Letteratura scientifica selezionata sul tema "Poetry in English, 1945- - Texts"
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Articoli di riviste sul tema "Poetry in English, 1945- - Texts"
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Calderón Farfán, Alí. "Futuro pasado. la evolución del concepto Poesía en Octavio Paz". Studia Universitatis Babeș-Bolyai Philologia 66, n. 4 (17 dicembre 2021): 173–86. http://dx.doi.org/10.24193/subbphilo.2021.4.11.
Testo completoAbstract (sommario):
Future Past. The Evolution of the Concept of Poetry in Octavio Paz. Octavio Paz (1914) is a poet writing in Spanish whose aesthetic ideas have built a vision of relevant poetry for at least three traditions: poetry in French, English and, of course, Spanish. This study will analyze, from the metalinguistic perspective proposed by Reinhart Koselleck, how the concept of “poetry” evolved in the thought of the Mexican Nobel Prize winner. Framed by his tradition, by his space of experience, Octavio Paz wrote works that have been instrumental in understanding and valuing poetry in the twentieth century. From “Poesía de soledad y poesía de communion” (1943) to La otra voz, Poesía y fin de siglo (1990), Paz synthesized the aesthetic ideas of his time in El arco y la lira (1956), rethought the lyrical exercise in “Los signos de rotación” (1956), modified his poetic in the prologue to Poesía en movimiento and made his position explicit in Los hijos del limo and his thoughts on Lévi-Strauss and Marcel Duchamp. By focusing on these texts, as well as on a corpus of conferences, interviews, correspondence and even poetry recitals, this study explores the evolution of poetic thought and the horizon of expectations that the work of the last Spanish-speaking poet who received the Nobel Prize opens for us. Keywords: Octavio Paz, style, poetics, post-utopian time, semantics of concepts
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Van der Mescht, H. "Die agtergrond en ontstaansgeskiedenis van Hubert du Plessis se Duitse en Franse liedere". Literator 24, n. 2 (1 agosto 2003): 125–44. http://dx.doi.org/10.4102/lit.v24i2.294.
Testo completoAbstract (sommario):
The background and genesis of Hubert du Plessis’s German and French songs On 7 June 2002 the South African composer Hubert du Plessis turned 80. Among his 77 art songs there are (apart from songs in Afrikaans, Dutch and English) eleven on German texts and one on a French text. The aim of this article is to investigate the genesis of these German and French songs. Du Plessis was influenced by his second cousin, the Afrikaans poet Barend J. Toerien, who lived in the same residence as Du Plessis at the University of Stellenbosch where they studied in the early 1940s. Toerien introduced Du Plessis to the work of Rilke, of whose poetry Du Plessis later set to music “Herbst”. Du Plessis’s ten Morgenstern songs were inspired by a chance gift of a Morgenstern volume from Susanne Stark-Schwietering, a student in Grahamstown where Du Plessis taught at Rhodes University College (1944-1951). During his studies in London (1951-1954) Du Plessis also received a volume of Morgenstern poetry from Howard Ferguson in 1951. The choice of French verses from Solomon’s Song of Songs was influenced by the advice of Hilda de Wet (Stellenbosch, 1966). It is notable that Du Plessis’s main composition teachers, William Bell, Friedrich Hartmann and Alan Bush, had practically no influence on the choice of the texts of his German and French songs.
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Salfen, Kevin. "Britten the Anthologist". 19th-Century Music 38, n. 1 (2014): 79–112. http://dx.doi.org/10.1525/ncm.2014.38.1.079.
Testo completoAbstract (sommario):
Abstract Benjamin Britten was one of several twentieth-century British composers active before the Second World War who wrote “anthology cycles”—that is, cyclic vocal works on poetry anthologies of the composer's own making. This apparently British invention is deeply indebted to the widespread success of the anthology as a literary form in classrooms, homes, and marketplaces of Victorian and Edwardian England. Britten's early attraction to canonical anthologies such as Arthur Quiller-Couch's Oxford Book of English Verse (1900), for example, is representative of a cultural practice of reading. Britten and other British composers renewed their connection to that practice when they became anthologists for their musical works, identifying themselves as arbiters of poetic and musical taste. Britten's anthology cycle Serenade for tenor, horn, and strings (1943) uses Quiller-Couch's Oxford Book for as many as four of its six texts, many of which share pastoral themes. And yet the composer's musical settings often seem to challenge a conventional reading of the chosen texts and the generic titles Britten assigned to each movement. By creating a canonical, pastoral anthology and then challenging it through music, Britten, who had just returned to England from the United States, invested Serenade with the potential to present the world of prewar England as embattled.
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Folga-Januszewska, Dorota. "HISTORY OF THE MUSEUM CONCEPT AND CONTEMPORARY CHALLENGES: INTRODUCTION INTO THE DEBATE ON THE NEW ICOM MUSEUM DEFINITION". Muzealnictwo 61 (17 aprile 2020): 39–57. http://dx.doi.org/10.5604/01.3001.0014.1129.
Testo completoAbstract (sommario):
The topic discussed in the paper is the change and evolution the concept of museum (Greek: museion, Latin: musaeum) has been undergoing for over 2500 years, as well as many of its different meanings: from the definition of a spot in space, including a place of worship, up to the name of learning form, research and knowledge centre, collection of texts and poetry, music and theatre festival, synonyms of a dictionary and encyclopaedia, library and a secluded study spot, up to large institutions co-creating culture and educating socially. Once museums had become social institutions, the process of defining their organizational form and their mission limits began. The International Council of Museums (ICOM), as an organization grouping museum employees and museologists, namely both practitioners and theoreticians, ever since its establishment in 1946 has on a number of occasions initiated works on a shared definition of museum. The paper assembles all the ICOM-proposed definitions in 1946–2007 presented both in English and Polish. The latest proposal submitted at the Kyoto ICOM General Conference on 7 September 2019 (Annex 1), however, for the first time aroused a heated debate and was not finally voted on by the ICOM General Assembly; instead, the debate has continued on the proposed phrasing since. The historical overview of the museum concept and the history of the ICOM museum definition presented against the opinions of invited Polish museum professionals is the ‘record of time’, documenting the considerations on the role and tasks of museum in contemporary society.
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BOBOEV LOIQ SAMIEVICH. "PECULIARITIES OF TRANSLATION POETRY TEXTS IN ENGLISH". JETA (Journal of English Teaching and Applied Linguistic) 4, n. 1 (30 giugno 2023): 54–63. http://dx.doi.org/10.52217/jeta.v4i1.1236.
Testo completoAbstract (sommario):
This article deals with the problems in translating literary poesy and reveals some pertinent solutions and also concentrates on the need to expand the perimeters of Translation Studies. Unfortunately, the translators lay more emphasis on the translation of poetry; there should be more research regarding the particular problems of translating literary poetry. One explanation of this could be the fact that the status of poetry is considered higher, but it is more possibly due to the notable flawed notion that the novels, essays, fiction etc. possess a simple structure compared to that of a poem and is thus easier to translate. However, many debates have been organized over when to translate, when to apply the close local equivalent, when to invent a new word by translating clearly, and when to copy.
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Denisova, Nataliya, e Dinara Yusipova. "A Comparative Analysis of Temporal Structure of English Poetic Texts for Adults and Children". Journal of Language and Education 2, n. 2 (1 giugno 2016): 6–13. http://dx.doi.org/10.17323/2411-7390-2016-2-2-6-13.
Testo completoAbstract (sommario):
Poetry has always been under the focus of scholars’ attention, though the problem of performing a comparative analysis of children’s and adults’ poetry has not received enough attention yet. The study undertaken is aimed to fill in this gap and provide the analysis of English poetry for adults and children with the attempt to identify some grammatical peculiarities of the corresponding poetic texts. The scope of the texts for examination is limited to English poetry of the nineteenth – twentieth centuries focused on the animal theme. The analysis of the temporal structure of the texts selected was based on the method elaborated by Ludmila Nozdrina in her work “Poetics of grammar categories” (2004). The results of the study have proved the hypothesis stated: there are some differences in temporal structuring of the nineteenth–twentieth century poetic English texts focused on the animal theme. The main difference lies in targeting the poem: whether it appeals to adults or children. The current study contains quantitative information on the usage of certain grammatical phenomena within the texts analyzed, and the attempts of their interpretations. Consequently, the study might be of particular interest for those scholars who do research on differentiating grammatical peculiarities of poetry in general and drawing differences between children’s and adults’ poetry, in particular.
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Khvostenko, Y., e I. Redka. "EMOTIVES OF SURPRISE IN MODERN ENGLISH POETRY". Studia Philologica 1, n. 16 (2021): 29–34. http://dx.doi.org/10.28925/2311-2425.2021.164.
Testo completoAbstract (sommario):
The paper focuses on linguistic manifestation of emotion of surprise in modern English poetic texts. The study is guided by the statement that emotions – psychosomatic processes – can be fixed in fictional texts (including the poetic ones) in the form of emotives – the linguistic units that manifest emotions and/or feelings of the addresser. The emotion of surprise differs from other basic emotions of a person due to its ambivalence and specific prerequisites to emergence. As surprise comes forth unexpectedly, the study looks for basic situations in the context of poetic texts when emotives of surprise appear. To study the phenomenon, the concept of emotional situation is employed. It marks the circumstances under which the persona experiences the emotion of surprise. The results obtained from the analysis of modern English poems distinguish several emotional situations in which emotives of surprise appear. They occur at the junction of image-bearing spaces of 1) dream and reality; 2) reality and fantasy; 3) expectations and their fulfilment; 4) two contrasting situations in reality. These image-bearing spaces may have either contrasting or complementing features. The defeated expectancy effect that occurs due their interaction manifests itself verbally via the emotives of surprise.
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Brookman, Helen, e Olivia Robinson. "Creativity, Translation, and Teaching Old English Poetry". Translation and Literature 25, n. 3 (novembre 2016): 275–97. http://dx.doi.org/10.3366/tal.2016.0259.
Testo completoAbstract (sommario):
This article explores the benefits to undergraduate learning, and the broader critical significance of, the ‘creative translation’ of Old English literature. First-year students of English language and literature at Oxford University were encouraged to inhabit and understand poetic texts by producing creative, free modern versions that responded to the content, form, style, and sound of the source text. How far this approach helps students is analysed through their own perspectives on the process, gathered via interviews. Their writing is explored as a visible product of their learning, and as a creative-critical response to medieval texts: in particular, did the process of collaborative composition give the students a uniquely experiential insight into Old English poetic practice? Thus some broader conceptual issues in the fields Old English literary studies and translation studies are approached through teaching, learning, and creative-critical practice.
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Weiskott, Eric. "Old English poetry, verse by verse". Anglo-Saxon England 44 (dicembre 2015): 95–130. http://dx.doi.org/10.1017/s0263675100080078.
Testo completoAbstract (sommario):
AbstractCertain syntactical ambiguities in Old English poetry have been the focus of debate among students of metre and syntax. Proponents of intentional ambiguity must demonstrate that the passages in question exhibit, not an absence of syntactical clarity, but a presence of syntactical ambiguity. This article attempts such a demonstration. It does so by shifting the terms of the debate, from clauses to verses and from a spatial to a temporal understanding of syntax. The article proposes a new interpretation of many problematic passages that opens onto a new way of parsing and punctuating Old English poetry.In this essay in the history of poetic style, I demonstrate that the sequence in time of Old English half-lines sometimes necessitates retrospective syntactical reanalysis, a state of affairs which modern punctuation is ill-equipped to capture, but in which Anglo-Saxon readers and listeners would have recognized specific literary effects. In the second section, I extrapolate two larger syntactical units, the half-line sequence and the verse paragraph, which differ in important ways from the clauses and sentences that modern editors impose on Old English poetic texts. Along the way, I improve the descriptive accuracy of Kuhn's Laws by reinterpreting them as governing half-line sequences rather than clauses. I conclude with a call for unpunctuated or minimally punctuated critical editions of Old English verse texts.
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Fein, Susanna. "Middle English Poetry: Texts and Traditions. A. J. Minnis". Speculum 79, n. 1 (gennaio 2004): 251–54. http://dx.doi.org/10.1017/s0038713400095439.
Testo completoTesi sul tema "Poetry in English, 1945- - Texts"
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Boykin, Dennis Joseph. "Wartime text and context: Cyril Connolly's Horizon". Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/1959.
Testo completoAbstract (sommario):
This thesis examines the literary journal Horizon, its editor Cyril Connolly, and a selection of its editorial articles, poems, short stories and essays in the context of the Second World War, from 1939-45. Analyses of these works, their representation of wartime experience, and their artistic merit, serve as evidence of a shared and sustained literary engagement with the war. Collectively, they demonstrate Horizon’s role as one of the primary outlets for British literature and cultural discourse during the conflict. Previous assessments of the magazine as an apolitical organ with purely aesthetic concerns have led to enduring critical neglect and misappraisal. This thesis shows that, contrary to the commonly held view, Horizon consistently offered space for political debate, innovative criticism, and war-relevant content. It argues that Horizon’s wartime writing is indicative of the many varied types of literary response to a war that was all but incomprehensible for those who experienced it. These poems, stories and essays offer a distinctive and illuminating insight into the war and are proof that a viable literary culture thrived during the war years. This thesis also argues that Horizon, as a periodical, should be considered as a creative entity in and of itself, and is worthy of being studied in this light. The magazine’s constituent parts, interesting enough when considered separately, are shaped, informed, and granted new shades of meaning by their position alongside other works in Horizon. Chapters in the thesis cover editorials and editing, poetry, short stories, political essays, and critical essays respectively. Analyses of individual works are situated in the context of larger concerns in order to demonstrate the coherence of debate and discourse that characterised Horizon’s wartime run. In arguing that Horizon is a singular creative entity worthy of consideration in its own right, this thesis locates itself within the emerging field of periodical studies. Further, by arguing that the magazine demonstrates the value of Second World War literature, it articulates with other recent attempts to reassess the scope and quality of that literature. More specifically, this thesis offers the first focused and in-depth analysis of Horizon’s formative years.
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Boykin, Dennis Joseph. "Wartime text and context Cyril Connolly's Horizon /". University of Sydney, 2007. http://hdl.handle.net/2123/1959.
Testo completoAbstract (sommario):
Doctor of Philosophy (PhD)This thesis examines the literary journal Horizon, its editor Cyril Connolly, and a selection of its editorial articles, poems, short stories and essays in the context of the Second World War, from 1939-45. Analyses of these works, their representation of wartime experience, and their artistic merit, serve as evidence of a shared and sustained literary engagement with the war. Collectively, they demonstrate Horizon’s role as one of the primary outlets for British literature and cultural discourse during the conflict. Previous assessments of the magazine as an apolitical organ with purely aesthetic concerns have led to enduring critical neglect and misappraisal. This thesis shows that, contrary to the commonly held view, Horizon consistently offered space for political debate, innovative criticism, and war-relevant content. It argues that Horizon’s wartime writing is indicative of the many varied types of literary response to a war that was all but incomprehensible for those who experienced it. These poems, stories and essays offer a distinctive and illuminating insight into the war and are proof that a viable literary culture thrived during the war years. This thesis also argues that Horizon, as a periodical, should be considered as a creative entity in and of itself, and is worthy of being studied in this light. The magazine’s constituent parts, interesting enough when considered separately, are shaped, informed, and granted new shades of meaning by their position alongside other works in Horizon. Chapters in the thesis cover editorials and editing, poetry, short stories, political essays, and critical essays respectively. Analyses of individual works are situated in the context of larger concerns in order to demonstrate the coherence of debate and discourse that characterised Horizon’s wartime run. In arguing that Horizon is a singular creative entity worthy of consideration in its own right, this thesis locates itself within the emerging field of periodical studies. Further, by arguing that the magazine demonstrates the value of Second World War literature, it articulates with other recent attempts to reassess the scope and quality of that literature. More specifically, this thesis offers the first focused and in-depth analysis of Horizon’s formative years.
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Shaull, Erin Marie Szydloski. "Paternal Legacy in Early English Texts". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1448913159.
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Elfyn, Menna. "Barddoniaeth Menna Elfyn : pererindod bardd". Thesis, University of Wales Trinity Saint David, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683377.
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Rodabaugh, Hannah Marie. "A Flower Opened in the Stinking". Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1280785012.
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Goodland, Giles. "Modernist poetry and film of the Home Front, 1939-45". Thesis, University of Oxford, 1992. http://ora.ox.ac.uk/objects/uuid:cbc4f071-0e64-4a07-866d-ba83359262cb.
Testo completoAbstract (sommario):
This thesis is an exploration of the links between modernist literature and film and society at a period of historical crisis, in Gramscian terms a moment of national 'popular will'. In general, these works are informed by a greater organicity of form, replacing the previous avant-garde model of a serial or mechanical structure. This organicity, however, maintains an element of disjunction, in which, as with filmic montage, the organicity is constituted on the level of the work seen as a totality. Herbert Read's aesthetics are shown to develop with these changes in the Thirties and the war years. The work of H.D. and T.S. Eliot is explored in the light of these new structural elements, and the formal questioning of the subject through the interplay of 'we' and montages of location and address in the poems. The pre-war years are portrayed in these works as a time of shame, and the war as a possible means of redemption, perhaps through suffering, or through the new subjectivity of the wartime community. The documentary movement provides an opportunity to trace these formal changes in a historical and institutional context, and with the work of Dylan Thomas, the relations between mass and high culture, film and poetry, are investigated, as well as the representation of the Blitz, in which guilt is sublimated into celebratory transcendence. These aspects, and the adaptation of a European avant-garde to meet British cultural needs, are examined in the work of the Apocalyptic movement. The last structure of feeling is reconstruction, which is related to Herbert Read's thought, but shown to inform all these other works and to be a linking-point between ideology and the structure of the text, formed as an organic unity that promises a reconstructed post-war society.
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Ekron, Anna Cecilia. "Vocabulary : it's all about words working together : an interactive multimedia program to improve senior phase English first additional language learners’ functional vocabulary through an increased understanding of everyday authentic texts and classical and contemporary poetry". Thesis, Stellenbosch : University of Stellenbosch, 2008. http://hdl.handle.net/10019.1/1829.
Testo completoAbstract (sommario):
Thesis (MPhil (Modern Foreign Languages))--University of Stellenbosch, 2008.The continuing decline in Matriculation pass rates is a matter of concern for government, educators, parents and students in South African schools. According to official statistics, only 8% of South Africans are mother-tongue English speakers, yet English is the chief language of learning and teaching in South African schools. Researchers relate the poor pass rate to inadequate proficiency in English of both English First Additional Language learners and some of their teachers. Research has further revealed a significant positive correlation between reading comprehension and academic achievement. Consensus exists among researchers about the necessity of a basic vocabulary (variously estimated at 2000 to 3000 words and more) for developing the necessary reading comprehension. Theories and approaches regarding the development of vocabulary, however, are sometimes diametrically opposed to one another. Among the most conflicting theories are those which advocate the acquisition of vocabulary by guessing the meanings of words from the context as opposed to those favouring conscious and deliberate vocabulary teaching, which may include lists of words. The current study briefly investigates underlying problems, theories, methods and approaches to enhancing learners’ vocabularies. Conclusions are applied to the development of an interactive, multimedia program for improving learners’ functional vocabularies. The content of the program is based on authentic texts and simulations of situations which call for language interaction. This is supplemented with extracts from classical literary works and poetry and entertaining verses which present possibilities for use in vocabulary building.
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Temperton, Barbara. "The Lighthouse keeper's wife, and other stories (novel) ; and Ceremony for ground : narrative, landscape, myth (dissertation)". University of Western Australia. English, Communication and Cultural Studies Discipline Group, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0005.
Testo completoAbstract (sommario):
The focus of this project is on poetry, narrative, landscape and myth, and the palimpsest and/or hybridisation created when these four areas overlay each other. Our local communities' engagement with myth-making activity provides a golden opportunity for contemporary poets to continue the practice long established by our forebears of utilising folklore and legendary material as sources for poetry. Keeping in mind the words of M. H. Abrams who said
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McMurtry, Aine. "Crisis and form in Ingeborg Bachmann's late verse and prose : an aesthetic examination of the poetic drafts of the 1960s". Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:bdad508f-d96c-4480-8fa3-87f1b648e41d.
Testo completoAbstract (sommario):
This thesis demonstrates the aesthetic impact of crisis on Ingeborg Bachmann's late verse and prose. It examines poetic drafts written during a period of personal breakdown in the 1960s, which have largely been received as documents of personal suffering, and identifies these texts as a radical stage of writing that was to prove formally significant for Bachmann's development of the prose "Todesarten"-Projekt. This thesis draws on the new material made available with the publication of these poetic drafts to chart the genesis of Bachmann's acclaimed late oeuvre. By selecting and grouping lyric fragments, the thesis defines recurrent features in this verse and accounts for the texts as a body of writing that forms a radical, yet undocumented, part of this oeuvre. In terms of both their form and of their content, the fragmentary drafts are shown to reflect new engagement with aspects of experience conventionally excluded from High Art. In light of Bachmann's growing preoccupation with the need for aesthetic engagement in the post-war era, close readings reveal how she set about taking her subjective suffering as a basis for a critique of the social order. The thesis outlines how, during the 1960s, Bachmann pioneered a symptomatic expressive mode that - in the disrupted form of the writing - found an indirect means of manifesting the wider origins of subjective disturbance. The ambiguous aesthetic status of these poetic drafts, which were never finished by Bachmann, is related to an inability to establish structural distance from crisis in lyric form. Building on its readings of the poetic drafts, the thesis traces Bachmann's prose experimentation with the same motifs. It identifies how, ultimately, the prose medium enabled the author to resolve problems of aesthetic form raised in the verse. Parallels with the work of other writers and thinkers illuminate the development of a reflexive mode where sophisticated aesthetic strategies enable the oblique expression of cultural critique.
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Lynch, Éadaoín. "'This may be my war after all' : the non-combatant poetry of W.H. Auden, Louis MacNeice, Dylan Thomas, and Stevie Smith". Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/16566.
Testo completoAbstract (sommario):
This research aims to illuminate how and why war challenges the limits of poetic representation, through an analysis of non-combatant poetry of the Second World War. It is motivated by the question: how can one portray, represent, or talk about war? Literature on war poetry tends to concentrate on the combatant poets of the First World War, or their influence, while literature on the Second World War tends to focus on prose as the only expression of literary war experience. With a historicist approach, this thesis advances our understanding of both the Second World War, and our inherited notions of 'war poetry,' by parsing its historiography, and investigating the role critical appraisals have played in marginalising this area of poetic response. This thesis examines four poets as case studies in this field of research-W.H. Auden, Louis MacNeice, Dylan Thomas, and Stevie Smith-and evaluates them on both their individual explorations of poetic tone, faith systems, linguistic innovations, subversive performativity, and their collective trajectory towards a commitment to represent the war in their poetry. The findings from this research illustrate how too many critical appraisals have minimised or misrepresented Second World War poetry, and how the poets responded with a self-reflexivity that bespoke a deeper concern with how war is remembered and represented. The significance of these findings is breaking down the notion of objective fact in poetic representations of war, which are ineluctably subjective texts. These findings also offer insight into the 'failure' of poetry to represent war as a necessary part of war representation and prompt a rethinking of who has the 'right' experience-or simply the right-to talk about war.
Libri sul tema "Poetry in English, 1945- - Texts"
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Dawe, Bruce. Sometimes gladness: Collected poems, 1954-1992. 4a ed. Melbourne, Australia: Longman Cheshire, 1993.
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Dawe, Bruce. Sometimes gladness: Collected poems, 1954-1987. 3a ed. Melbourne, Australia: Longman Cheshire, 1988.
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1933-, Lawrence John, a cura di. Thew ord party. Cambridge: Lutterworth, 1986.
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Dawe, Bruce. Sometimes gladness: Collected poems, 1954 to 1997. 5a ed. South Melbourne: Longman, 1997.
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Dawe, Bruce. Sometimes gladness: Collected poems, 1954 to 1997. 5a ed. Melbourne, Australia: Longman, 2001.
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Wordsworth, William. The prelude: The four texts (1798, 1799, 1805, 1850). London: Penguin Books, 1995.
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McCartney, Paul. Blackbird singing: Poems and lyrics, 1965-2001. New York: W.W. Norton, 2002.
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McCartney, Paul. Blackbird singing: Poems and lyrics, 1965-1999. New York: W.W. Norton, 2001.
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Derek, Walcott. Collected poems, 1948-1984. New York: The Noonday Press, 1986.
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Krauth, Nigel. Matilda, my darling. New York: F. Watts, 1985.
Cerca il testo completoCapitoli di libri sul tema "Poetry in English, 1945- - Texts"
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Jiang, Lan. "Research on the Early Significant Texts". In A History of Western Appreciation of English-translated Tang Poetry, 21–35. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-56352-6_2.
Testo completo
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Hutchings, William. "16. The First Satire of the Second Book of Horace Imitated". In ‘Wit’s Wild Dancing Light’, 181–96. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0372.17.
Testo completoAbstract (sommario):
Chapter 16 begins by locating The First Satire of the Second Book of Horace Imitated as the first of Pope’s seven Imitations of Horace’s satires and epistles. It then restates from the Introduction the importance of respecting the layout of the original printings of these poems (Latin text on the verso, English version on the recto) for a full appreciation of how the parallel texts affect our reading. (For the non-Latinist, a good modern translation of Horace’s poems will serve.) Pope’s choice of William Fortescue as his eighteenth-century equivalent of Horace’s interlocutor is also discussed. The main body of the chapter examines in detail seven significant extracts to show how Pope’s Imitation addresses the complex moral, political and social questions involved in the writing of satires. What constitutes ethically responsible action? How should it adapt to the changing public circumstances within which it has to operate? Pope’s investigation is searching, yet humorous in much of its tone; but it does not flinch from asserting the role of poetry (and printing) as a force for good.
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Gardner, Calum. "Barthes and Forrest-Thomson". In Poetry & Barthes, 13–49. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941367.003.0002.
Testo completoAbstract (sommario):
The Scottish poet Veronica Forrest-Thomson (1947-1975) is one of the first poets writing in English to have engaged with Barthes in a major way. Many of her poems reference him and some are titled after his work, and he has left his mark on her critical writing. However, because of the manner and order in which these texts were made available to Anglophone audiences, her view of Barthes in the early 1970s seems incomplete and skewed to our eyes today. Embarking on close readings of her poetry and prose, this chapter offers a detailed breakdown of the relationship between the work of Forrest-Thomson and Barthes.
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Varty, Anne. "National Poets and the National Curriculum". In Women, Poetry and the Voice of a Nation, 167–93. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474489843.003.0009.
Testo completoAbstract (sommario):
explores tensions between each poet’s representation of school and the use of their poetry as prescribed texts in the school syllabus. Subheadings: Four Poems about School presents readings of Lochhead, ‘Kidspoem/Bairnsang’; Meehan, ‘The Exact Moment I Became a Poet’; Clarke, ‘Running Away to the Sea -1955’; Duffy, The Laughter of Stafford Girls High. Poetry by Women in the Curriculum, and the Tortured Poem examines the impoverished range of poetry taught in English schools since the introduction of the national curriculum in England in 1988; critiques methods of assessment and how these may affect students’ long term appreciation of curriculum poets. Gillian Clarke and Carol Ann Duffy in the AQA Syllabus 2004-11 (Series 4) assesses the prescribed texts by these two poets, and contrasts them with set texts by Simon Armitage and Seamus Heaney. Curriculum Interventions by Lochhead and Duffy explores controversy sparked by Duffy’s prescribed poem ‘Education for Leisure’ and her riposte, ‘Mrs Schofield’s GCSE’. It also examines Lochhead’s participation in the Scottish Studies Working Group. To conclude, Questioning Cultural Consensus, articulates the poets’ resistance against covert, consensus-building agenda of prescribed curricula and their promotion instead of education as an instrument of individuation.
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Harrison, Stephen. "Charles Sorley (1895–1915)". In Greek and Roman Antiquity in First World War Poetry, 41–56. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198907879.003.0003.
Testo completoAbstract (sommario):
Abstract This chapter examines the war poetry of the English poet Charles Sorley (1895–1915), from the perspective of classical reception. It shows that his 1915 poem ‘I have not brought my Odyssey’ draws on the literary framework of Horace’s poetic letters to friends in his Epistles, as well as the Odyssey of Homer advertised in its title, both texts he would have encountered in his elite classical education at Marlborough College. It also analyses Sorley’s most famous poem, the 1915 sonnet, ‘When you see millions of the mouthless dead’. Here it shows that the poem combines elements from Homer’s Iliad and Odyssey in resignation about death and an imagining of the Underworld. It further suggests that this last element is partly seen through the Christian perspective of John Henry Newman’s ‘Dream of Gerontius’, one of the most famous Victorian poems about the afterlife.
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Harrison, Stephen. "Rupert Brooke (1887–1915)". In Greek and Roman Antiquity in First World War Poetry, 23–40. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198907879.003.0002.
Testo completoAbstract (sommario):
Abstract This chapter examines the war poetry of Rupert Brooke (1887–1915), one of the best known English poets of the First World War, from the perspective of classical reception. It shows that his celebrated 1914 sonnet ‘The Soldier’ draws on imagery and topics from Homer, Greek tragedy, and Greek epigram. These are all texts he would have known from his elite classical education at Rugby School and the University of Cambridge. It also looks at the Homeric connection of his last fragments written on the voyage to Gallipoli in early 1915, which he like others of his education imagined as a reprise of the Homeric Trojan War. It further analyses classical elements in Brooke’s most famous pre-war poem, ‘The Old Vicarage, Grantchester’, as a comparison and contrast.
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Connolly, Thomas C. "Mohammed Khaïr-Eddine’s Secret Music". In Sounds Senses, 79–98. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800856882.003.0004.
Testo completoAbstract (sommario):
Those who knew Mohammed Khaïr-Eddine (1941-1995) often recalled his habit of reciting his poems by shouting them out loud. In critical appraisals of this Moroccan poet's proteiform literary oeuvre, an implied equation has developed between the violence of this delivery and the violence of his texts, as if one justifies and explains the other. Through a close reading of a poem in Soleil arachnide (1969), alongside readings of works by the English painter Francis Bacon, and Gilles Deleuze's Logique de la sensation (1981), I challenge the commonplace notion of Khaïr-Eddine as iconoclast, instead attending to what the poet calls his "secret music," thereby identifying something of the complex interplay of body, voice, violence, rhythm, and art that motivates Khaïr-Eddine's poetics.
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"MYTHS & TEXTS, PART III:". In The New American Poetry, 1945-1960, 312–22. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8501280.178.
Testo completo
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"Anonymous texts and poetry". In Women's Writing in Middle English, 27–30. Routledge, 2013. http://dx.doi.org/10.4324/9781315833903-13.
Testo completo
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Sawyer, Daniel. "Manuscripts, Texts, Editions". In How to Read Middle English Poetry, 131–48. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198895237.003.0010.
Testo completoAbstract (sommario):
Abstract Readers today meet early poetry in modern editions, but the poetry itself usually survives in hand-copied books: manuscripts. As lyric and dramatic examples show, editions often change the layout and presentation of poetry. Some poems survive in manuscript forms integrated with images in ways a printed edition would struggle to capture. And, most of all, different manuscript copies of a text differ in what the text itself says. This chapter shows how editions and manuscripts can serve the close reading of poetry. Examples include Sir Orfeo, Piers Plowman, Sir Gawain and the Green Knight, the South English Legendary, and Chaucer’s Canterbury Talesand Parliament of Fowls. Ultimately, the challenges of editing early literature do not separate that literature out from more modern writings; rather, they let us see how even modern works are subject to the same forces of variation during publication and transmission.
Atti di convegni sul tema "Poetry in English, 1945- - Texts"
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Hock, Hans Henrich. "Foreigners, Brahmins, Poets, or What? The Sociolinguistics of the Sanskrit “Renaissance”". In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.2-3.
Testo completoAbstract (sommario):
A puzzle in the sociolinguistic history of Sanskrit is that texts with authenticated dates first appear in the 2nd century CE, after five centuries of exclusively Prakrit inscriptions. Various hypotheses have tried to account for this fact. Senart (1886) proposed that Sanskrit gained wider currency through Buddhists and Jains. Franke (1902) claimed that Sanskrit died out in India and was artificially reintroduced. Lévi (1902) argued for usurpation of Sanskrit by the Kshatrapas, foreign rulers who employed brahmins in administrative positions. Pisani (1955) instead viewed the “Sanskrit Renaissance” as the brahmins’ attempt to combat these foreign invaders. Ostler (2005) attributed the victory of Sanskrit to its ‘cultivated, self-conscious charm’; his acknowledgment of prior Sanskrit use by brahmins and kshatriyas suggests that he did not consider the victory a sudden event. The hypothesis that the early-CE public appearance of Sanskrit was a sudden event is revived by Pollock (1996, 2006). He argues that Sanskrit was originally confined to ‘sacerdotal’ contexts; that it never was a natural spoken language, as shown by its inability to communicate childhood experiences; and that ‘the epigraphic record (thin though admittedly it is) suggests … that [tribal chiefs] help[ed] create’ a new political civilization, the “Sanskrit Cosmopolis”, ‘by employing Sanskrit in a hitherto unprecedented way’. Crucial in his argument is the claim that kāvya literature was a foundational characteristic of this new civilization and that kāvya has no significant antecedents. I show that Pollock’s arguments are problematic. He ignores evidence for a continuous non-sacerdotal use of Sanskrit, as in the epics and fables. The employment of nursery words like tāta ‘daddy’/tata ‘sonny’ (also used as general terms of endearment), or ambā/ambikā ‘mommy; mother’ attest to Sanskrit’s ability to communicate childhood experiences. Kāvya, the foundation of Pollock’s “Sanskrit Cosmopolis”, has antecedents in earlier Sanskrit (and Pali). Most important, Pollock fails to show how his powerful political-poetic kāvya tradition could have arisen ex nihilo. To produce their poetry, the poets would have had to draw on a living, spoken language with all its different uses, and that language must have been current in a larger linguistic community beyond the poets, whether that community was restricted to brahmins (as commonly assumed) or also included kshatriyas (as suggested by Ostler). I conclude by considering implications for the “Sanskritization” of Southeast Asia and the possible parallel of modern “Indian English” literature.
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Krasovec, Aleksandra N. "“KALEIDOSCOPIC” NOVEL OF JOSIP OSTI IN THE ASPECT OF TRANSCULTURALITY". In 50th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063183.10.
Testo completoAbstract (sommario):
The Slovenian-Bosnian poet, writer, essayist, literary critic, translator and editor Josip Osti (1945–2021) was born in Sarajevo, lived and worked in Slovenia since 1990. Being a recognized poet in his homeland, writing in Croatian, one of the largest translators of Slovenian literature into Serbo-Croatian, since 1997 he has been writing in Slovenian. The transcultural aspects of Josip Osti’s literary works, both poetry collections and novels, are a unique phenomenon. In our study, we turned to the novels of Josip Osti, namely his trilogy — Ghosts of the House of Heinrich Böll (2016), In Front of the Mirror (2016) and Life is a Creepy Fairy Tale (2019). All three works have a strong (auto)biographical component and form a special novel form, which the author calls the “kaleidoscope-mosaic” novel. The latter has a fragmented structure and consists of short stories, life stories, anecdotes, urban legends, essayistic notes, literary-critical digressions, lyrical passages, diary entries, etc. In Osti’s novels, we also find a connection with the tradition of short prose in Bosnian-Herzegovina literature, in particular, with the works of the 1990s by such authors as M. Jergović, D. Karahasan, N. Veličković, K. Zaimović and others. Their texts are characterized by a destabilized genre form, a mosaic narrative, personal and documentary evidence, and a palimpsest narrative model. The kaleidoscopic structure of Osti’s prose texts helps him to reflect the transcultural view characteristic of his intimate and artistic world, to embrace the complex overlap of heterogeneous elements. The novels are written in Slovene, but they are mainly devoted to the space of Sarajevo, the unique multicultural atmosphere of this city, as well as the tragedy unfolding in it; thus, the writer complements the so-called “Sarajevo text”, but already in the field of Slovenian literature, artistically comprehending the interconnectedness of Bosnia and Slovenia. Refs 19.