin and the Movement". Thesis, University of Glasgow, 1985. http://theses.gla.ac.uk/3902/.

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Osterwalder, Hans. "British poetry between the movement and modernism : Anthony Thwaite and Philip Larkin /". Heidelberg : C. Winter, 1991. http://catalogue.bnf.fr/ark:/12148/cb35744530c.

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Davies, Alexandra Mary. "Poetry in process: the compositional practices of D.H. Lawrence, Dylan Thomas and Philip Larkin". Thesis, University of Hull, 2008. http://hydra.hull.ac.uk/resources/hull:1738.

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Philip Larkin used the image of Winston Smith's blank notebook in George Orwell's 1984 to illustrate the excitement experienced by the writer faced with an as yet unwritten text. He explains that: the books the past has given usare printed; they are magnificent, but they are finite. Only the blank book, the manuscript book, may be the book we shall give the future. Its potentialities are endless. This study of 'poetry in process' will compare the 'compositional practices' of three twentieth century poets in order to come closer to understanding the means by which poems are written. One conclusion which is perhaps inevitable from such a comparative study as this is that there is not a single approach to writing a poem. Each poet has idiosyncratic habits.
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Libros sobre el tema "Larkin’s Poetry"

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Larkin's blues: Jazz, popular music, and poetry. Baton Rouge: Louisiana State University Press, 1999.

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Whalen, Terry. Philip Larkin and English Poetry. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-137-20729-6.

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Philip Larkin and English poetry. Houndmills, Basingstoke, Hampshire: Macmillan, 1986.

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Whalen, Terry. Philip Larkin and English poetry. Basingstoke: Macmillan Press, 1990.

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Philip Larkin and English poetry. Vancouver: University of British Columbia Press, 1986.

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Whalen, Terry. Philip Larkin and English poetry. Vancouver: University of British Columbia Press, 1986.

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Whalen, Terry. Philip Larkin and English poetry. Basingstoke: Macmillan, 1986.

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C, Watt R. J., ed. Philip Larkin: A concordance to the poetry of Philip Larkin. Hildesheim: Olms-Weidmann, 1995.

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Michael, Baron y English Association, eds. Larkin with poetry: English Association conference papers. Leicester: English Association, 1997.

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Harry, Chambers y Larkin Philip, eds. An Enormous yes: In memoriam Philip Larkin (1922-1985). Calstock, Cornwall: Peterloo Poets, 1986.

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Capítulos de libros sobre el tema "Larkin’s Poetry"

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Whalen, Terry. "Larkin’s Proper Peers". En Philip Larkin and English Poetry, 115–39. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-137-20729-6_7.

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Walczak, Agnieszka. "Chapter 11. Echoic irony in Philip Larkin’s poetry and its preservation in Polish translations". En Relevance Theory, Figuration, and Continuity in Pragmatics, 309–26. Amsterdam: John Benjamins Publishing Company, 2020. http://dx.doi.org/10.1075/ftl.8.11wal.

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Regan, Stephen. "Gentility in English Poetry". En Philip Larkin, 25–33. London: Macmillan Education UK, 1992. http://dx.doi.org/10.1007/978-1-349-21941-4_3.

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Booth, James. "Poetry as a Living". En Philip Larkin, 21–46. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230595828_2.

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Whalen, Terry. "Poetry of Reality". En Philip Larkin and English Poetry, 95–114. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-137-20729-6_6.

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Booth, James. "Poetic Histories". En Philip Larkin, 112–43. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230595828_5.

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Osborne, John. "Larkin and Modernism: Poetry". En Larkin, Ideology and Critical Violence, 50–81. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230598935_3.

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Booth, James. "The Poet’s Plight". En Philip Larkin, 1–20. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230595828_1.

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Augustine, John H. "Tentative Initiation in the Poetry". En Philip Larkin: The Man and his Work, 112–17. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-09700-5_11.

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Whalen, Terry. "Poetic Personality". En Philip Larkin and English Poetry, 10–31. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-137-20729-6_2.

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