Bibliographies thématiques / Poets, Welsh – 20th century – Biography

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Auteur : Grafiati
Publié le 25 juillet 2024

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Articles de revues sur le sujet "Poets, Welsh – 20th century – Biography"

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Kerimov, Ismail A. « Literary and cultural character of Cemil Seitabla Kermenchikli (1891–1942) ». Crimean Historical Review 10, no 1 (3 juillet 2023) : 97–105. http://dx.doi.org/10.22378/kio.2023.1.97-105.

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Cemil Kermenchili is one of the brightestCrimean Tatar poets of the 20th century, who played significant role in the development of the national poetic word in Crimea. In the article, on the basis of new materials recently found in the central and in the repositories of regional libraries in Russia, new facets of his work are revealed and many refinements are made to the development of the author`s scientific biography. Attention is paid to the rich journalistic component of his work. The appendix to the article contains unknown poetic works of the author relating to the period of the First World War.
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Markova, E. A. « THE TRADITION OF ENGLISH-LANGUAGE ELEGY AND J. BRODSKY’s POETRY ». Bulletin of Udmurt University. Series History and Philology 29, no 6 (25 décembre 2019) : 1030–36. http://dx.doi.org/10.35634/2412-9534-2019-29-6-1030-1036.

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In the present article J. Brodsky’s poetry is analyzed in the context of a particular elegiac tradition associated with some key figures of English-language poetry of the mid-to-late 20th century. These are W.B. Yeats, T.S. Eliot, W.H. Auden and S. Heaney. The aim of the article is to examine the continuity of the 20th century English poetry by the example of a sequence of dedication poems (elegies), in which each subsequent poem alludes to the previous one(s). The comparative method allows us not only to show the features of modern English-language poetry (for instance, the link between elegiac mood and reflection on the purpose of poetry), but also to analyze the influence of poets’ interpersonal contacts on their works. Special emphasis is put on J. Brodsky’s poetry as it may seem extraneous to the English-language tradition in question. The analysis of Brodsky’s personal and creative biography, his particular dedication poems and essays allows us to find the links between the Russian poet and the literary tradition of Great Britain, Ireland and the USA.
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Al-Rubaiee, Assist Instructor : Ahmed Abdulrazzaq. « The Creativity Literary of Gongora ». ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 222, no 1 (5 novembre 2018) : 1–12. http://dx.doi.org/10.36473/ujhss.v222i1.383.

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Luis de Góngora y Argote, (1561-1627), Spanish poet, is one of the most influential Spanish poets of his era. His Baroque, convoluted style, known as Gongorism was so exaggerated by less gifted imitators that his reputation suffered after his death until it underwent a revaluation in the 20th century.. In his literary works has expressed very well his feelings and emotions perfectly, especially the thought of his time and the themes of criticism and disappointment of the Baroque. His poetic work breaks molds and inaugurates a new language whose virtuality, still unsurpassed, continues to mark the course of contemporary poetry. This investigation is divided in two chapters, the first presnte the biography and style of Gongora besides its works that comprise the satire. The second chapter is concerned Cultism and gonorismo, besides the Architecture of the sonnets of Góngora
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Soini, Helena. « The motif of the way in the work of the poets of Finland in the 20th century ». Scandinavian Philology 21, no 2 (2023) : 374–94. http://dx.doi.org/10.21638/11701/spbu21.2023.211.

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The path motif is one of the major dominants in the works of prominent 20thcentury poetsof Finland, both Finnish and Swedishnative speakers. Understanding life as a road is what Eino Leino shares in common with Uuno Kailas, Paavo Haavikko, Risto Ahti, Heli Laaksonen, Edith Södergran, and Ralf Nordgren. Their position coincides with the creative concepts of Alexander Blok and the ideas of pilgrimage in European literature and in Kalevalian poetry. 20th-century Finnish poetry falls into all- European line. But in Finnish poetry, the path motif has existed since the epic songs: Lemminkäinen’s escape, folklore heroes’ journey in search of a bride, and Kalevalians’ quest to recover the Sampo. Furthermore, travelers’ purposes ranged from noble and holy to everyday and mundane. In the early 20th century, Finnish neo-Romanticists, referring to the history of national culture, travelled frequently to Finnish and Russian Karelia. Since the 1920s, poets have been referring to the road image as the “holy road of calling” (Uuno Kailas) a singer has no right to turn away from. In post-World War II poetry, moving in a circle or “back and forth” (Risto Ahti) is, in any case, moving forward. The important thing is not to get stranded, not to run into a wall. The path dominant becomes deeply intertwined with the image of a home, as the path motif does with the image of time, life cycle, and biography. A real, geographical, biographical, and spiritual path become one, and on that path high is combined with low or even vile. In modern Finnish poetry, the path theme found a new life with different, sometimes not matching nuances, while still remaining relevant and arguably primary.
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PASTERNAK, Ekaterina. « “CHTO ZH ! STAKAN DERZHA VINA // VYP’IEM ZA...” : ABOUT DERZHAVIN IN RUSSIAN POETRY ». Lomonosov Journal of Philology, no 6, 2023 (17 décembre 2023) : 161–70. http://dx.doi.org/10.55959/msu0130-0075-9-2023-47-06-14.

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The article deals with mentions of the name of Gavriil Derzhavin in Russian poetry in 1790-2023. In the poems, the singer of Felitsa appears not only as an outstanding original poet, but also as a lover of truth, a statesman, a representative of the Catherine the Great era, and finally, a friend and acquaintance of his peers and the idol of the young Pushkin and Delwig. In later texts, the image of the real Derzhavin, as we know him from sources, including autobiographical Notes, becomes more and more blurred. Some hypostases of Derzhavin attract poets more often (poet and statesman), others are much less common (a friend of some of his contemporaries), some are not mentioned at all (literary theorist or the author of the mentioned Notes). Such a choice also influences the formation of the image of the poet among the general readers (for example, in the 20th century, one of the favorite plots is the description of the meeting between Derzhavin and Pushkin at the Lyceum, which is clearly related to the importance of this episode in Pushkin’s biography, but not in that of “old Derzhavin”), and among other poets. Avant-garde poets represent Derzhavin in their texts in their own way. Very few poets pay attention to the formal features of Derzhavin’s poems. Sometimes voluminous quotes from his work are included in poems by later authors (for example, by K. Ryleev and K. Simonov). A new poem by German Lukomnikov, lines from which are included in the title of this work, is considered separately: Derzhavin’s name is not mentioned in the text, the poet’s unspoken surname is encrypted in a compound rhyme.
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Abramova, Veronika I. « F.M. Dostoevky’s image in the Russian lyrics of the 19th – 20th centuries ». Vestnik of Kostroma State University 28, no 2 (12 mai 2022) : 147–54. http://dx.doi.org/10.34216/1998-0817-2022-28-2-147-154.

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The subject of research in this article includes Fyodor Dostoevsky’s image created in works of Russian 19th – 20th century poets (Konstantin Sluchevsky, Dmitry Merezhkovsky, Valery Bryusov, Sasha Chorny, Max Voloshin, Georgy Ivanov, Vladimir Mayakovsky, Nikolai Aseyev, Pavel Antokolsky, Boris Slutsky, Мikhail A. Svetlov, Yevgeny Rein, Yevgeny Yevtushenko, etc.). The genius image has not been examined by scientists in the aforesaid contexts so far. This determines the novelty of this research. Analysis of lyric texts, in which Fyodor Dostoevsky is mentioned, has allowed to identify the aspects of perception of the writer’s personality and works significant for the Russian culture, and to analyse the surname of Dostoevsky as a linguocultureme. The author set an aim to analyse the writer’s image components, to reveal their causes, to separate the stereotypic from the individual. Intertextual analysis, biographic, comparative, hermeneutical, imagological methods and continuous sampling are used in the work. As a result of the research the author comes to the following conclusions; Fyodor Dostoevsky’s image in the Russian lyrics of the 19th – 20th centuries includes the following elements: allusions to his works, references to the writer’s biography, inclusion of Fyodor Dostoevsky into a number of other Russian writers and his perception in the worldwide context, general description of his creative work and stylistic features. Specific traits of Fyodor Dostoevsky’s image in the Russian lyrics include usage of the hodonym Nevsky and epithet резкий (sharp, strongly-worded) as rhymes to the writer’s surname. It is also noteworthy that Fyodor Dostoevsky’s surname is used as a qualitative adjective in some contexts and describes properties of other images.
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Repina, Anastasija S. « Folk Adaptation of the Sentimental Romance by M. V. Zubova “I`m Going to the Desert ». Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 68 (2023) : 181–89. http://dx.doi.org/10.37816/2073-9567-2023-68-181-189.

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The paper presents the collection and analysis of the folklore adaptations of Maria Zubova's sentimental romance “I am going away into the desert” in the 19th and 20th centuries. The transformation of the author's work in folk song and theatre culture demonstrates a complex interaction between folklore and book poetry. The biography of the author, a representative of the artistic milieu and one of the few female poets of the late 18th century, is reflected in some journal sources (“Materials for the History of Russian Female Authors” by M. N. Makarov) and fiction sources (“Russian Women of New Times” by D. L. Mordovtsev) which confirm possible authorship of the poetess. The study highlights stylistic features of love, spiritual and prison lyrics, as well as the work of folk theatre, which uses the text under study. Women's love songs, including choral songs, vary the motif of infidelity, transform the spiritual meaning of the image of the desert into a symbol of conjugal loneliness. In an Old Believer environment, the work was included in spiritual songs developing a motif of renunciation of the secular life in the wilderness. Researcher P. A. Bessonov discusses the devastating impact of “pseudo-folk” song on Russian spiritual culture. Echoes of the sentimental romance may also be found in the prison lyrics of the 20th century collected from the Siberian narrator I. K. Beketov. The final part of the study deals with the folk drama “King Maximilian”, where the cited text appears as a precedent for the Russian culture, which is proved later by its active use in numerous works of fiction.
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Kovtun, Natalia, et Maria Larina. « Pushkin’s Myth in the Novel "The Slynx" by T. Tolstaya : the Trickster, Buratino and “Our Be All” ». Umjetnost riječi 67, no 2 (2023) : 213–30. http://dx.doi.org/10.22210/ur.2023.067.2/05.

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The article analyzes Pushkin’s myth as presented in T. Tolstaya’s "The Slynx" (2000), its structure, main components, character specifics, intertextual connections to Russian classics and the author’s own works. The novel enhances the literary tradition of the 20th century and establishes a new artistic paradigm that complements and reinterprets the entire Pushkin mythology. The essential foundations of the Pushkin myth in Tolstaya’s texts were the culture of the Silver Age and Russian traditionalism, which showed interest in the archaic. The author adeptly blends factual and non-factual elements of the poet’s biography, including lines from his texts and allusions, and Pushkin becomes the central reference point justifying the post-apocalyptic city-world. This is achieved by analogy with the Book of Genesis and resembles a primer filled with puppet figures and farce. Despite the various artistic depictions of the poet’s ironic and trickster-like qualities, the image still maintains a sense of mystery that harkens back to ancient times. In the novel, the image of the poet serves as the foundation of the world, representing a sacred point with multiple layers of meaning that ultimately shape the course of history and culture. In her work, T. Tolstaya excludes subjective evaluations and focuses on the archaic need for oral tradition. She conveys the voices of poets by rising above written symbolism, images, and texts.
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Koroleva, Inna A. « To the anniversary of A.T. Tvardovsky : onomastics of the early poem “Exordium” (“The Journey of Vasily Petrov”) ». Neophilology, no 22 (2020) : 271–79. http://dx.doi.org/10.20310/2587-6953-2020-6-22-271-279.

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We consider the system of proper names in the early little-known poem by A.T. Tvardovsky “Exordium” (secondary title “The Journey of Vasily Petrov”), which was written by a young poet as preparation for the creation of the famous “The Land of Muravia”, which brought him all-Russian fame. It is proved that the text published in the journal “Nastupleniye” in 1932 is an authorial poetic text, revealing the difficulties of the first time of collectivization. It is shown how the great master of words worked on naming characters, expressing with the help of onomastic vocabulary his assessment of the characters and events. We reveal the nomination motives, which trace the role of onyms in the implementation of the ideological and thematic plan of the work. Using the analysis of onomastic units and their semantic environment, it is shown how A.T. Tvardovsky developed methods of researching proper names in his creative laboratory, which became a kind of master class for many representatives of the Smolensk Poetry School, highlighted by the famous Soviet critic A.V. Makedonov back in 1960. The principle of biography and chronotopy is substantiated, in the light of which all the work of the great poet developed further. Conclusions are made about the significance of the early poem in the context of further work with proper names. The material of this work deepens the study of the early poetic work of A.T. Tvardovsky, one of the great Russian poets of the 20th century.
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Lesnaya, Galina M. « “Society Did not Notice Her, Passed Her by” : from the History of the Study of “Exotic” Plots in the Works of Lesya Ukrainka ». Studia Litterarum 7, no 4 (2022) : 232–53. http://dx.doi.org/10.22455/2500-4247-2022-7-4-232-253.

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The article examines the initial stage in the study of Lesya Ukrainka’s works, where most of the plots and images of her poetry were perceived by contemporaries and the next generation of readers as “exotic.” Not understood by contemporaries, the legacy of Lesya Ukrainka turned out to be in demand in the 1920s, at that time the main directions of research of her work were laid. The main merit in popularizing the poetry of Lesya Ukrainka belongs to a group of “neoclassical” poets and literary critics close to them, who taught readers to “love and understand” her works with “exotic” plots. As a circumstance that influenced the specific imagery of Lesya Ukrainka’s poetry, researchers of that time highlighted the writer’s immersion in world literature. For the second time, a deep interest in the work of Lesya Ukrainka arose at the turn of the 20–21st centuries in connection with the publication and study of the heritage of Ukrainian modernists of the early 20th century. Then some facts of her biography were rediscovered and many aspects of her legacy were rethought. New facets of the writer’s works allow us to explore the “Complete Academic Collection of Works” by Lesya Ukrainka, published in 2021, and dedicated to the 150th anniversary of her birth. It provides an opportunity to analyze the process of her becoming and formation as a creative personality, which took place under the influence of the environment, upbringing and work on literary translations.
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Thèses sur le sujet "Poets, Welsh – 20th century – Biography"

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Slaymaker-Jones, Lois. « Dylanwad gwaith Waldo Williams a'r ymateb iddo er 1971 ». Thesis, Swansea University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678532.

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Dowd, Ann Karen. « Elizabeth Bishop : her Nova Scotian origins and the portable culture of home ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31238427.

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Hacksley, Helen Elizabeth. « An edition of a selection of poems by John Randal Bradburne ». Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1008069.

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This thesis examines the life and work of John Randal Bradburne (1921-1979), poet, mystic, musician, cenobite, sometime soldier, pilgrim and wanderer. His religious experiences, particularly, gave rise to a vast corpus of verse, virtually all of it as yet unpublished. This study provides a brief overview of his life, and a critical and textual introduction to a sample selection of poems entitled Bradburne 's Assays. The biography has been compiled from published and unpublished sources, as well as from personal interviews and correspondence with Bradburne's friends, relatives and associates in South Africa, Zimbabwe and the United Kingdom. Chief among these are two unpublished biographies by Judith, Countess of List owe I. Bradburne's extant corpus consists of over five thousand titled pieces of verse, ranging from brieflyrics to verses hundreds of pages long. The forty-seven poems comprising Bradburne 's Assays, published here for the first time, were selected and arranged by Bradburne himself in a single sequence. A unique collection in his corpus, they are unified by their common sonnet form and their contemplative approach to secular and religious experiences. An accurate reading text of this set of poems, transcribed from Bradburne's typescripts, currently held at Holyhead in Wales, is provided. These typescripts have been electronically scanned and are presented in the Appendix. Editorial intrusion, which has been kept to a minimum, is recorded in the critical apparatus beneath the text of the poems. Since all the poems in this ed ition are presented here for the first time, each is accompanied by detailed commentary on their form and content. Where necessary, interpretations of obscure passages have been suggested. A general index to the Introduction and Commentary is supplied, along with indexes of first lines and titles of the poems. It is hoped that this thesis will stimulate further study of the life and work of a unique and intriguing figure.
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Cooley, Shevaun. « Homing : poetry ; &, An essay on the poetic leap in the late work of R.S. Thomas ». Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/850.

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Homing, as a collection, speaks to the capacity and yearning to navigate our way towards something we might call home. In animal behaviour, this seems like an instinct, hard-wired to the body. It is something I envy. By comparison, the instinct, in human behaviour, feels muffled and complicated. These poems move between two places in which I feel ‘at home’, whatever that means: the south-west of Western Australia, where I was born and raised, and the north-west of Wales, where I lived for a time, and find myself returning to, drawn not by blood, but by longing, and a deep affinity for the landscape. Without any real intention, in the writing of the poems I found I had a lot to say about rivers. In particular, I found myself repeating images of drifting and gripping, as if these two, opposing, compulsions also said something about how we try to find our way home. The poet Mark Doty speaks of a “fierce internal debate between staying moored and drifting away, between holdings and letting go.”1 It is as if the river, too, knows something of how to arrive, and yet its movement is much like that of these poems, pulled by new hungers, at times distracted, or slowed, or apparently lost. Drift. Grip. Perhaps it is, after all, another kind of instinct. In the critical essay that accompanies the poems, I look at the poetic leap in the work of the Welsh poet and priest R.S. Thomas. I was initially compelled by a strange parallel between an actual physical leap of escape, enacted by Thomas, who leapt a graveyard wall in order to avoid speaking to the mourners to whom he had just ministered a funeral service, and the leap found in Italo Calvino’s essay on lightness. This leap is also one of escape, in which the poet-philosopher Guido Calvcanti places a hand on a grave and leaps lightly over it, in order to elude the taunts of some local louts. Calvino calls this act, “an auspicious image for the new millennium.”2 In poetry we find the leap in the act of making metaphor, in enjambment, even in a kind of concentration. In Thomas’s work, the leap is focused in the form of the raptor; a presence repeated through his oeuvre, carrying with it many of his chief concerns, about God, love, and the inherent ferocity of the natural world. In a close reading of those poems, and with the aid of thinkers as disparate as Helene Cixous, Roland Barthes, Simone Weil and Edward Said, this essay is an attempt to trace the ways the leap works in Thomas’s poetry. It is also an attempt to analyse and understand the way poetry itself works to move the reader, in all senses of the word. 1Doty, M. (2001). Still life with oysters and lemon. Boston: Beacon Press, p.7 2Calvino, I. (2009). Six memos for the new millennium. (P. Creag, Trans.) London: Penguin Classics, p.12
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O'Connor, Clémence. « 'Pour garder l'impossible intact' : the poetry of Heather Dohollau ». Thesis, St Andrews, 2009. http://hdl.handle.net/10023/791.

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Livres sur le sujet "Poets, Welsh – 20th century – Biography"

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Farjeon, Eleanor. Edward Thomas : The last four years. Thrupp, Gloucestershire : Sutton Pub., 1997.

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1953-, Kerr Donald, et University of Otago Library, dir. Enduring legacy : Charles Brasch, patron, poet & collector. Dunedin, N.Z : University of Otago Press in association with University of Otago Library, 2003.

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Korada, Suryanarayana, Satapathy Harekrishna 1956- et Rāṣṭrīyasaṃskr̥tavidyāpīṭhaṃ Tirupati, dir. 20th century Sanskrit poets and their contribution. Tirupati : Rashtriya Sanskrit Vidyapeetha, 2010.

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Dannie, Abse. Goodbye, twentieth century : An autobiography. London : Pimlico, 2001.

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Ellen, Snodgrass Mary. CliffsNotes American Poets of the 20th Century. New York : John Wiley & Sons, Ltd., 2000.

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Rice, Nelljean McConeghey. A new matrix for modernism : A study of the lives and poetry of Charlotte Mew and Anna Wickham. New York : Routledge, 2003.

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A new matrix for modernism : A study of the lives and poetry of Charlotte Mew and Anna Wickham. New York : Routledge, 2003.

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Winter music : A life of Jessica Powers : poet, nun, woman of the 20th century. Kansas City, MO : Sheed & Ward, 1992.

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Berberova, Nina Nikolaevna. Aleksandr Blok i ego vremi͡a︡ : Biografii͡a︡. Moskva : Izd-vo Nezavisimai͡a︡ gazeta, 1999.

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Dānā-yi rāz : Savāniḥ Ḥakīmulummat Ḥaz̤rat ʻAllāmah Muḥammad Iqbāl. Lāhaur : Iqbāl Akādmī Pākistān, 1988.

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