Livros: "Poetry" – Grafiati

1

Sibani, Raychaudhuri, e Read Ruth, eds. Bengali poetry English poetry. London: Kavita, 1988.

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2

Bradford, Richard. Poetry. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-26791-7.

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3

translator, Glavinova Sofija, ed. Poetry. Skopje: St. Clement of Ohrid, National and University Library, 2011.

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4

J, Epstein Leonard, ed. Poetry. Pacific Grove, Calif: Park Place Publications, 1992.

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5

Raum, Elizabeth. Poetry. Chicago, IL: Raintree, 2009.

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6

Hetherington, Paul, e Cassandra Atherton. Prose Poetry. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691180656.001.0001.

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This is the first book of its kind — an introduction to the history, development, and features of English-language prose poetry, an increasingly important and popular literary form that is still too little understood and appreciated. The book introduces prose poetry's key characteristics, charts its evolution from the nineteenth-century to the present, and discusses many historical and contemporary prose poems that both demonstrate their great diversity around the Anglophone world and show why they represent some of today's most inventive writing. A prose poem looks like prose but reads like poetry: it lacks the line breaks of other poetic forms but employs poetic techniques, such as internal rhyme, repetition, and compression. The book explains how this form opens new spaces for writers to create riveting works that reshape the resources of prose while redefining the poetic. Discussing prose poetry' s precursors, including William Wordsworth and Walt Whitman, and prose poets such as Charles Simic, Russell Edson, Lydia Davis, and Claudia Rankine, the book pays equal attention to male and female prose poets, documenting women's essential but frequently unacknowledged contributions to the genre. Revealing how prose poetry tests boundaries and challenges conventions to open up new imaginative vistas, this is an essential book for all readers, students, teachers, and writers of prose poetry.

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7

Davis, Peter. Poetry! Poetry! Poetry! Bloof Books, 2010.

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8

Foster, Roy. The Poetry Question. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199574797.003.0017.

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Oxford University Press, with a long tradition of publishing scholarly books on English literature, canonical authors, and anthologies of poetry, did not introduce a contemporary poetry list until the 1960s. Under the direction of Jon Stallworthy, himself a noted poet, and with the support of the Delegates, the Press developed a vibrant list that included the work of poets from Britain, Ireland, America, Australia, and New Zealand, as well as English poetic translations of European titles. Despite its critical success the poetry list was not profitable, and, facing serious financial constraints across the business, the Finance Committee decided to discontinue the list in 1998. The chapter discusses the financial considerations behind the decision, the heated debate it provoked both within the University and in the media, and the lasting impact of the controversy on the Press.

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9

Goldberg, Brian. Poetry and Social Class. Editado por David Duff. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199660896.013.11.

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During the Romantic period, poetry and social class were intimately connected. Many of the period’s political arguments were about the social hierarchy, and poetic writing often reflected these debates. A poet’s social origin also had much to do with what he or she wrote and how that writing might be received. Fundamentally, audiences assumed that a legitimate poet would have a classical education unavailable to writers below a certain rank. Poets regularly attempted to challenge perceived class distinctions, sometimes by experimenting with the voices and viewpoints of other ranks, sometimes by seeking social mobility in the literary marketplace. Attempts at class transit could be treated as dangerous insofar as they raised the prospect of social levelling, or as welcome if they were taken to indicate that British society rewarded merit or that that the nation’s ranks were closely linked rather than antagonistic and divided.

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10

Lunn-Rockliffe, Katherine. French Romantic Poetry. Editado por Paul Hamilton. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199696383.013.7.

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French Romantic poetry marked a dramatic break with a national tradition of verse which had been inherited almost unaltered from the seventeenth century. During the eighteenth century, the neo-classical conception of poetry as a rule-governed and highly stylized art had continued to prevail; verse was characterized by a solemn tone and narrow lexis, and there was a rigid distinction between poetic genres. Whereas Romantic poetry in England and Germany seemed already to allow the imagination free reign, in France poets needed first to reject these neo-classical conventions. Victor Hugo declared in the preface to hisOdes et balladesof 1822 that ‘La poésie n’est pas dans la forme des idées, mais dans les idées elles-mêmes’ (poetry lies not in the form of ideas but in the ideas themselves), and the French Romantic poets were all in different ways engaged in reshaping the forms of poetry to suit their individual purposes.

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11

Crofts, Nigel. Poetry 2000: Poetry. Independently Published, 2017.

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12

Poetry As Poetry. AuthorHouse, 2006.

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13

Pellatt, Alfred. Poetry Sheer Poetry. Excalibur Press of London, 1991.

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14

Sparacio, John. Poetry As Poetry. AuthorHouse, 2006.

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15

Trudell, Scott A. Unwritten Poetry. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198834663.001.0001.

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Vocal music was at the heart of English Renaissance poetry and drama. Virtuosic actor-singers redefined the theatrical culture of William Shakespeare and his peers. Composers including William Byrd and Henry Lawes shaped the transmission of Renaissance lyric verse. Poets from Philip Sidney to John Milton were fascinated by the disorienting influx of musical performance into their works. Musical performance was a driving force behind the period’s theatrical and poetic movements, yet its importance to literary history has long been ignored or effaced. Unwritten Poetry reveals the impact of vocalists and composers upon the poetic culture of early modern England by studying the media through which—and by whom—its songs were made. In a literary field that was never confined to writing, media were not limited to material texts. Scott Trudell argues that the media of Renaissance poetry can be conceived as any node of transmission from singer’s larynx to actor’s body. Through his study of song, Trudell outlines a new approach to the Renaissance poetry and drama that is grounded not simply in performance history or book history but in a more synthetic media history.

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16

McKenzie, Earl. A Poet's House: Poetry. Mango Publishing, 2004.

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17

Poetsy: Poetry Inspired by Cecilia. Austin Macauley Publishers Ltd., 2022.

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18

Whitehead, James. Madness Writing Poetry/ Poetry Writing Madness. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198733706.003.0007.

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The final chapter returns to the scene of Romantic poetry, looking at poetry by William Blake, William Wordsworth, Samuel Taylor Coleridge, John Keats, Lord Byron, Percy Bysshe Shelley, and John Clare. It reads these Romantic texts as poised articulations of the idea of poetic madness, and discusses generally how these writers contributed to, or interwove with their own lives and works, new and rediscovered mythologies of madness, sometimes anticipating or resisting the public images created by journalism, criticism, or biography, previously described. Finally, the Romantic mad poet is considered in relation to criticism and the canonical role of Romanticism in English literature.

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19

Dawson, Clara. Victorian Poetry and the Culture of Evaluation. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198856108.001.0001.

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Victorian Poetry and the Culture of Evaluation argues that the dialectic and dynamic relationship between the periodical review and poetry creates a culture of evaluation which shapes Victorian poetic form. The mediation of poetry by the periodical review orients poets towards public readership and reception, heightening their self-consciousness about their audience and generating a poetics of publicness. Using methodologies associated with historical poetics and new formalism, the book examines the dialogues between poets and periodical reviews from the 1830s to the 1860s. It juxtaposes male and female poets and canonical and uncanonical texts. Challenging the critical binaries of fame and celebrity, the culture of evaluation posits a new way of reading Victorian poetry. It illuminates poets’ engagement with the immediacy and inevitability of writing for the present and for the contemporary media through which poetry was read and disseminated. New patterns of reception were created by mass print culture and both poets and reviewers were preoccupied with reaching the newly constituted mass audience. The changes to the material forms of poetry (e.g. through the periodical or gift-book) and the subjection to the commercial imperatives of the literary marketplace encouraged bold experiment with verse. The book identifies three poetic strategies for articulating the preoccupation with a mass audience and the demands of mass media: voice, style and address. Chapters on voice, style, and address explore the development of poetic form in dialogue with periodical reviews.

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20

Ehlers, Sarah. Left of Poetry. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469651286.001.0001.

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In this incisive study, Sarah Ehlers returns to the Depression-era United States in order to unsettle longstanding ideas about poetry and emerging approaches to poetics. By bringing to light a range of archival materials and theories about poetry that emerged on the 1930s left, Ehlers reimagines the historical formation of modern poetics. Offering new and challenging readings of prominent figures such as Langston Hughes, Muriel Rukeyser, and Jacques Roumain, and uncovering the contributions of lesser-known writers such as Genevieve Taggard and Martha Millet, Ehlers illuminates an aesthetically and geographically diverse matrix of schools and movements. Resisting the dismissal of thirties left writing as mere propaganda, the book reveals how communist-affiliated poets experimented with poetic modes—such as lyric and documentary—and genres, including songs, ballads, and nursery rhymes, in ways that challenged existing frameworks for understanding the relationships among poetic form, political commitment, and historical transformation. As Ehlers shows, Depression left movements and their international connections are crucial for understanding both the history of modern poetry and the role of poetic thought in conceptualizing historical change.

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21

Gray, Jeffrey, Mary Balkun e James McCorkle. American Poets and Poetry. Greenwood, 2015. http://dx.doi.org/10.5040/9798400611469.

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The ethnically diverse scope, broad chronological coverage, and mix of biographical, critical, historical, political, and cultural entries make this the most useful and exciting poetry reference of its kind for students today. American poetry springs up out of all walks of life; its poems are "maternal as well as paternal…stuff'd with the stuff that is coarse and stuff'd with the stuff that is fine," as Walt Whitman wrote, adding "Of every hue and caste am I, of every rank and religion." Written for high school and undergraduate students, this two-volume encyclopedia covers U.S. poetry from the Colonial era to the present, offering full treatments of hundreds of key poets of the American canon. What sets this reference apart is that it also discusses events, movements, schools, and poetic approaches, placing poets in their social, historical, political, cultural, and critical contexts and showing how their works mirror the eras in which they were written. Readers will learn about surrealism, ekphrastic poetry, pastoral elegy, the Black Mountain poets, and "language" poetry. There are long and rich entries on modernism and postmodernism as well as entries related to the formal and technical dimensions of American poetry. Particular attention is paid to women poets and poets from various ethnic groups. Poets such as Amiri Baraka, Nathaniel Mackey, Natasha Trethewey, and Tracy Smith are featured. The encyclopedia also contains entries on a wide selection of Latino and Native American poets and substantial coverage of the avant-garde and experimental movements and provides sidebars that illuminate key points.

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22

Jones, Chris. Fossil Poetry. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824527.001.0001.

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Fossil Poetry provides the first book-length overview of the place of Anglo-Saxon in nineteenth-century poetry in English. It addresses the use of Anglo-Saxon as a resource by Romantic and Victorian poets in their own compositions, as well as the construction and ‘invention’ of Anglo-Saxon in and by nineteenth-century poetry. Fossil Poetry takes its title from a famous passage on ‘early’ language in the essays of Ralph Waldo Emerson, and uses the metaphor of the fossil to contextualize poetic Anglo-Saxonism within the developments that had been taking place in the fields of geology, palaeontology, and the evolutionary life sciences since James Hutton’s apprehension of ‘deep time’ in his 1788 Theory of the Earth. Fossil Poetry argues that two phases of poetic Anglo-Saxonism took place over the course of the nineteenth century: firstly, a phase of ‘constant roots’ whereby Anglo-Saxon is constructed to resemble, and so aetiologically to legitimize, a tradition of English Romanticism conceived as essential and unchanging; secondly, a phase in which the strangeness of many of the ‘extinct’ philological forms of early English is acknowledged, and becomes concurrent with a desire to recover and recuperate the fossils of Anglo-Saxon within contemporary English poetry. A wide range of eighteenth- and nineteenth-century works of antiquarianism, philology, and Anglo-Saxon scholarship forms the evidential base that underpins the advancement of these two models for understanding the place of Anglo-Saxon in nineteenth-century poetry. New archival research and readings of unpublished papers by Tennyson, Whitman, and Morris is also presented here for the first time.

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23

Robinson, Peter. Poetry & Money. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622539.001.0001.

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Poetry & Money: A Speculation is a study of relationships between poets, poetry, and money from Chaucer to contemporary times. It begins by showing how trust is essential to the creation of value in human exchange, and how money can, depending on conditions, both enable and disable such trustfully collaborative generations of value. Drawing upon a vast range of poetry for its exemplifications, the book includes studies of poetic hardship, religious verse and debt redeeming, the South Sea Bubble and the financial revolution, debates upon metallic and paper currency in the eighteenth and nineteenth centuries, as well as modernist struggles with the gold standard, depression, inflation, and the realised groundlessness of exchange value. With its practitioner’s attention to the minutiae of poetic technique, it considers analogies between words and coins, and between poetic rhythm and the circulation of currencies in an economy. Through its close readings of poems over many centuries directly or indirectly engaged with money, it proposes ways in which, while we cannot escape monetary economies, we can resist, to some extent, being ensnared and diminished by them – through a fresh understanding of values money may serve to enable, ones which are nevertheless beyond price.

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24

Coffey, Ann. Poetry Exercises (Practical Poetry). Cherrybite Publications, 1998.

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25

Shakespeare, William. Shakespeare's Sonnets (Poetry) (Poetry). In Audio, 2003.

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26

Fridkin, Susan. The poetry remembers: Poetry. S. Fridkin, 2001.

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27

Orme, David. The Poetry Show (Poetry). Nelson Thornes Ltd, 1987.

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28

Animal Poetry (Thematic Poetry). Hodder Children's Books, 1993.

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29

(Editor), Robert Hull, e Annabel Spenceley (Illustrator), eds. Christmas Poetry (Thematic Poetry). Hodder Wayland, 1991.

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30

Sea Poetry (Thematic Poetry). Hodder Children's Books, 1993.

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31

Womens Poetry Pitt Poetry. University of Pittsburgh Press, 2013.

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32

Poetry Places (Poetry Review). Poetry Society, 2000.

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33

(Editor), Robert Hull, e Annabel Spenceley (Illustrator), eds. Christmas Poetry (Thematic Poetry). Hodder Wayland, 1993.

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34

Poetry Express (Poetry Express). Ginn & Company, 1994.

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35

Lavoie, Chrystal. Poetry Beyond Thoughts: Poetry. Lulu Press, Inc., 2022.

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36

McClain, Michele Marie. Church Folk Poetry: Poetry. Independently Published, 2019.

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37

Clare, John. Selected Poetry (Poetry Library). Penguin Books Ltd, 1990.

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38

Foster, John. Poetry Paintbox (Poetry Paintbox). Oxford University Press, 1993.

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39

Harris, V. B. Straight Poetry (Straight Poetry). Vantage Press, 2000.

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40

Foster, John. Poetry Paintbox (Poetry Paintbox). Oxford University Press, 1994.

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41

(Editor), Robert Hull, e Annabel Spenceley (Illustrator), eds. Science Poetry (Thematic Poetry). Hodder Wayland, 1991.

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42

Ndlovu, Mzwandile. Poetry Land: Poetry Anthology. Independently Published, 2019.

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43

Poetry Paintbox (Poetry Paintbox). Oxford University Press, 1994.

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44

(Editor), Robert Hull, e Annabel Spenceley (Illustrator), eds. Green Poetry (Thematic Poetry). Hodder Wayland, 1993.

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45

Poetry Paintbox (Poetry Paintbox). Oxford University Press, 1994.

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46

Poetry Paintbox (Poetry Paintbox). Oxford University Press, 1994.

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47

(Editor), Robert Hull, e Annabel Spenceley (Illustrator), eds. Food Poetry (Thematic Poetry). Hodder Wayland, 1992.

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48

New century poetry: Poetry. London: Great Press, 1999.

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49

Poetry Paintbox (Poetry Paintbox). Oxford University Press, 1993.

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50

Ben, Jonson. Selected Poetry (Poetry Library). Penguin Books Ltd, 1992.

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