Artículos de revistas: "Women poets, Greek (Modern)"

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Holst-Warhaft, Gail. "The Poetics of Pain." Journal of World Literature 8, no. 1 (2023): 104–22. http://dx.doi.org/10.1163/24056480-00801009.

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Abstract Modern Greek poetry has been influenced by a tradition of lament that is still practiced in rural Greece, and by the tragic events of modern Greek history. In contrast to the elegiac tradition, laments and their women practitioners ascribe a positive value to pain. Male poets of the generation of 1930 made use of the imagery of folk lament in their poetry, and women poets of the second half of the 20th century addressed the dead directly as their village counterparts still do. The Asia Minor catastrophe of 1922 dominated 20th-century modern Greek literature and drew on another traditional poetic form, the “lament for lost cities.” More recently, songwriters have mourned the political and economic tragedies of contemporary Greece in lyrics that seem much closer, in their expression of pain, to the tradition of lament than to elegy.

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Levy, David. "Utility-Enhancing Consumption Constraints." Economics and Philosophy 4, no. 1 (1988): 69–88. http://dx.doi.org/10.1017/s0266267100000341.

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The Greek poets and philosophers, united in a belief that men and women perceive the world around them very poorly, for this reason describe much of human behavior as fumbling for happiness in the dark. By contrast, perception failure is anathema to the modern tradition, as even the most innocent sort plays havoc with modern preference axioms.

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Jawad, Areej Muhammad, and Rana Jabir Obed. "The New Penelopean Poetics: A Feminist Reassessment of the Victimization of Women in Edna St. Vincent Millay’s ‘‘The Ballad of the Harp-Weaver’’ and ‘‘An Ancient Gesture’’." Kufa Journal of Arts 1, no. 25 (2016): 47–60. http://dx.doi.org/10.36317/kaj/2015/v1.i25.6293.

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The Greeks have a certain authority, for they are the source of the Western traditions of poetry, philosophy, and science. The figure of Penelope in the Homeric epic can be seen as a symbol not only for woman’s trials in general but also for the trials of the woman artist in a man’s world. This study explores the penelopean myth as ideological tool of patriarchal system and it argues that gender stereotypes set in Greek myths have been recreated later by the modern American poet, Edna St. Vincent Millay. Encouraged by the feminist movement, Millay revised and rewrote the penelopean myth highlighting the gender stereotyping as an important feature in her poems, ‘‘The Ballad of the Harp-Weaver,’’ and ‘‘An Ancient Gesture.’’

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Dickie, Margaret, and Jean Gould. "Modern American Women Poets." American Literature 58, no. 1 (1986): 119. http://dx.doi.org/10.2307/2925951.

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Keefe, J. T., and Jean Gould. "Modern American Women Poets." World Literature Today 60, no. 1 (1986): 116. http://dx.doi.org/10.2307/40141258.

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Wilcox, John C., and Janet Perez. "Modern and Contemporary Spanish Women Poets." South Central Review 15, no. 3/4 (1998): 86. http://dx.doi.org/10.2307/3189852.

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Debicki, Andrew P., and Janet Perez. "Modern and Contemporary Spanish Women Poets." Hispania 80, no. 1 (1997): 58. http://dx.doi.org/10.2307/345954.

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Ahern, Susan W., Jane Stevenson, and Peter Davidson. "Early Modern Women Poets: An Anthology." Sixteenth Century Journal 33, no. 4 (2002): 1171. http://dx.doi.org/10.2307/4144185.

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Daugirdaitė, Solveiga. "Žemaitė XX a. II pusės lietuvių poezijoje ir prozoje." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums 27 (March 10, 2022): 105–19. http://dx.doi.org/10.37384/aplkp.2022.27.105.

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The article dedicated to the works of the Lithuanian literature written in the second half of the 20th century depicting the writer Žemaitė (pen name of Julija Beniuševičiūtė-Žymantienė, 1845–1921). This writer was not rejected by the Soviet authorities because of her realistic outline and her democratic political views, the social criticism expressed in her work towards greed, selfishness and clericalism. Lithuanian writers dedicated to her their poetry, fiction, and drama works. However, Soviet writers were also impressed by Žemaitė’s personality traits, which mentioned less frequently in public: independence, perseverance, wit, the courage to stand out from her surroundings and to disregard the societal norms that stifled older women in traditional society. The article analyses the features of Žemaitė’s personality in works of Lithuanian literature created by poets Salomėja Nėris, Judita Vaičiūnaitė, and others. The author reveals how different aspects of Žemaitė’s work and personality were emphasised depending on the time of writing. This change partly reflects the shift of literature from socialist realism to more modern literature. Among the works of prose, the author singles out Bitė Vilimaitė’s cycle of short stories “Apsakymai apie Žemaitę” (Short Stories about Žemaitė) from her collection Papartynų saulė (Fernery Sun, 2002). The stories reveal both the character of Žemaitė, her environment and people close to her, and the most important features of Vilimaitė’s own work: attention to a woman’s fate, subtle psychological insight, attention to detail, and a specific model of a short novella. Since the protagonists of the cycle are usually real people, Vilimaitė’s talent for using documentary material and combining it with fiction is also evident here. The article concludes that Soviet-era authors portraying Žemaitė’s character raised aspects relevant to the time of writing, such as the promotion of national culture, problems of women’s emancipation and, also the fact that for female writers, Žemaitė was a role model.

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Connor, W. Robert. "Women Poets and the Origin of the Greek Hexameter." Arion: A Journal of the Humanities and the Classics 27, no. 2 (2019): 85–102. http://dx.doi.org/10.1353/arn.2019.0015.

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Connor. "Women Poets and the Origin of the Greek Hexameter." Arion: A Journal of Humanities and the Classics 27, no. 2 (2019): 85. http://dx.doi.org/10.2307/arion.27.2.0085.

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S, Selvakumaran. "Feminist thought in the poems of modern women poets." International Research Journal of Tamil 3, no. 4 (2021): 122–29. http://dx.doi.org/10.34256/irjt21415.

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The poems of women poets have recently gone beyond the status of talking about women's life through feminist ideas and speaking of women's liberation. Some people's writings arise based on feminist theoretical definitions. There are differences between theoretical ideas naturally within a work and the creation of a work standing within the theory. If a work is created based solely on theory, it can distort creativity itself. But there are two different conditions, including this tendency, in the poems of modern women poets. They vary depending on the understanding of the poets. This article deals with feminism in the poetic tendencies of contemporary women poets like Lena Manimegalai, Vijayalakshmi, Kuttirevathi, Sugirdharani and others.

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Chongstitvatana, Suchitra. "Modern Thai Buddhist Poetry by Women Poets: A Transformation of Wisdom." MANUSYA 8, no. 1 (2005): 38–50. http://dx.doi.org/10.1163/26659077-00801003.

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The study is an attempt to explore and explain the transformation of Thai didactic poetry, especially Buddhist poetry by women poets. The texts selected are Dawn in the Night by Chomchand, Under the Rain and Thunder by Khunying Chamnongsri Rutnin. In Thai Theravadin tradition women poets rarely hold a high position nor have authority in teaching Dharma. In the realm of didactic poetry, monk-poets or male poets are the norm. These two women poets convey the teaching of Dharma through expressing artistically their personal experience of practicing Dharma. This aspect transforms the tradition of Thai didactic poetry by emphasizing the ‘practice’ of Dharma in daily life and not only “the faith” in Dharma. These women poets are showing their readers a direct path to wisdom. The message conveyed in their works is quite universal though they are writing as practicing Buddhists. Thus, these women poets are no longer addressing the limited audience of Buddhists. They are speaking to a wider audience and propagating Buddhism not as a religion but as a message of wisdom for all mankind.

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Bzinkowski, Michał, and Rita Winiarska. "Images of Sculptures in the Poetry of Giorgis Manousakis." Classica Cracoviensia 19 (December 31, 2016): 5–14. http://dx.doi.org/10.12797/cc.19.2016.01.

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The imagery of fragmentary sculptures, statues and stones appears often in Modern Greek Poetry in connection with the question of Modern Greeks’ relation to ancient Greek past and legacy. Many famous poets such as the first Nobel Prize winner in literature, George Seferis (1900-1971), as well as Yannis Ritsos (1909-1990) frequently use sculptural imagery in order to allude to, among other things, though in different approaches, the classical past and its existence in modern conscience as a part of cultural identity. In the present paper we focus on some selected poems by a well-known Cretan poet Giorgis Manousakis (1933-2008) from his collection “Broken Sculptures and Bitter Plants” (Σπασμένα αγάλματα και πικροβότανα, 2005), trying to shed some light on his very peculiar usage of sculpture imagery in comparison with the earlier Greek poets. We attempt to categorize Manousakis’ metaphors and allusions regarding the symbolism of sculptures in correlation with existential motives of his poetry and the poet’s attitude to the classical legacy.

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Μέντη, Θ. "Refugee flows in modern Greek poetry (1922–2022)." Kathedra, no. 15(2) (July 21, 2023): 135–46. http://dx.doi.org/10.52607/26587157_2023_15_135.

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Οι κοσμοπολιτικές αλλαγές που κλείνει μέσα του ο 20ός αιώνας, σε σύγκριση με τον βιωμένο χρόνο του 21ου αιώνα, απασχολούν αρκετά τη σύγχρονη ελληνική ποίηση. Οι προσφυγικές μετακινήσεις ωστόσο, το θέμα που μας ενδιαφέρει στην παρούσα ανακοίνωση, ελάχιστα έχουν καταγραφεί. Με εξαίρεση το μείζον γεγονός του μικρασιατικού ξεριζωμού, οι προσφυγικές ροές και οι μετακινήσεις, που ανέκαθεν απασχολούν την ανθρωπότητα, περνούν σχεδόν απαρατήρητες στη διάρκεια του 20ού αιώνα. Ειδικότερα, εστιάζοντας την έρευνά μας σε μη μικρασιάτες ποιητές, παρατηρούμε ότι το θέμα δεν πήρε εθνικές διαστάσεις στην Ελλάδα, λειτούργησε κυρίως μακροσκοπικά και εντάθηκε τα τελευταία 30 χρόνια, με αφετηρία τις ανακατατάξεις στα Βαλκάνια, τις μεταναστευτικές ροές και τη μεγάλη διέλευση προσφύγων. The cosmopolitan changes brought about by the 20th century are of considerable concern to modern Greek poetry. However, the subject of refugee movements, which we are interested in for this discussion, has been scarcely documented. Apart from the significant event of the Asia Minor uprooting, other refugee flows and movements during the 20th century have largely gone unnoticed. In particular, our research focuses on poets from regions other than Asia Minor. We observe that this issue has intensified the last 30 years, beginning with the rearrangements in the Balkans, the migration flows, and the large transit of refugees. We particularly approach poems by Yiannis Dallas, Dimitra Christodoulou and other contemporary Greek poets.

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Hallett, Judith P. "Catullus and Horace on Roman Women Poets." Antichthon 40 (2006): 65–88. http://dx.doi.org/10.1017/s0066477400001660.

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We treasure both Gaius Valerius Catullus and Quintus Horatius Flaccus for their literary gifts and for their lyrics on the power of love and the pleasures of sophisticated urban living. We also, and often, treasure Catullus and Horace together; after all, both poets share a number of distinctive interests: metrically, stylistically, thematically, and what one might call professionally.Among these common professional interests is their shared literary debt to a female predecessor, the early sixth century BCE Greek poet Sappho. For this reason alone, one might expect Catullus and Horace to acknowledge the presence and activity of female poets, and especially women erotic poets, in their own Roman milieu. I would like to argue that both Catullus and Horace in fact make such acknowledgments, but do so in strikingly different ways.

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Nogueras Valdivieso, Enrique J., and Lourdes Sánchez Rodrigo. "Els poetes com a traductors: Kavafis en català, Kavafis en castellà." Zeitschrift für Katalanistik 7 (July 1, 1994): 117–29. http://dx.doi.org/10.46586/zfk.1994.117-129.

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This essay examines the translations made by poets of the poetry of the modern Greek writer Konstantinos Kavafis. The authors decide between technical and lyrical translations; Greek culture played a crucial role in the development of the latter. The differences between the two types of translation are methodological and aesthetic. The "poet-translator" always remains a poet and must therefore be careful not to change the original text too far. The most important Kavafis translations by the poets J. M. Álvarez (into Spanish) and Carles Riba (into Catalan) are compared; they are based on various criteria such as literalness or faithful reproduction.

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Darwish, Hisham A. "The Alcaic Odes of Horace and Greek Poems of the Early 20th Century." Acta Antiqua Academiae Scientiarum Hungaricae 60, no. 1-2 (2021): 149–70. http://dx.doi.org/10.1556/068.2020.00010.

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SummaryThis article is concerned with shedding light on two examples of influence between Horace and the Greek poets, both ancient and modern. The aim of this paper is to shed light on several parallel aspects between two of the Alcaic odes of Horace and two modern Greek lyric poems by Constantine Cavafy and Angelos Sikelianos, respectively. Subsequently, I show, within the wider framework of inter-textuality, a subtle example of the utilization and re-utilization of lyric elements that are originally ancient Greek in nature by the Latin and modern Greek poets. In my argumentation, I will rely on textual similarities, as well as on the views expressed by scholars in non-comparative contexts The paper is divided into two parts. In the first part, I compare Horace’s carm. 2. 3 with Cavafy’s Ithaka. The most important points of comparison in this section are three common features: instructive tone, the epicurean tendency and the melancholic end. In the second, I compare Horace’s carm. 1. 37 with Sikelianos’ Dithyramb. The most important points of comparison in this section are three common features, namely, the connection of the Bacchic ecstasy to political issues, the connection of the Dionysiac spirit to the struggle against the national enemy and the association of Bacchic frenzy with hunting and chase.

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Burke, V. "Early Modern Women Poets (1520-1700): An Anthology." Notes and Queries 50, no. 1 (2003): 117–18. http://dx.doi.org/10.1093/nq/50.1.117.

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Burke, Victoria. "Early Modern Women Poets (1520–1700): An Anthology." Notes and Queries 50, no. 1 (2003): 117–18. http://dx.doi.org/10.1093/nq/500117.

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Πασχάλης, Μιχαήλ. "Η τεθλασμένη πρόσληψη της αρχαιοελληνικής ποίησης και το ποίημα «Πάνω σ’ ένα ξένο στίχο» του Γ. Σεφέρη". Σύγκριση 30 (30 жовтня 2021): 24–34. http://dx.doi.org/10.12681/comparison.25293.

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Refracted Modern Greek reception of Ancient Greek poetry and George Seferis’ poem ‘Upon a Line of Foreign Verse’The term ‘refracted’ describes instances where Modern Greek reception of Ancient Greek poetry is mediated through one or more intertexts, like Italian-Latin or French-Latin. After treating briefly Dionysios Solomos’ poem ‘The Shade of Homer’ (1821-1822) the paper focuses on George Seferis’ ‘Reflections on a Foreign Line of Verse’ (1931). Each of the two poets claims the Homeric heritage for himself as a Greek poet through a poem that constitutes a refracted reception of Homer. The former opens a chain of three literary windows one after the other: first the appearance of Homer to the character Ennius in Petrarch’s Latin epic Africa; next Cicero’s ‘Dream of Scipio’; and finally the appearance of Homer to the Latin poet Ennius, who in the proem of his Annals represented himself as a reincarnation of the Greek poet. In responding to Solomos about a hundred years later Seferis treated the subject of Homeric Odysseus’ sea wanderings by commenting on ‘Heureux qui, comme Ulysse, a fait un beau voyage’, the opening line of Joachim du Bellay’s famous sonnet XXXI of the collection Les regrets (1558). Most probably Bellay reached back to Homeric Odysseus through a passage of Ovid’s collection of elegies written in exile and entitled Ex ponto. Ovid conceived his banishment from Rome to a region of modern Romania as the analogue of Odysseus’ wanderings away from Ithaca and became a source of inspiration for Du Bellay and other poets.

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de Jonge, Casper C. "The Ancient Sublime(s). A Review of The Sublime in Antiquity." Mnemosyne 73, no. 1 (2020): 149–63. http://dx.doi.org/10.1163/1568525x-12342785.

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Abstract The sublime plays an important role in recent publications on Greek and Latin literature. On the one hand, scholars try to make sense of ancient Greek theories of the sublime, both in Longinus’ On the Sublime and in other rhetorical texts. On the other hand, the sublime, in its ancient and modern manifestations presented by thinkers from Longinus to Burke, Kant and Lyotard, has proved to be a productive tool for interpreting the works of Latin poets like Lucretius, Lucan and Seneca. But what is the sublime? And how does the Greek rhetorical sublime in Longinus relate to the Roman literary sublime in Lucretius and other poets? This article reviews James I. Porter, The Sublime in Antiquity: it evaluates Porter’s innovative approach to the ancient sublime, and considers the ways in which it might change our understanding of an important, but somewhat enigmatic concept.

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Kruczkowska, Joanna. "Cavafy in Poland." Byzantine and Modern Greek Studies 39, no. 2 (2015): 266–85. http://dx.doi.org/10.1017/s030701310001538x.

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Despite the diversity of Modern Greek poetry available in Polish translation, Cavafy's work has eclipsed the achievements of other poets, just as the shadow of his lifelong translator, Zygmunt Kubiak, has inhibited other attempts only starting to surface in the twenty-first century. While external factors have determined Modern Greek anthologies in Poland, Cavafy translation has been mostly driven by personal passion. Apart from translation, this article reflects on various reasons why the Alexandrian's work should be so attractive to the Polish literary scene. Cavafy's seminal place within Polish literature stimulates further reflection on rewriting Cavafy in Poland.

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Egorova, L. V. "Contemporary Greek prose: An anthology; Contemporary Greek poetry: An anthology." Voprosy literatury, no. 1 (August 15, 2023): 209–14. http://dx.doi.org/10.31425/0042-8795-2023-1-209-214.

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The review discusses two anthologies of contemporary Greek literature (prose and poetry), comprising works of the authors distinguished with the country’s State Prize for Literature in the years from 2010 to 2018. The two books succeed in capturing the multidimensional character of Greece’s modern life and literature in small forms (short stories, novellas and poems). The first anthology features short stories and novellas by fourteen authors. The second contains works by twenty poets, each represented by five poems. While some authors were rewarded for their literary debut, others received the prize for lifetime achievements. Thanks to the anthologies, characterised by a diversity of subjects, artistic methods and poetic messages, the Russian audiences can join in the polylogue between classics and avant-gardists, realists and surrealists, and gurus and novices, as well as broaden their knowledge of the latest developments in a literature rooted in ancient history that remains unique and inspired through the oeuvre of its masters.

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Mehrpouyan, Azadeh. "Model Revision of Female Identity and Mythical Images in Modern Woman Poets’ Fairy Tales: Anne Sexton and Carol Ann Duffy." Journal of Critical Studies in Language and Literature 5, no. 2 (2024): 1–9. http://dx.doi.org/10.46809/jcsll.v5i2.253.

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This article explores the approaches that modern women poets use in their revised mythical notions to expose and implicate the inappropriate effects of patriarchal norms and conventions on women and gender inequality. This study addresses Anne Sexton and Carol Ann Duffy as modern woman poets who redefine archetypal myths and revise fairy tales to narrate the stories of those who have been left out of historical and cultural narratives within female characters. Sexton and Duffy shake up gender stereotypes with determined humorous plot complexities, allowing women to shed the secondary classic roles assigned to them. The female characters in the poems recapture their power through literary reconstruction, confronting male dominance and instilling guilt for feeling worthless. These modern women poets focus on what the female characters in their fairy tales think, feel, react, and decide what they look like in appearance, which is not employed in these writing norms in common fairy tales. Sexton and Duffy are the innovative versions of fairy tales, in which the poets not only satirize the patriarchal society in which they grew up but also reject the female stereotype that their upbringing assumed. This study examines the feminist messages that Sexton and Duffy's fairy tales intended to convey to reveal the poets' position on feminism and their relationship with the female role models and male characters they portray in their fairy tales. The findings confirm that these revising approaches and changing writing fairy tale norms can aid in creating a female identity and generate a critical return to the patriarchy’s despotic discourse.

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Papadogiannis, Nikolaos. "Gender in modern Greek historiography." Historein 16, no. 1-2 (2017): 74. http://dx.doi.org/10.12681/historein.8876.

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This article analyses the emergence and development of the study of gender in modern Greek historiography in the broader sense, exploring works that incorporate, even to a minor extent, the gender factor. It shows that despite the manifold barriers that gender historians have faced, there has been a slow but steady process of diffusion of gender in modern Greek historiography in general. The article also shows that historical research on gender relations in Greece initially focused on the study of women, historicising, however, their relations with men. Thus, in line with what Kantsa and Papataxiarchis argue about the relevant scholarship at the international level, no linear transition from the study of women to the examination of gender relations occurred. What has transpired in the last two decades, however, is that the relevant historiography has gradually broadened to encompass a more systematic analysis of the (re)making of masculinities. It has also been enriched by the study of the intersection of gender and age as well as of transnational flows and their impact on gender, tendencies that have been slightly neglected in other reviews of the study of gender in Greek historiography.

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Saha, Dr Santanu. "“The Rule of Father”: A Study of Father-Daughter Relationship in Select Poems of Indian Poetry in English." International Journal of English Literature and Social Sciences 7, no. 4 (2022): 244–49. http://dx.doi.org/10.22161/ijels.74.36.

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Indian Poetry in English by women writers has been giving birth to several issues related to feminism. These poets are trying to express their long-suppressed voice through these issues. However, in most cases they are posting their fight against patriarchy. Patriarchy, as a male dominated social system, always seems hostile to the liberation of women by suppressing their identity. Modern women poets are successful in disturbing this traditional mindset. My paper will try to focus on another perspective of this issue where ‘father’ is supposed to be the agent of patriarchal domination. I’ve tried to analyze some poems by Indian women poets in English who have incorporated ‘father’ as a character in their poems in order to expose male domination. And it is not surprising to notice that several women poets are linked by the same issue as they are a part of same social system.

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Hellerstein, Kathryn. "Canon and Gender: Women Poets in Two Modern Yiddish Anthologies." Shofar: An Interdisciplinary Journal of Jewish Studies 9, no. 4 (1991): 9–23. http://dx.doi.org/10.1353/sho.1991.0030.

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Gough, Melinda J., Barbara Smith, and Ursula Appelt. "Write or Be Written: Early Modern Women Poets and Cultural Constraints." Sixteenth Century Journal 34, no. 3 (2003): 790. http://dx.doi.org/10.2307/20061538.

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Becker, Lucinda, Barbara Smith, Ursula Appelt, and Karen Raber. "Write or Be Written: Early Modern Women Poets and Cultural Constraints." Modern Language Review 99, no. 1 (2004): 157. http://dx.doi.org/10.2307/3738878.

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Prodan, Sarah Rolfe. "Between Repentance and Desire: Women Poets and the Word in Early Modern Italy." Religions 14, no. 5 (2023): 608. http://dx.doi.org/10.3390/rel14050608.

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In early modern Italy, lyric poets of spiritual verse experimented with engaging and depicting the divine Word in novel ways. They aestheticized bodies, including that of Christ, and they imagined eroticized encounters between themselves and the Word made flesh. This article examines the sensual spiritual poetry of three early modern Italian women who, between 1530 and 1630, dedicated themselves to crafting and reinvigorating the poetic word and to expressing and (re)presenting the divine Word. Exploring the introspective and subjective spiritual lyrics of Vittoria Colonna (1492–1547), Laura Battiferri (1523–1589), and Francesca Turini Bufalini (1553–1641) in the context of the Italian literary Renaissance and Counter-Reformation, it aims to highlight and to elucidate the conflation of the sacred and the erotic in their verse. In so doing, this article reveals how these early modern female poets deployed the sensual strategically in their verse to elevate the erotic and how they raised the Italian religious lyric to new literary heights by spiritualizing the dominant poetic idiom.

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Prins, Yopie. "“LADY'S GREEK” (WITH THE ACCENTS): A METRICAL TRANSLATION OF EURIPIDES BY A. MARY F. ROBINSON." Victorian Literature and Culture 34, no. 2 (2006): 591–618. http://dx.doi.org/10.1017/s1060150306051333.

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How to map women's poetry at the end of the nineteenth century was a question already posed by Vita Sackville-West in 1929, in her essay, “The Women Poets of the 'Seventies.” She speculated that the 1870s “perhaps might prove the genesis of the literary woman's emancipation,” as a time of transition when “women with a taste for literature” could follow the lead of Victorian poetesses like Elizabeth Barrett Browning, while also leading women's poetry forward into the future (111). According to Sackville-West, “Mrs. Browning” seemed an exemplary woman of letters to this generation, because “she had been taught Greek; her father had been a man of culture; and she had married a poet” (112). With the formation of women's colleges and the entry of women into higher education, however, another generation of literary women was emerging. What distinguished these new women of letters was a desire for classical education independent of fathers and husbands, demonstrating an independence of mind anxiously parodied byPunchmagazine: The woman of the future! she'll be deeply read, that's certain,With all the education gained at Newnham or at Girton;Or if she turns to classic tomes, a literary roamer,She'll give you bits of Horace or sonorous lines from Homer.Oh pedants of these later days, who go on undiscerningTo overload a woman's brains and cram our girls with learning,You'll make a woman half a man, the souls of parents vexing,To find that all the gentle sex this process is unsexing. As quoted by Sackville-West in her essay (114), this parody is an equivocal tribute to the generation of women just before her own. Although (in her estimation) the women poets of the seventies produced “nothing of any remarkable value,” nevertheless she admired their intellectual ambition: “a general sense of women scribbling, scribbling” was the “most encouraging sign of all” that the woman of the future was about to come into being, as an idea to be fulfilled by the New Woman of thefin de siècle(131).

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Wang, Erya. "A Comparative Study of Female Imagery in the Poetry of Emily Dickinson and Zhai Yongming." Communications in Humanities Research 3, no. 1 (2023): 1093–98. http://dx.doi.org/10.54254/2753-7064/3/2022866.

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Zhai Yongming and Emily Dickinson are two modern poets who are particularly concerned with women's issues. Both poets use a female perspective to look at themselves and the human world as a whole, even if in distinct ways. Previous academics have concentrated on the feminine imagery employed by Zhai Yongming and the feminine issues generated from Dickinson's natural imagery separately. This dissertation will investigate how Zhai Yongmings, and Emily Dickinson's poetry reject or criticize patriarchal-centered culture through female imagery that associates with sexuality and animality, and explore how feminine consciousness traverses geography, time, and nation. This comparative study indicates that for Zhai Yongming, women have recognized their own particularity and are seeking to break free of their confines but suffer from problems. For Dickinson, women have been so undervalued and subjugated by society that their voices of opposition are weak. This study establishes the framework for future research on women's poetry, proposing suggestions for comparing Chinese and Western poets, and hoping that scholars might use the imagery of both poets to re-examine the challenges women confront in society today.

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Тресорукова, И. В. "IN MEMORIAM. LEADING HELLENIST AND UNIQUE CONNOISSEUR OF GREEK LITERATURE, MARIO VITTI, PASSED AWAY (1926-2023)." Kathedra, no. 14(1) (March 23, 2023): 126–28. http://dx.doi.org/10.52607/26587157_2023_14_126.

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14 февраля 2023 года в Риме скончался выдающийся исследователь греческой литературы, эллинист Марио Витти. Свою долгую жизнь он посвятил греческой литературе, был близким другом Одиссеаса Элитиса, Микиса Теодоракиса, Йоргоса Сефериса, Маноса Хадзидакиса и многих других выдающихся греческих литераторов, актеров, музыкантов и поэтов. Благодаря ему греческая литература пережила второе рождение: он обнаружил и опубликовал самый древний текст современного греческого театра («Диалог» Николаоса Софианоса), религиозную драму Теодоро Мончелезе с Закинфа «Эвгена» (Венеция, 1646 год) и два тома текстов Андреаса Кальвоса. On February 14, 2023, the outstanding researcher of Greek literature, Hellenist Mario Vitti died in Rome. He dedicated his long life to Greek literature and was a close friend of Odysseas Elytis, Mikis Theodorakis, Yorgos Seferis, Manos Hadzidakis and many other prominent Greek writers, actors, musicians and poets. Thanks to him, Greek literature experienced a rebirth: he discovered and published the oldest text of modern Greek theater (Dialogue by Nikolaos Sofianos), the religious drama of Teodoro Moncelese from Zakynthos, Eugena (Venice, 1646), and two volumes of texts by Andreas Kalvos.

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Ergasheva, Oydinoy Marat Qizi. "THE IMPORTANCE OF GENDER EQUALITY IN MAINTAINING SOCIAL JUSTICE AND WOMEN’S CONTRIBUTION TO THE DEVELOPMENT OF SOCIETIES." CURRENT RESEARCH JOURNAL OF HISTORY 02, no. 06 (2021): 49–52. http://dx.doi.org/10.37547/history-crjh-02-06-11.

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Although we have information about the unique participation of women in politics in every period of human history, it is the truth that the right and opportunity to do so in public administration does not apply to every woman in society and is not guaranteed by legal norms. Ancient Greek poets, such as Socrates, Aristotle, and Plato, referred to the city as the best state in which equality and justice reigned in society. as the best laws, they also put forward laws that guaranteed everyone equality. Applying the idea of equality between men and women in his writings, the Greek scholar Antifont stated, "Nature creates all: women and men equally, but people develop laws that make people unequal." Abu Nasr al-Farabi, one of the encyclopedic scholars of the East, in his City of Noble People, described a state that ruled equality as a state that aspired to virtue recognized as entitled.

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Abdullah, Shwana Noori. "(The concept of nihilism and its reflection in Kurdish poetry of Sorani dialect)( Hashim Saraj )for example." JOURNAL OF LANGUAGE STUDIES 8, no. 3 (2024): 197–218. http://dx.doi.org/10.25130/lang.8.3.10.

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The current research is an attempt to interpret the concept of nihilism from the ancient Greek era to the postmodern era from different perspectives. The study sheds light on nihilism from the perspectives of ancient Greek philosophy and the western world in general and the reflections of modern philosopher Schopenhauer on this topic. The research describes and explains the reflection of nihilism in kurdish classic, modern, and postmodern poetry. The purpose of the study is also to show the differences and similarities of nihilism from Western perspective to the Middle Eastern perspective by referencing several poets. It is a fact that this context is more influenced by social norms, religious beliefs, and culture. The study also analyses the poems of Hashim Saraj as a modern poet. As a poet, Saraj is influenced by the intellectual waves of enlightenment movement. Although he has a large number of poems about pessimism and despair, he could not neglect the impacts of his culture in his poetry. However, Sarah's pessimism is to reflect a positive aspect rather than a negative one.

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Zakai, Orian. "Paths of Honey: Jonathan Son of Saul in Hebrew Women’s Queer Poetics." Tulsa Studies in Women's Literature 43, no. 1 (2024): 69–90. http://dx.doi.org/10.1353/tsw.2024.a931678.

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ABSTRACT: This article charts a poetic conversation between three Hebrew women poets, Rachel Bluwstein, Yona Wallach and Sivan Beskin, surrounding the biblical figure of Jonathan, son of Saul. It traces the way in which the women poets reclaim and revise the figure of Jonathan against the grain of an androcentric intertextual tradition, in which the male-bond appears as a metonym of male superiority. The three poets’ shared fascination with Jonathan transposes the biblical intertext from the realm of male-exclusivity into a much more open field of meaning featuring gender-fluidity, pleasure, trauma, and queer temporality. The article reads the poetic conversation surrounding the queer figure of Jonathan as a cross-generational collaborative endeavor of queer appropriation and reconstruction. Sustaining this collaboration is an intertextual network that spans beyond the three poets and the biblical text, encompassing a wide range of multilingual classic and modern cultural intertexts, through which various queer cultural contents interact with each other ultimately confounding national and heteronormative time and space.

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Pettit, Rhonda, and Cheryl Walker. "Masks Outrageous and Austere: Culture, Psyche, and Persona in Modern Women Poets." Tulsa Studies in Women's Literature 12, no. 2 (1993): 363. http://dx.doi.org/10.2307/463942.

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Morris, Adalaide, and Cheryl Walker. "Masks Outrageous and Austere: Culture, Psyche, and Persona in Modern Women Poets." American Literature 65, no. 4 (1993): 822. http://dx.doi.org/10.2307/2927329.

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Lee-Lenfield, Spencer. "Literary Translation as Cultural Affiliation: The Case of Victorian Poetry and Classical Verse Composition." PMLA/Publications of the Modern Language Association of America 138, no. 3 (2023): 490–505. http://dx.doi.org/10.1632/s0030812923000378.

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AbstractThe ability to translate English poetry into ancient Greek and Latin sat at the pinnacle of a Victorian classical education, but we rarely read the resulting Greek and Latin poetry as serious literature. Yet this corpus documents an important, culturally prestigious poetic practice that entrenched a narrative of cultural descent from Greece and Rome, affiliating modern British poetry with classical antecedents. Moreover, it taught generations of schoolboys (and some noteworthy schoolgirls) interpretive methods for understanding English poetry, thereby providing an arena in which the canon of English poets coalesced before the institutionalization of English literature in universities. I re-create the interpretive moves and cultural affiliations enacted through verse composition in the Victorian period, and I analyze particular verse compositions that shed new light on the classicizing context informing contemporary poetic creation.

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Lowe, Dunstan. "WOMEN SCORNED: A NEW STICHOMETRIC ALLUSION IN THE AENEID." Classical Quarterly 63, no. 1 (2013): 442–45. http://dx.doi.org/10.1017/s0009838812000742.

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Intense scrutiny can raise chimaeras, and Virgil is the most scrutinized of Roman poets, but he may have engineered coincidences in line number (‘stichometric allusions’) between certain of his verses and their Greek models. A handful of potential examples have now accumulated. Scholars have detected Virgilian citations of Homer, Callimachus and Aratus in this manner, as well as intratextual allusions by both Virgil and Ovid, and references to Virgil's works by later Roman poets using the same technique. (For present purposes I disregard the separate, though related, phenomenon of corresponding numbers of lines in parallel passages: G. Knauer, Die Aeneis und Homer (Göttingen, 1964) suggests several examples of such correspondences between Homer and Virgil, especially in speeches. Another purely formal mode of allusion faintly present in Roman poetry is homophonic translation (the technique which Louis Zukofsky's 1969 translations of Catullus pursue in extenso); thus Virgil's fagus, beech, corresponds with Theocritus' phagos, oak.) If genuine, the phenomenon lacks any consistent method or regular pattern (and the degree of plausibility varies); if genuine, it is very rare, even if accidents in textual transmission could have obscured some examples; if genuine, it probably originated in the Hellenistic period, although such a case has yet to be made. Virgil presently seems the earliest and most copious practitioner of stichometric allusion. A previously undetected example in the Aeneid is proposed below.

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Georganta, Athina. "The Romantic and British Sublime in Kalvos' Odes." Classica Cracoviensia 22 (October 29, 2020): 197–234. http://dx.doi.org/10.12797/cc.20.2019.22.08.

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The Romantic and British Sublime in Kalvos' Odes In terms of the sublimity of his verses, the Modern Greek poet Andreas Kalvos (1792–1869) can be compared to the greatest poets of Modern European Literature. He rose to the peak of the Modern Greek Parnassus thanks to two short poetry collections. The first series of his Odes was published in Geneva in 1824 and the second one in Paris in 1826. Earlier, from 1816 to 1820, he had lived in London, during the full development of British Romantic lyricism. The poet’s fame, his enduring influence, and the constantly renewed interest in his poetry are due in large part to the great achievement of sublimity in his Odes. At present, the sublime is considered a critical concept with which to approach the works of the Romantic canon. In the following study, through the microscopic analysis of a Kalvian image, I intend to firstly reveal the dynamics of the particular British sublime. At the same time, I will trace the dedication of the Romantics to the theory of Longinus and the creative revival of the longinian sublime in Kalvos’ Odes.

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Menelaou, Iakovos. "‘My Verses Are the Children of My Blood’: Autobiography in the Poetry of Kostas Karyotakis." International Journal of Comparative Literature and Translation Studies 5, no. 3 (2017): 5. http://dx.doi.org/10.7575/aiac.ijclts.v.5n.3p.5.

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Kostas Karyotakis (1896-1928) is one of the most important Modern Greek poets. His poetry not only influenced several other poets, but it also attracted critics’ interest. Former critics dealt with Karyotakis’ poetry and spoke about the relation between life and work in his poems. Nevertheless, they did not analyse extensively certain poems, which reflect clearly the poet’s personal experience. In addition, other critics attempted to analyse and see Karyotakis’ poems as independent entities, isolated from the poet’s life. While the results of such an approach were interesting, indeed, in fact they do not show the real meaning of the poems. Although such theories are useful and productive, when reading poets who made their life an important part of their poetry, biography is a key element for the interpretation of their works; thus a New Historicism approach is preferred. My purpose in this paper is to show the close relation between life and work in Karyotakis’ poetry through a parallel focus on life and poetry. Going beyond the results of previous critique, I intend to show how Karyotakis’ poetry alludes to his personal experience.

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Janowska, Karolina. "Amor udrí – la poesía cortesana árabe en la Península Ibérica." Forum Filologiczne Ateneum, no. 1(7)2019 (December 31, 2019): 323–42. http://dx.doi.org/10.36575/2353-2912/1(7)2019.323.

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The poetry of Arab-Andalusian poets is a bridge between Eastern and Western culture. Its roots date back to the sixth century, when the first Bedouin songs resounded in the limitless areas of the Arabian desert. His echoes resounded in the poetry of Provençal troubadours. Traces of this poetry can be found in the works of Renaissance poets, including Petrarc. Elements of Andalusian poetry were also visible in the poetry of the Spanish court since the 16th century. The characteristic poetic forms still appeared in 20th century poetry – at least one of the most outstanding Spanish poets, Federico Garcia Llorca, reached for it. Its greatest prosperity was in the 10th andd 11th centuries, and among the outstanding Andalusian poets were both men and women. The main motive of this poetry was unfulfilled love, which remained the dominant element of modern European court poetry.

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Calubayan, Francis S., and Concepcion Y. Raymundo. "Jouissance: Uncovering the Ideological Positions in the Selected Poems of Contemporary Filipino Women Poets Through M.A.K. Halliday’s Transitivity Analysis." International Journal of Humanities and Social Sciences 14, no. 1 (2022): 1–12. http://dx.doi.org/10.26803/ijhss.14.1.1.

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This paper explores how stylistics link literature and linguistics to uncover the ideological positions in the poems of contemporary Filipino women poets. Claims about women in the past have been crucial because of existing feminist ideologies. The interest in gender and empowerment is an issue today as some women poets and women in modern times have been empowered in dealing with men, in particular. Through stylistics, specifically Halliday’s transitivity analysis, an interpretation of women’s consciousness and experiences became accessible. Directing at how contemporary women poets portray their women-personae, this paper investigated these personae through thematic and critical analysis, alongside Halliday’s transitivity analysis of the poems “Fear”, by Sarah Gambito, “Father and I”, by Maningning Miclat, and “Tribeswoman”, by Marra PL. Lanot. The results revealed that the active actors in the poems are women as persona. Out of the identified processes, 12 are categorized as material processes, three processes each for mental, behavioral, and verbalization, and nine are relational processes. Also, it is uncovered that women in the contemporary period are bound by their shared experiences (jouissance); are awakened; demonstrate character strength; fight back against patriarchy’s oppressive dominance; speak their own language; construct their own society; and create their new identity. Using the transitivity framework as a tool for interpreting literary texts can benefit literature readers not only in uncovering the underlying ideologies in literary texts, but also in making literature reading practical and pleasurable (cf Dulce et Utile).

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Obed, Rana Jabir. "A Poetic Re-Telling of the Orphic Myth: A Political Study of Denise Levertov’s “A Tree Telling of Orpheus”." Journal of Social Sciences Research, SPI 1 (November 15, 2018): 331–35. http://dx.doi.org/10.32861/jssr.spi1.331.335.

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Modern poets, such as William Butler Yeats, Ezra Pound, William Carlos Williams, Edna St. Vincent Millay, and Rainer Maria Rilke, have used classical myths in a modern context to explain modern issues and to feed up from the rich material of Greek and Roman mythology. Denise Levertov takes the right of all authors to knock into the heart of Western and classical traditions and to reinvent them for her time. Though Levertov’s early poetry expresses her appreciation of nature and of the epiphanic moments of daily life, during the late 1960s her work became progressively concerned with political and social issues. She conveys her offense in poems of distress over Vietnam and of commonality with the alternative culture that opposed the war. Levertov insists upon the connectedness of public and private spheres. The Vietnam War was a major preoccupation of the youth movement of the 1960s, whose protests against it caused the occasional disruption of Levertov’s “A Tree Telling of Orpheus.” This paper aims to retell the Greek myth of Orpheus and his famous song of perception and revitalization, which includes all the aspects of life and rebirth, with a modern revision. Levertov compares the awaking trees captivated by Orpheus’s song along with the awakening of the revolutionary consciousness that lays at the heart of` the countercultural movement of the 1960s.

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Drumsta, Emily. "Mourning Women." Journal of World Literature 8, no. 1 (2023): 123–44. http://dx.doi.org/10.1163/24056480-00801002.

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Abstract This article examines two modern women poets’ ambivalent engagements with Arabic elegy: the Iraqi Nazik al-Malaʾikah and the Egyptian Iman Mersal. Although they wrote in different national contexts and historical eras, with utterly distinct political and aesthetic projects, a close look at their verse reveals a specter of the bereft-yet-eloquent “ancient Arab woman” haunting their respective poetic voices. Looking in particular at a conventionally metered and rhymed ode like al-Malaʾikah’s “To My Late Aunt” (Ila ʿAmmati al-Rahilah) and at the quasi-elegiac threads woven through the prose poems in Mersal’s 1992 collection, A Dark Corridor Suitable for Learning How to Dance (Mamarr Muʾtam Yuslah Li-Taʿallum al-Raqs) allows us to see how durable and omnipresent the woman-elegy association is in Arabic – surfacing everywhere from the heyday of Iraqi modernism, with its revaluation of conventional metrical forms, all the way through the unmetered, unrhymed experimentations of the “nineties generation” in Egypt.

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Håland, Evy Johanne. "Senses and Gender in Modern and Ancient Greek Healing Rituals." Historical Reflections/Réflexions Historiques 48, no. 1 (2022): 95–121. http://dx.doi.org/10.3167/hrrh.2022.480105.

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This article presents ethnographic fieldwork combined with studies of historical sources to explore modern and ancient healing rituals in Greece. It focuses on the importance of the senses, especially smell, taste, and sight, in relation to gendered practices and beliefs about healing. In Greece, healing rituals are generally connected with the domestic sphere where women are the dominant agents of power. Based upon the author’s fieldwork, the article presents the “female sphere” from the perspectives of female informants. It seeks to deconstruct male perceptions of women and their magic healing rituals that appear in ancient sources produced by men, by a comparison with the modern material.

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Geropeppa, Maria, Dimitris Altis, Nikos Dedes, and Marianna Karamanou. "The first women physicians in the history of modern Greek medicine." Acta medico-historica Adriatica 17, no. 1 (2019): 55–64. http://dx.doi.org/10.31952/amha.17.1.3.

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In an era when medicine in Greece was dominated by men, at the end of the 19th and during the first decades of 20th century, two women, Maria Kalapothakes [in Greek: Μαρία Καλαποθάκη] (1859-1941) and Angélique Panayotatou [in Greek: Αγγελική Παναγιωτάτου] (1878-1954), managed to stand out and contribute to the evolution of medicine. Maria Kalapothakes received medical education in Paris and then she returned to Greece. Not only did she contribute to several fields of medicine, but also exercised charity and even undertook the task of treating war victims on many occasions. Angélique Panayotatou studied medicine at the University of Athens and then moved to Alexandria in Egypt, where she specialized in tropical medicine and also engaged in literature. Panayotatou became the first female professor of the Medical School of Athens and the first female member of the Academy of Athens. In recognition for their contributions, Kalapothakes and Panayotatou received medals and honors for both their scientific work and social engagement.

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Hazel, Ruth. "Unsuitable for Women and Children?: Greek Tragedies in Modern British Theaters." Syllecta Classica 10, no. 1 (1999): 259–77. http://dx.doi.org/10.1353/syl.1999.0006.

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