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Artykuły w czasopismach na temat "Poetries of place"
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Rosida, Ana. "A COMPARATIVE STUDY OF POETRY’S STRUCTURE: ‘NIGHT’ BY BLAKE AND ‘SHE WALKS IN BEUATY’ BY BYRON". JENTERA: Jurnal Kajian Sastra 6, nr 2 (28.12.2017): 142. http://dx.doi.org/10.26499/jentera.v6i2.435.
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This research presented the comparative study about the structure in two poetries; they are Night and She Walks in Beauty. It focused the theme, the figure of speech and the imagery. It used the qualitative research. It is analyzed the structure by reading the poetry carefully and giving the note for each line that contains theme, figure of speech and imagery. It used the theory of comparative study and structural approach.The result of this research shows that the poet of those poetries use theme, figure of speech and imagery. There are many kinds of figure of speech and imagery in the poetry. In Night, there are only four figure of speeches namely (a) Simile, (b) Personification, (c) Metaphor and (d) Hyperbole and uses (1) Visual, (2) Auditory, (3) Tactile and (4) Kinesthetic as the imagery. In She Walks in Beauty, Byron uses (a) simile, (b) personification and (c) litotes as figure of speech and its imagery are (1) Visual and (2) Kinesthetic.The poetry Night and She Walks in Beauty appear both differences and similarities with regard to its poet’s writing style. Blake is subjective whereas Byron is objective in writing. Both poets use the nature in different ways to build the theme, the figure of speech and the imagery. Blake uses the nature to describe two contrast place and Byron used the nature to describe a woman character. AbstrakPenelitian ini membahas studi perbandingan tentang struktur dalam dua puisi, yaitu Night dan She Walks in Beauty. Penelitian ini berfokus pada Theme, Figure of Speech dan Imagery. Penelitian ini menggunakan penelitian kualitatif. Pada penelitian ini, struktur dianalisa dengan membaca puisi dengan seksama dan memberikan catatan untuk setiap baris yang berisi Tema, Majas dan Pencitraan. Penelitian ini mengunakan teori Comparative Study dan pendekatan Structural.Hasil penelitian ini menunjukkan bahwa penyair pada kedua puisi ini menggunakan Tema, Majas dan Pencitraan. Ada banyak jenis majas dan pencitraan dalam puisi tersebut. Pada puisi Night, Majas hanya ada empat yaitu (a) Simile, (b) Personification, (c) Metaphor dan (d) Hiperbole dan menggunakan (1) Visual, (2) Auditory, (3) Tictile dan (4) Kinestethic sebagai pencitraan. Pada puisi She Walks in Beauty, Byron menggunakan (a) Simile, (b) Personification dan (c) Litotes sebagai majas dan pencitraannya adalah (1) Visual dan (2) Kinestethic.Puisi Night dan She Walks in Beauty tampak perbedaan dan persamaan yang berkaitan dengan gaya penulisan penyairnya. Blake adalah penyair yang subjektif sedangkan Byron adalah penyair yang objectif dalam menulis. Kedua penyair tersebut menggunakan alam dengan cara yang berbeda untuk membangun Tema, Majas dan Pencitraan. Blake menggunakan alam untuk menggambarkan dua tempat yang dan Byron menggunakan alam untuk menggambarkan karakter wanita.
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Moore, Michael D. "Genre of Genre: Sidney and Defences of Poetry". Florilegium 16, nr 1 (styczeń 1999): 147–54. http://dx.doi.org/10.3138/flor.16.012.
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At the centre of this essay lies a reconsideration of an elusive spirit lurking amid the conventional classical, medieval, and Renaissance gestures of Sir Philip Sidney's Apologie for Poetrie . This underlying principle in the Sidneyan strategy seems also to animate other "defensive" interventions in the history of English poetics, and the mostly unspoken or unspeakable grounds for poetry's traditionally privileged place at the centre of a liberal education. It may accordingly have implications for our ambivalence today about the "uses" of literature in a world (and an academic profession) renewing—yet again—the same pattern of impatient suspicion and adroitly evasive apologia.
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Macduff, Colin. "A brief historical review of poetry’s place in nursing". Journal of Research in Nursing 22, nr 6-7 (listopad 2017): 436–48. http://dx.doi.org/10.1177/1744987117729724.
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The relationship between nursing and poetry is not necessarily obvious and may often be seen as marginal to mainstream nursing activities. This review paper seeks to examine this relationship by taking primarily an historical perspective, starting from Nightingale and the development of mainstream professional nursing. Through an indicative rather than exhaustive literature review, the ebb and flow of this relationship is traced. This provides both an overview and specific insights into the ways that poetry can manifest within nursing, highlighting some recent developments and the potential for further applications. As such the paper argues that poetry in its various forms should have more central consideration within nursing practice, education and research.
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Bell, John Frederick. "Poetry’s Place in the Crisis and Compromise of 1850". Journal of the Civil War Era 5, nr 3 (2015): 399–421. http://dx.doi.org/10.1353/cwe.2015.0054.
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Pocock, Gareth. "Review: A brief historical review of poetry’s place in nursing". Journal of Research in Nursing 22, nr 6-7 (listopad 2017): 449–50. http://dx.doi.org/10.1177/1744987117730397.
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Winslow, Rosemary. "Poetry's Place and the Poet's Participation with Fields of Knowledge". Language and Learning Across the Disciplines 6, nr 2 (2003): 45–62. http://dx.doi.org/10.37514/lld-j.2003.6.2.10.
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UZUN, Adnan. "Divan Şiirinde Hz. Musa / The Prophet Moses In Divan Poetry". Journal of History Culture and Art Research 5, nr 1 (11.01.2016): 64. http://dx.doi.org/10.7596/taksad.v5i1.454.
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<pre><strong>The Prophet Moses In Divan Poetry</strong></pre><p><strong>Abstract</strong></p><p>Divan poetry is a conglomerate formed under the influence of eastern societies' common culture and geographical advantages shared by various communities which is shaped by Islamic civilization and the sense of art. Prophet Moses is known by his place in Abrahamic religions. According to Islam, as a baby he was found in the Nile River, adopted by the Egyptian royal family, and grew up in the palace of the Pharaoh although in that time the Pharaoh ordered all newborn male Hebrew boys to be killed. Moses was forced to leave Egypt when he was young. Eventually, he became a prophet. He showed great patience against deeds of his folk. Divan poets mentioned Prophet Moses in their poetries with his standing against to Pharaoh, miracles like conversation with God in the Mount Sinai, Shacar al-Tur (the tree in the Mount Sinai), magic rod, and white hand. Prophet Moses became a source of inspiration for expression of sufi feelings and thoughts for Classic Turkish Literature poets. This article examines how Divan poetry depicts Prophet Moses and his miracles.</p><p align="center"><strong><br /></strong></p><p align="center"><strong>Divan Şiirinde Hz. Musa</strong></p><pre><strong>Öz</strong><strong></strong></pre><p>Divan Şiiri, İslam Medeniyetinin şekillendirdiği Müslüman Doğu toplumlarının ortak kültüründen ve çeşitli milletlerle paylaştığı coğrafyanın değerlerinden etkilenerek oluşan, devrin sanat anlayışıyla yoğrulmuş bir birikimdir. </p><p>Hz. Musa, Firavun tarafından yeni doğan bütün erkek çocukların öldürüldüğü bir dönemde dünyaya gelmesi, İsrail oğullarına zulmeden ve tanrılık iddiasında bulunan Firavun’un sarayında yetişmesi, gençliğinde yaşadığı olaylar nedeniyle Mısır’ı terketmek zorunda kalması, peygamber oluşu, mücadelesi ve halkına karşı gösterdiği sabır gibi özelliklerinin yanında başta Yahudilik olmak üzere bütün semavi dinlerde en önemli peygamberler arasında yer alması gibi nitelikleriyle İslam Dini ve diğer ilahi dinlerin inanç ve kültür değerlerinde önemli bir yer tutmaktadır. Divan şairleri Hz. Musa’yı, Firavun’a karşı duruşu, Tûr Dağı’nda Allah ile tekellümü, Şecer-i Tûr, mucizevi asası, yed-i beyza sahibi oluşu gibi yönleri ve göstermiş olduğu mucizeleriyle şiirlerine konu etmişlerdir.</p><p>Hz. Musa, Klasik Türk edebiyatı şairleri için tasavvufî duygu, düşünce ve heyecanların ifadesinde ilham kaynağı olmuştur. Bu makalede, Hz. Musa ve onun mucizeleri ile ilgili Divan şiirinde yer alan ifade ve anlatımlar incelenmiştir.</p><p align="center"><strong><br /></strong></p><p> </p>
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Zhu, Suoling, i Ping Bao. "The use of Geographic Information System in the development and utilization of ancient local chronicles". Library Hi Tech 33, nr 3 (21.09.2015): 356–68. http://dx.doi.org/10.1108/lht-03-2015-0028.
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Purpose – The purpose of this paper is to apply Geographic Information System (GIS) in the development and utilization of Chinese ancient local chronicles to achieve the mining and visualization of historical data about products distribution and dispersal in Products in Local Chronicles of Guangdong. Design/methodology/approach – Using 1,756 records of product-related location names in Products in Local Chronicles of Guangdong of the Qing dynasty, which are recognized by a name recognition system, as attribute data; taking the spatial data of Chinese administrative geography of the Qing dynasty in 1820 and the Historical Atlas of China as spatial data; connect the attribute data with relevant spatial data based on the table connection function of Arcmap in Arcgis 8.3 to implement the data management, cartography and analysis. Findings – The application of GIS in the development and utilization of ancient local chronicles was quite successful. With some thematic maps, knowledge about products distribution and dispersal in ancient books was vividly displayed so as to facilitate relevant researches. Research limitations/implications – Only product-related location names inside China were analyzed, not other named entities in local chronicles; and only static visual display was achieved, not dynamic visual display. Historical maps of the world can be used to carry out the visualization of the products distribution and dispersal in the world, and even the visualization of other knowledge, such as poetries and songs scattered over many places in China. The process of products dispersal and the distribution of poetries and songs can be dynamically and visually displayed by pictures, audios, videos, multimedia, etc. Practical implications – By using GIS in the development and utilization of Chinese ancient local chronicles, this paper explores a new way for the collation of ancient books and open up a new area for the research of digital humanities. Originality/value – This is the first try about the application of GIS in the development and utilization of ancient local chronicles, and also the same of digital humanities research in the field of agricultural history.
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Leonard, Philip. "Geopoiesis, or the Responsibility of Literature". Oxford Literary Review 33, nr 2 (grudzień 2011): 189–205. http://dx.doi.org/10.3366/olr.2011.0017.
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How are we to conceive poetry if, as Derrida maintains, it is not a mode of literary representation? How are we to conceive poetry's place if, as he observes, literature emerges in a cultural location which is not that of poetry? Reading Derrida's comments on the genealogical separation of poetry and literature, as well as his remarks on Europe's departure from Greece and Rome, suggests that European literature has not successfully overcome or renounced poetry, but has incorporated it as a secret responsibility. Rather than a linguistic or textual legacy, the secret that literature inherits from poetry is of a cultural inhabitation that cannot, strictly speaking, be defined in terms of European territorial limits.
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Fogarty, William. "The Rhubarbarian’s Redress: Tony Harrison and the Politics of Speech". Twentieth-Century Literature 66, nr 2 (1.06.2020): 207–32. http://dx.doi.org/10.1215/0041462x-8536165.
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Taking up the persistent question of poetry’s sociopolitical capacities by considering how Harrison’s poems depend on the power of local speech, this article examines how they cast his working-class northern English dialect in meter and rhyme as a way to scrutinize social hierarchies. Marshaling various forms of speech, including his own vernacular, into traditional patterns of poetry, Harrison interrogates classist notions about nonstandard speech and its relation to that tradition while exploring the disturbances produced by class separation. Where poetry scholarship in general and Harrison scholarship in particular often place demotic registers in opposition to traditional verse forms, this article argues that it is precisely the working relationships Harrison finds between verse forms and speech forms that upend hierarchies in his poetry, making new music out of local parlance.
Rozprawy doktorskie na temat "Poetries of place"
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Houston, Douglas Norman. "Myths of place : the importance of landscape in the poetries of W.H. Auden and Seamus Heaney". Thesis, University of Hull, 1986. http://hydra.hull.ac.uk/resources/hull:7036.
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Numerous studies of landscape in the works of Wordsworth and his predecessors exist; very few books, however, are concerned with its significance in modern and contemporary poetry. Works on Auden and Heaney make reference to local elements, but do not consider the overall and continuous importance of landscape in their writings. It is hoped that this study goes some way towards remedying these deficiencies. The philosophical and imaginative cohesiveness of successive poems relating to single specific landscapes in the works of Auden and Heaney suggests the term 'myths of place'. In according landscape a central role in the major dialectics of their poetries, Auden and Heaney make the most valuable contributions to the local mode since Wordsworth's advances beyond the picturesque. Important parallels exist in the developments of their myths of place. Each produces localized poems embodying radical ideologies and complements such work by mythologising landscape into a sanctuary for ideal values. Landscape constitutes a structural principle adequate to the sustained expression of the dominant psychological and ethical intuitions of their writings. Ultimately, Auden and Heaney neutralize their myths of place by deconstructing the significances that have accrued to their landscapes. Chapters One and Two consider Auden's varied treatments of the limestone moorland he knew in childhood; Chapters Three and Four investigate his figurative adaptations of landscape. Heaney's early utilisations of landscape and their culmination in his myth of the bogland form the subjects of Chapters Five and Six; Chapter Seven examines his idyllic localizations, while his imaginatively liberating re-evaluations of his native region are described in Chapter Eight. The study concludes with an assessment of the implications for present-day poetry of Auden's and Heaney's achievements in the use of landscape. Text-centred methods are used throughout, supplemented with geographical and biographical information where this is directly relevant.
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Reed, Marthe. "The poem as liminal place-moment : John Kinsella, Mei-mei Berssenbrugge, Christopher Dewdney and Eavan Boland". University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0136.
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Places are deeply specific, and often richly resonant for us in terms of memory, emotion, and association, yet we nevertheless frequently move through them insensible of their constitution and diversity, or the shaping influences they have upon our lives. As such, place affords a vital window into the creation and experience of poetry where the poet is herself attuned to the presence and effect of places; the challenge for the scholar is to articulate place's nature and role with respect that poetry. In
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Barnes, Miranda. "Foundation stone : poetry's place in science and the spiritual". Thesis, Bath Spa University, 2017. http://researchspace.bathspa.ac.uk/10694/.
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This thesis proposes that certain contemporary poems may contribute the function of dialogue between scientific and spiritual ideas. It examines where perceived margins of conflict historically arose and currently exist between spirituality and science, discovering the primary contributor to be the scientistic impulse rather than the practice and practitioners of science, though tensions however culturally persist. Special focus is given to the combination of the inner and outer (subjective and objective) states of conscious experience and how their combination largely allows for dialogue to occur in the poetic context. Also proposed is how poetry acting as the converging locus of inner and outer consciousness makes it essential to this dialogue. The necessity of the intended dialogue is contemplated within the context of a divided self, as well as a larger fragmented identity formed by the arbitrary isolation of consciousness from objective reality. The ontological and epistemological authorities of poetry are explored, as is the possibility of textual evidence of the soul and defining a poetics of spirituality. Investigation is given over to the ways scientific language use differs from that of poetry, and how its necessary inclusion in poetry may benefit poetry’s dialogic properties, contributing a scaffolding of meaning and global ‘bank’ of shared information, which offers cosmological unity. Further consideration is given to what benefit the combination of poetry, science and spirituality conveys and the importance of the individual subjective experience. A number of particular approaches are discussed to determine formal and rhetorical methods within the writing of poetry that create the proposed dialogic properties, including: reinventing and redefining spiritual concepts via scientific subject matter and theories; poetry’s employment of ratios of meaning to quantify the ‘unquantifiable’; linguistic representation of qualia and lived experience reconciled to empirical fact (each contextualised within the analysis of contemporary poetic works); and, within the context of the author’s own creative book of poems: employing metaphor’s dual ability to both produce ontological statement and remain open-ended; the use of scientific image functioning as hypothetical axiom; and poetry as formal experiment. Throughout, contemplation is given over to concerns of materiality and immateriality and the nature of reality, the Cartesian division of mind and body, poetry’s able handling of uncertainty and clarity, and the necessity of hybrid consciousness. The consideration of voice and dialogue centres on the impulse in poetry to communicate to an intended ‘you’, and poetry’s appeal to suture the gap between our own and others’ isolated consciousness. The conclusions reached within this thesis are how poetic experimentation, inventing new images, creation of metaphor, and poetry’s inherent dialogism work against finality and contribute to further possible future conversation between science and spirituality, as well as creating new imaginative possibilities for wholeness. Additionally, it reinforces the value of poetry’s continuing experiment to observe, evaluate, and make sense and meaning out of personal human experience. The accompanying original work of creative writing, in the form of a collection of poetry entitled Twelve Foundation Stones of the New Heaven, aims to embody the ideas proposed within the following critical thesis.
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Spooner, Kaleigh Jean. ""History Real or Feigned": Tolkien, Scott, and Poetry's Place in Fashioning History". BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6476.
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Most critics of The Lord of the Rings correlate Tolkien's work to ancient texts, like Beowulf, the Elder Edda, and medieval romances. While the connection between these traditional materials and Tolkien is valid, it neglects a key feature of Tolkien's work and one of the author's desires, which was to fashion a sort of history that felt as real as any other old story. Moreover, it glosses over the rather obvious point that Tolkien is writing a novel, or at any rate a long work of prose fiction that owes a good deal to the novel tradition. Therefore, through careful attention to the formal textures of Tolkien's work, melding together both genre criticism and formal analysis (and with a sound understanding of literary history), I argue that Tolkien's work follows a more modern vein and aligns with the nineteenth-century historical novel, the genre pioneered by Sir Walter Scott. The projects of Tolkien and Scott parallel one another in many respects that deserve critical attention. This essay begins the discussion by addressing just one, somewhat surprising, point of comparison: the writers' use of poetry. I observe that Tolkien and Scott utilized poetry in similar ways, and I parse the poems into three distinct categories: low culture poems, high culture poems, and poems which straddle the divide between the two. All of this demonstrates how each piece of poetry, written in an antique style, saturates the texts with historic atmosphere and depth. This lends a sense of authenticity and realism to Scott's works, and later it buttresses Tolkien's attempts to foster "the dust of history" and create an illusion of authenticity and realism for Middle Earth's (imaginary) past.
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Cocola, James Michael. "Topopoiesis contemporary American poetries and the imaginative making of place /". 2009. http://wwwlib.umi.com/dissertations/fullcit/3362816.
Pełny tekst źródłaKsiążki na temat "Poetries of place"
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The resurgence of traditional poetic form and the current status of poetry's place in American culture. Lewiston, N.Y: E. Mellen Press, 2001.
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Chan, Leonard Kwok-Kou. Sense of Place and Urban Images. Redaktorzy Carlos Rojas i Andrea Bachner. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199383313.013.20.
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Through a close reading of works by a number of different Hong Kong poets, this chapter analyzes how the poets construct an identity for themselves and their place by finding expression for their urban experience. The analysis focuses on North Point and Nathan Road—two of the busiest districts in Hong Kong—and their position within the poetic imagination. Paying particular attention to poetry’s sociohistorical function as a construction site of cultural memory, the discussion looks into the feeling of topophilia towards the places, as well as the sociocultural critique of the poems, which gives rise to an antithetical feeling of topophobia.
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Dufallo, Basil. Disorienting Empire. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197571781.001.0001.
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Disorienting Empire is the first book to examine Republican Latin poetry’s recurring interest in characters who become lost. The book explains the prevalence of this theme with reference to the rapid expansion of Rome’s empire in the Middle and Late Republic. It was both a threatening and an enticing prospect, the book argues, to imagine the ever-widening spaces of Roman power as a place where one could become disoriented, both in terms of geographical wandering and in a more abstract sense connected with identity and identification, especially as it concerned gender and sexuality. Plautus, Terence, Lucretius, and Catullus, as well as the “triumviral” Horace of Satires, book 1, all reveal an interest in such experiences, particularly in relation to journeys into the Greek world from which these writers drew their source material. Fragmentary authors such as Naevius, Ennius, and Lucilius, as well as prose historians including Polybius and Livy, add depth and context to the discussion. Setting the Republican poets in dialogue with queer theory and postcolonial theory, the book brings to light both anxieties latent in the theme and the exuberance it suggests over new creative possibilities opened up by reorienting oneself toward new horizons and new identifications—by discovering with pleasure that one could be other than one thought. Further, in showing that the Republican poets had been experimenting with such techniques for generations before the Augustan Age, Disorienting Empire offers its close readings as a preface to the interpretation of Aeneas’s wandering journey in Vergil’s Aeneid.
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Jahner, Jennifer. Literature and Law in the Era of Magna Carta. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198847724.001.0001.
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Literature and Law in the Era of Magna Carta traces the fortunes of literary training and experimentation across the early history of the English common law, from its beginnings in the reign of Henry II to its tumultuous consolidations under the reigns of John and Henry III. The period from the mid-twelfth through the thirteenth centuries witnessed an outpouring of innovative legal writing in England, from Magna Carta to the scores of statute books that preserved its provisions. An era of civil war and imperial fracture, it also proved a time of intensive self-definition, as communities both lay and ecclesiastic used law to articulate collective identities. Literature and Law in the Era of Magna Carta uncovers the role that grammatical and rhetorical training played in shaping these arguments for legal self-definition. Beginning with Thomas Becket, the book interweaves the histories of literary pedagogy and English law, showing how foundational lessons in poetics helped generate both a language and theory of corporate autonomy. Geoffrey of Vinsauf’s phenomenally popular Latin compositional handbook, the Poetria nova, finds its place against the diplomatic backdrop of the English Interdict, while Robert Grosseteste’s Anglo-French devotional poem, the Château d’Amour, is situated within the landscape of property law and Jewish-Christian interactions. Exploring a shared vocabulary across legal and grammatical fields, this book argues that poetic habits of thought proved central to constructing the narratives that medieval law tells about itself and that later scholars tell about the origins of English constitutionalism.
Części książek na temat "Poetries of place"
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Barry, Peter. "The word among stones". W Extending Ecocriticism. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784994396.003.0007.
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In this chapter Peter Barry explores poems about stones, on stones and as stones. He shows how our ancestors had a special regard for stones particularly those that seemed out of place, such as glacial erratics. The Ringing Stone on Tiree is one such, bearing numerous cup marks from Neolithic times. He considers how poems have been placed in the environment on trails and paths, sometimes with a didactic purpose as part of an environmentalist interpretive scheme. Some of these have taken advantage of the expressive potential of the stones themselves, and of letter carvers who blend this with their own artistic heritage. Collaborations between carver and poet can make best use of the space between the words that come closest to Barry’s interest in avant-gardeorneo-modernist poetry(especially ‘concrete’ and ‘visual’ poetries). Barry also considers poems in urban settings, in projects involving close collaboration with councils, NGOs and communities, where the words have been incised on bridges, monuments, paths, or pavements, as by Alyson Hallett in Bath, Lemn Sissay in Manchester, Bill Herbert near Darlington, and Menna Elfyn and Gillian Clarke in Tonypandy.
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Adorno, Rolena. "Poetry’s Place in Civic Spectacle:". W The Rise of Spanish American Poetry 1500-1700, 31–59. Modern Humanities Research Association, 2019. http://dx.doi.org/10.2307/j.ctv16kkz3k.5.
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"V. Imagined Places and Poetries: 1768-1770". W Thomas Chatterton's Art: Experiments in Imagined History, 262–312. Princeton: Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400871384-007.
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Admussen, Nick. "Semi-Orthodox Prose Poetry". W Recite and Refuse. University of Hawai'i Press, 2016. http://dx.doi.org/10.21313/hawaii/9780824856526.003.0005.
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Chapter four is a close reading of Liu Zaifu, a poet, scholar and essayist who wrote prose poetry throughout the 1980s. In the early 1980s, Liu Zaifu continued prose poetry's tradition of finding a place for the subjective and the aesthetic in the world of socialist prose. The first part of the chapter engages with his aesthetic and social philosophy, and uses that engagement to translate and read his best-known work, “Reading the Sea.” The second half of the chapter traces the impact of Liu's 1989 exile on his work. Liu’s post-exile works, published in Hong Kong, reveal the connection between prose poetry and the Chinese mainland context: once he leaves, Liu stops writing prose poetry in favor of literary essays. His work and his career therefore provide a crucial commentary on the line between orthodox and unorthodox prose poetry, and between prose poetry and other prose.
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Freer, Alexander. "Metrical Pleasures". W Wordsworth's Unremembered Pleasure, 106–43. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198856986.003.0004.
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Chapter 3 reads Wordsworth’s poetic theory as a far-reaching account of compositional pleasure. It considers the crucial relation between of poetry’s claims to truth and its claims to produce and communicate pleasure, and uses the question of poetic pleasure to explore the tense relation in Wordsworth’s prose between real language and events and the artificial and mechanical operation of verse. It goes on to position Wordsworth’s theory of poetry in opposition to the persistent critical problem of sublimation. In place of the assumption that artistic pleasures must be substitute satisfaction or sheer fantasy, it explores the claim that poetry might disclose existing but unacknowledged pleasure in the world. The challenges and pleasures of metrical verse, it argues, are for Wordsworth constitutive of its retrospective, reparative forms of attention. The chapter concludes by returning to Wordsworth’s poetry and considering how metrical pleasure might function as a form of mourning.
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Gairn, Louisa. "‘Connective Leaps’: Sightlines and The Overhaul". W Kathleen Jamie. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748696000.003.0020.
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The Overhaul and Sightlines extend Jamie’s call for attentive, observational writing; what she describes as a “new kind of work that renegotiate[s] our place in the natural world.” This involves not only revisiting our human relationship with “wild” nature, but also acknowledging ourselves as a species with its own natural history: a locus of nature as well as culture. The question of home and belonging is thus an enduring theme in Jamie’s work. Jamie’s keen observations of nature, place and people recognise the limitations as well as the potential of human dwelling in the natural world. Rejecting romanticism, she suggests that while we are certainly capable of appreciating the transcendent in nature, we are also “animal bodies” (Sightlines 5), “a species […] hoping for the marvellous” (The Overhaul 3) who encounter the world through the physical as much as the aesthetic. This chapter considers The Overhaul and Sightlines as explorations in ecopoetics, searching for alternative ways of negotiating our relationship with the natural world. These two collections interrogate the writer’s ability to restore a “sense of ourselves as creatures”, the vital element of reconnection with the more-than-human world which Gaston Bachelard identified as one of poetry’s greatest gifts.
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McAlpine, Erica. "Fact-Checking Elizabeth Bishop". W The Poet's Mistake, 137–55. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691203492.003.0007.
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This chapter looks at historical and factual mistakes in Elizabeth Bishop's poetry. Elizabeth Bishop was a writer dedicated to a sense of accuracy; her poem “In the Waiting Room” bears the markers of a specific place and time—“Worcester, Massachusetts” and “the fifth / of February, 1918.” Descriptive specificity is one of her specialties, and this poem, which refers to real stories in that month's National Geographic magazine, gives the impression of combining specificity with objective truth. And yet its facts are muddled: much of the material in the poem actually comes from a different issue of the magazine. Does Bishop's inaccuracy matter given her own adherence to the facts, or is it possible for descriptive poetry to offer its own aesthetic narrative? Focusing on her use and misuse of historical detail in this and other autobiographical poems, the chapter highlights what Bishop's readers have to gain by separating her poetry's fictionalized facts from its literal and empirical truths.
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Hyman, Wendy Beth. "Afterword". W Impossible Desire and the Limits of Knowledge in Renaissance Poetry, 171–76. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198837510.003.0006.
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The afterword, “Learning to Imagine What We Know” attempts to articulate a material poetics, rather than a metaphysics, of the mind in extremis, at the places where life, time, representation, and knowledge can go no further. Deleuze, in “The Simulacrum and Ancient Philosophy,” contends that “the atom is that which must be thought, and that which can only be thought.” Angus Fletcher, in the chapter “Marlowe Invents the Deadline,” makes a stunningly similar claim: “Time, finally, can only be thought.”Impossible Desire recognizes the elusive hymen, too, as a conceptual morsel that fuses sexual and epistemological conquest. It demarcates, and arouses a desire to transcend, the limit point of human knowledge. But this erotically charged search for knowledge occurs, for the carpe diem poet, in the absence of teleology. He recognizes no promise of full revelation, and only a perpetually receding horizon of further things unknown. Despite this, he uses poetry to create unlikely but capacious domains for the unthinkable, an aspiration identified as an act of world-making. As George Steiner puts it, “deep inside every ‘art-act’ lies the dream of an absolute leap out of nothingness, of the invention of an enunciatory shape so new, so singular to its begetter, that it would, literally, leave the previous world behind.” The conclusion of Impossible Desire locates this ontological leap in carpe diem poetry’s attempt to expand the increments of existence within the interstices of poetry, ultimately the only mortal place wherein one can make “this one short Point of Time/… fill up half the Orb of Round Eternity.”
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Hair, Ross. "Introduction". W Avant-Folk: Small Press Poetry Networks from 1950 to the Present. Liverpool University Press, 2017. http://dx.doi.org/10.5949/liverpool/9781781383292.003.0001.
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In this extended introduction, the book’s underlying theme of small press poetry networks is introduced via the example of Lorine Niedecker and her poetry’s transatlantic reception. Discussing examples from Niedecker’s poetry, her friendship with the poet Jonathan Williams, and her legacy for a younger generation of British poets, publishers, and artists, the introduction argues that within the transatlantic small press poetry milieu, ‘remoteness’ is as much a strategic position as it is an imposed circumstance. The introduction also discusses the various ways in which the term ‘folk’ is understood and applied in Avant-Folk. Emphasis is placed on the role of botanical folklore, the use of vernacular speech, and the significance of a ‘cottage-industry’ approach to publishing. In the context of modern small press publishing, the emphasis on craft and artisanship, it is argued, reasserts the domestic sphere as an incisive site for the poetry and publishing practices examined in the following chapters.
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Rosiene, Alan M. "The Ars versificaria of Gervase of Melkley". W Filologie medievali e moderne. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-137-9/009.
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Gervase of Melkley, a younger contemporary of Geoffrey of Vinsauf, writes his De arte versificatoria et modo dictandi at the peak of a revisionary movement that places the discussions of figures and tropes inherited from classical and medieval grammatical and rhetorical traditions in new contexts, creating what we now call the Arts of Poetry and Prose. Gervase’s art draws upon the works of Matthew of Vendome, Geoffrey of Vinsauf, and Bernardus Silvestris for its doctrine and its examples. But how often does Gervase refer to these writers? How does he use their arts in his art? When does he borrow from them? What doctrine and which examples does he borrow? Does he cite his references and, if so, what are his citation practices? This chapter surveys Gervase’s borrowings from the works of Matthew, Geoffrey, and Bernardus by way of a review of the Index nominum and Index scriptorium of Hans Jurgen Graebener’s modern edition of the De arte versificatoria. The review locates Gervase’s borrowings of doctrine and examples with greater precision, and corrects errors in the indices as needed. Charting the precise citation practices of Gervase clarifies the meaning of his hierarchy of the three writers, places his long supposed use of the Poetria nova in serious doubt, and reopens the question of his art’s date.