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Poetry
Kinds of Poetry Selected Abstracts,LE STYLE, C'EST LE DIABLE': TWENTIETH-CENTURY GERMAN POETRY IN DIALOGUE WITH PAUL VALÉRYGERMAN LIFE AND LETTERS, Issue 3 2007Robert Vilain ABSTRACT This article explores the dialectic of rejection and affinity shared by the responses to Paul Valéry of three non-German German-language poets. Despite significant affinities in cultural ambition and poetics (notably between ,L'Âme et la danse' and ,Das Gespräch über Gedichte'), there is little evidence of an influence exerted by Valéry on Hofmannsthal, who was strangely suspicious of him. In contrast, Rilke was hugely enthusiastic, and although his translations of Valéry did not give the often asserted impetus for the creative flowering of 1922, other somewhat uncharacteristic poems (such as ,Zueignung an M.' and ,Der Magier') positively reflect his encounter with Valéry's Mallarméan conception of the poet. However, his versions of Charmes display less poetological proximité than the revisionary effects of a much less overtly self-conscious view of poetry, shown here with ,Les Grenades'. Celan's translation of La Jeune Parque was a systematic attempt to subvert the solipsism of the original study in self-consciousness and ostensibly incarnates his rejection of the aesthetics of an overly intellectual poetry. However, possible reasons why his initial reluctance to translate Valéry was eventually overcome are discernible in the near-contemporaneous speech, ,Der Meridian', which explores the utopian notion of ,freiwerdende Sprache', partly in response to Valéry. [source] ON HISTORY CONSIDERED AS EPIC POETRYHISTORY AND THEORY, Issue 2 2005JOSÉ CARLOS BERMEJO BARRERA ABSTRACT This essay defines history as an interaction of three elements: description, evocation, and expression. These three elements should interact and combine without any of them over-whelming the remaining two. In combining the three elements, history carries on from epic poetry, which was its source. Highlighting the three elements reveals the ways history synthesizes the three historical stages outlined by Comte, namely, the theological, the metaphysical, and the scientific. [source] POETRY AGAINST EVIL: A BULGAKOVIAN THEOLOGY OF POETRY1MODERN THEOLOGY, Issue 1 2009RYAN McDERMOTT The essay introduces Sergei Bulgakov's theology of creation and evil in order to develop a theology of language, conceiving language as the path along which humans receive their own givenness, but also participate in the creation of the world. Poetry's attention to the difficulty of language, its acceptance of artificial disciplines, and its nonrational mode of knowledge uniquely attune it to language's creative,and destructive,potential. Like a monastery for language, poetry enacts a linguistic askesis, schooling its language and its readers in conversion. The essay includes a close reading of Gjertrud Schnackenberg's poem, "Supernatural Love." A conclusion situates the essay's program for a theology of literature in relation to Henri de Lubac's work on spiritual exegesis and Hans Urs von Balthasar's use of literature in his theology. [source] A Place for PoetryENGLISH IN EDUCATION, Issue 2 2007Gareth Calway No abstract is available for this article. [source] A Place for PoetryENGLISH IN EDUCATION, Issue 1 2007John Lucas No abstract is available for this article. [source] A Place for PoetryENGLISH IN EDUCATION, Issue 3 2006Article first published online: 28 JUN 200 No abstract is available for this article. [source] A Place for PoetryENGLISH IN EDUCATION, Issue 2 2006Helena Nelson No abstract is available for this article. [source] A Place for PoetryENGLISH IN EDUCATION, Issue 1 2006Anthony Wilson No abstract is available for this article. [source] A Defense of Puttenham's Arte of English PoesyENGLISH LITERARY RENAISSANCE, Issue 1 2009Julian Lamb Recent critical accounts of Puttenham's treatise have tended to focus on the political nature of its poetics, and have in turn read the text as an exercise in courtly dissembling, or in self-fashioning. My argument is that such readings misunderstand the pedagogical nature of Puttenham's text, which distinguishes it from Sidney's Defense of Poetry and Daniel's Defense of Rhyme (to which the Art has been compared unfavourably). In the first half of this article I provide a re-interpretation of Puttenham's conception of decorum, suggesting that it is not an inexplicable rule designed to keep poetry the property the courtly elite, but rather a appetite and an imperative motivating the writing of poetry. In the second half of the article I consider Puttenham's understanding of the nature of decorum in terms of the relationship between custom and the rule. I suggest that Puttenham conceptualises this relationship as one between the aural and visual properties of language; between the ear and the eye. [source] The Reflexive Turn in Early Seventeenth-Century PoetryENGLISH LITERARY RENAISSANCE, Issue 3 2002DAVID S. REID [source] Neither Religion nor Philosophy: The Language of Delicacy in Rilke's PoetryGERMAN LIFE AND LETTERS, Issue 2 2010Antonella Castelvedere ABSTRACT This article examines the function of the language of delicacy and the use of the term ,leise' in Rainer Maria Rilke's,Das Stunden-Buch,and the,Duineser Elegien. In particular, I consider the relevance of delicacy to the reassessment of the violence that haunts the discourses of religion and philosophy through which the poet addresses the crisis of modernity in his poetry. Starting from the analysis of the ambiguous treatment of the abstract entities of God and the Angel, I contend that the attempt to reconcile the sensible with the concept inheres in Rilke's persistent preoccupation with ,Dasein' as ideal incorporation of death. I proceed to show that, conversely, the texts convey the complex experience of mortality as a precarious and sophisticated way of making sense at the limits of perception. I argue that an exploratory discursivity articulates the experiences of ,disbelieving' and ,unknowing' whose creative liminality is at variance with the rigidity of the central narratives of revelation and enlightenment advocated by the poet. I conclude by suggesting that a comprehensive reading of Rilke's poetry requires the recognition of the condition of ,delicate being' as a mode of resistance to the latent violence of Rilke's compelling conceptualisations. Dieser Beitrag untersucht die Funktion der Sprache der Zartheit und den Gebrauch des Wortes ,leise' in Rainer Maria Rilkes,Stunden-Buch,und den,Duineser Elegien. Insbesondere untersuche ich die Bedeutung der Zartheit für die Neueinschätzung der Gewaltanwendung, welche dem Diskurs der Religion und der Philosophie innewohnt, durch den der Dichter die Krise der Modernität in seiner Dichtung behandelt. Von der Analyse der vieldeutigen Behandlung der abstrakten Wesen des Gottes und des Engels ausgehend, argumentiere ich, dass der Versuch, das Fühlbare mit dem Begrifflichen zu versöhnen, Rilkes ständigem Interesse für ,Dasein' als idealer Einverleibung des Todes zugehört. Ich zeige weiter, dass die Texte andererseits bezeugen, wie die komplexe Erfahrung der Sterblichkeit dazu dient, an den Grenzen des Wahrnehmbaren auf prekäre und komplexe Weise Sinn zu stiften. Ich argumentiere, dass eine forschende Diskursivität die Erfahrungen des ,Unglaubens' und des ,Unwissens' artikuliert, deren schöpferische Liminalität sich im Gegensatz zu der vom Dichter befürworteten Starrheit der zentralen Begriffe der Offenbarung und der Aufklärung befindet. Zum Schluss schlage ich vor, dass eine inklusivere Auffassung von Rilkes Dichtung die Anerkennung des Zustandes des ,leisen Seins' erfordert, als Widerstand zur latenten Gewaltanwendung von Rilkes bezwingenden Begriffsbildungen. [source] ,Aus Blut und Schmerz geboren': Maternal Grief and the Poetry of Frida BettingenGERMAN LIFE AND LETTERS, Issue 3 2008Catherine Smale ABSTRACT This article analyses the impact of maternal grief on the literary creativity of the Expressionist poet Frida Bettingen (1865,1924). Examining the depiction of maternal love which emerges in Bettingen's later poems and her ambivalent attitude towards writing as a form of therapy, it argues that her verse offers an alternative to the responses to loss outlined by Freud in his essay on mourning and melancholia. Finally, the article explores the ways in which Bettingen's ambivalence leads her to experiment with the poetic medium. She engages with and adapts contemporary discourses in order to situate her grief within the collective response to the losses of the First World War whilst still retaining a sense of the private significance of her son's death. [source] ,Fühlst du dich als Deutsche oder als Afrikanerin?':1 May Ayim's Search for an Afro-German Identity in her Poetry and EssaysGERMAN LIFE AND LETTERS, Issue 4 2006Jennifer Michaels ABSTRACT Until her suicide in 1996, May Ayim was one of the leading voices among Afro-German women and the group's most prominent poet. In her poetry and essays, she addresses such topics as marginalisation, multiculturalism and identity formation and describes her struggle to live in a society where she encountered racial prejudice and stereotypes. Her texts map the stages in her development from rejecting being black and wishing to be white to affirming her biracial identity, which she came to view as a source of her creativity. In her poetry she not only depicts aspects of the Afro-German experience but also powerfully evokes feelings of abandonment, loneliness, love and death. In this article I will set Ayim's work into the context of the Afro-German experience and highlight issues that were of particular concern to her. [source] From Industrial Georgic to Industrial Sublime: English Poetry and the Early Stages of the Industrial RevolutionJOURNAL FOR EIGHTEENTH-CENTURY STUDIES, Issue 1 2004RUDOLF BECK First page of article [source] The Chan Interpretations of Wang Wei's Poetry: A Critical Review , By Yang JingqingJOURNAL OF CHINESE PHILOSOPHY, Issue 3 2008Kyle David Anderson [source] Margins of Poetry: The Character of Character in Melville's "The Temeraire"LEVIATHAN, Issue 3 2006Dan Fineman [source] What We Think About Donne: A History of Donne Criticism in Twenty MinutesLITERATURE COMPASS (ELECTRONIC), Issue 4 2008Paul A. Parrish This paper is part of the second Literature Compass panel cluster arising from The Texas A&M John Donne Collection: A Symposium and Exhibition. [Correction added after online publication 24 October 2008: ,This paper introduces the second Literature Compass panel cluster' changed to ,This paper is part of the second Literature Compass panel cluster'.] Comprising an introduction by Gary Stringer and three of the papers presented at the symposium, this cluster seeks to examine the current state of Donne Studies and aims to provide a snapshot of the field. The symposium was held April 6,7, 2006. The cluster is made up of the following articles: ,Introduction to the Second Donne Cluster: Three Papers from The Texas A&M John Donne Collection: A Symposium and Exhibition', Gary A. Stringer, Literature Compass 5 (2008), DOI: 10.1111/j.1741-4113.2008.00551.x. ,Donne into Print: The Seventeenth-Century Collected Editions of Donne's Poetry', Ted-Larry Pebworth, Literature Compass 5 (2008), DOI: 10.1111/j.1741-4113.2008.00552.x. ,"a mixed Parenthesis": John Donne's Letters to Severall Persons of Honour', M. Thomas Hester, Literature Compass 5 (2008), DOI: 10.1111/j.1741-4113.2008.00553.x. ,What We Think About Donne: A History of Donne Criticism in Twenty Minutes', Paul A. Parrish, Literature Compass 5 (2008), DOI: 10.1111/j.1741-4113.2008.00554.x. *** The standard paradigm of critical responses to John Donne from the seventeenth century to the present is not seriously contested: during his own day Donne was reasonably well known, albeit a somewhat controversial poet. As the century progressed, Donne became increasingly out of fashion, and throughout the eighteenth century and into the nineteenth century, Donne had largely disappeared from the public and critical eye. The ,rescue' of Donne in the late nineteenth and early twentieth centuries has led to an interest that has continued largely unabated to the present, though often without the unbridled enthusiasm that characterizes some responses early in the twentieth century. In the past few decades, Donne's work has been viewed through the lenses of virtually every critical and theoretical approach one could identify. More recent efforts, particularly as exemplified by the Variorum Edition of the Poetry of John Donne, have not so much challenged the standard paradigm regarding Donne criticism as to add to our knowledge and understanding by filling in gaps and shading in historical transitions, the better to provide a more comprehensive understanding of what we have thought about Donne for more than four centuries. [source] Aldhelm and the Two Cultures of Anglo-Saxon PoetryLITERATURE COMPASS (ELECTRONIC), Issue 5 2007Christopher Abram Old English literature dominates the study of Anglo-Saxon culture as a whole, to the extent that ,Anglo-Saxon' and ,Old English' were for a long time considered synonymous. The Anglo-Saxons, however, also produced a large body of texts in Latin. In this survey, I examine the often false dichotomy sometimes made between Old English and Anglo-Latin literary aesthetics and textual production as they are revealed through Anglo-Saxon poetry, and discuss the post-medieval intellectual contexts that produce and sustain this dichotomy. The figure and work of Aldhelm (c.639 ce,709 ce) is used as an example of how Anglo-Saxon poets often occupied a liminal position between Latinate and Germanic culture. I argue that a proper understanding of Anglo-Saxon culture (and poetry's place within it) requires us to disassemble the artificial barriers that have been erected between Old English and Anglo-Latin verse. [source] Unearthing Paul Auster's PoetryORBIS LITERARUM, Issue 5 2009James Peacock Little critical attention has been paid to Paul Auster's poetry. Reviewers of the recent Collected Poems tended to treat the work as an archaeological curiosity, as evidence of a young writer struggling to find the voice which would eventually allow him to write his more commercially and critically successful novels. This article argues for the intrinsic merits of the poems, and explores the ways in which Auster's verse deals with the question of the poet's relationship with the past. The past, these poems show, takes many forms: it includes Auster's literary ancestors, but also the national past and Native American civilisations. [source] Proceed with Caution: Poe in the Classroom JEFFREY ANDREW WEINSTOCK AND TONY MAGISTRALE, EDS.,,Approaches to Teaching Poe's Prose and PoetryPOE STUDIES, Issue 1 2009Dale E. Peterson First page of article [source] Conquering Cities and "Conquering" Women: A Contribution to the Understanding of Symbolism in PoetryPOLITICAL PSYCHOLOGY, Issue 1 2010Otto Rank First page of article [source] Indo-European Poetry and Myth , By M.L. WestRELIGIOUS STUDIES REVIEW, Issue 1 2008Jenny Strauss Clay No abstract is available for this article. [source] The Pendulum of Poetry: Metaphor and Mediation in Rilke's Duineser ElegienTHE GERMAN QUARTERLY, Issue 3 2006Eleanor E. ter Horst First page of article [source] Anthropology at the Edge of Words: Where Poetry and Ethnography MeetANTHROPOLOGY & HUMANISM, Issue 1 2010Kent Maynard SUMMARY Anthropology has seen major challenges regarding methods, epistemologies, and how one writes ethnographically. As practicing ethnographers and poets, we focus on one among many vibrant new styles of anthropological scholarship: ethnographic poetry. As poetry appears more regularly in scholarly venues, anthropologists may wonder how to create ethnographic poetry and toward what end. To address this, we begin with definitions of ethnographic poetry in relation to ethnography and ethnopoetics. We then consider how poetry may help anthropologists to write insightfully about how we and other people live. Drawing on our own poetry, and that of others, we explore how form affects meaning and ethnographic insight. [source] Somatic Poetry in Amazonian EcuadorANTHROPOLOGY & HUMANISM, Issue 1-2 2008Michael Uzendoski SUMMARY In this article, I explore two healing experiences, one in Amazonian Ecuador and the other in Amazonian Peru. I argue that these experiences can be theorized through the idea of "somatic poetry," which I define as the process of making and experiencing beauty so that life and the story become part of the same thread. I discuss how somatic poetry involves drama and coauthoring with nonhuman natural beings, including spirits. I also explore how somatic poetry works textually in interconnecting past lives, history, myth, the body, and the myriad and various subjectivities of the Amazonian landscape. [source] What We Think About Donne: A History of Donne Criticism in Twenty MinutesLITERATURE COMPASS (ELECTRONIC), Issue 4 2008Paul A. Parrish This paper is part of the second Literature Compass panel cluster arising from The Texas A&M John Donne Collection: A Symposium and Exhibition. [Correction added after online publication 24 October 2008: ,This paper introduces the second Literature Compass panel cluster' changed to ,This paper is part of the second Literature Compass panel cluster'.] Comprising an introduction by Gary Stringer and three of the papers presented at the symposium, this cluster seeks to examine the current state of Donne Studies and aims to provide a snapshot of the field. The symposium was held April 6,7, 2006. The cluster is made up of the following articles: ,Introduction to the Second Donne Cluster: Three Papers from The Texas A&M John Donne Collection: A Symposium and Exhibition', Gary A. Stringer, Literature Compass 5 (2008), DOI: 10.1111/j.1741-4113.2008.00551.x. ,Donne into Print: The Seventeenth-Century Collected Editions of Donne's Poetry', Ted-Larry Pebworth, Literature Compass 5 (2008), DOI: 10.1111/j.1741-4113.2008.00552.x. ,"a mixed Parenthesis": John Donne's Letters to Severall Persons of Honour', M. Thomas Hester, Literature Compass 5 (2008), DOI: 10.1111/j.1741-4113.2008.00553.x. ,What We Think About Donne: A History of Donne Criticism in Twenty Minutes', Paul A. Parrish, Literature Compass 5 (2008), DOI: 10.1111/j.1741-4113.2008.00554.x. *** The standard paradigm of critical responses to John Donne from the seventeenth century to the present is not seriously contested: during his own day Donne was reasonably well known, albeit a somewhat controversial poet. As the century progressed, Donne became increasingly out of fashion, and throughout the eighteenth century and into the nineteenth century, Donne had largely disappeared from the public and critical eye. The ,rescue' of Donne in the late nineteenth and early twentieth centuries has led to an interest that has continued largely unabated to the present, though often without the unbridled enthusiasm that characterizes some responses early in the twentieth century. In the past few decades, Donne's work has been viewed through the lenses of virtually every critical and theoretical approach one could identify. More recent efforts, particularly as exemplified by the Variorum Edition of the Poetry of John Donne, have not so much challenged the standard paradigm regarding Donne criticism as to add to our knowledge and understanding by filling in gaps and shading in historical transitions, the better to provide a more comprehensive understanding of what we have thought about Donne for more than four centuries. [source] A New Global Poetics?LITERATURE COMPASS (ELECTRONIC), Issue 3 2009Romana Huk The review article considers the last dozen years' worth of arguments for de-emphasizing national boundaries in the writing/reading of new poetries. It considers the ways in which such arguments illuminate and are illuminated by debates about the future of comparative literature in general, as well as by trends in literary theory (from Hardt and Negri's Empire to Slavoj ,i,ek's In Defense of Lost Causes). The piece moves in anecdotal fashion, charting my own recent invitation to consider whether there is such a thing as a ,new global poetics' (ACLA Conference 2007, Puebla, Mexico) and my subsequent, mixed and changing responses to issues that should, by implication, change the way we both teach and write about literature. [source] The Shaman's Song and Divination in the Epic TraditionANTHROPOLOGY OF CONSCIOUSNESS, Issue 2 2010KURT CLINE ABSTRACT Evidence of the intimate linkage of the shaman's song and divinatory procedures may be viewed in the ancient epics. These narrative poems contain structural and thematic elements recognizable from the shaman's song,in particular his or her voyage to the Otherworld and the guidance of oracular powers. In this paper, The Epic of Gilgamesh, Euripedes' Ion, and The Ozidi Saga (a living epic from West Africa) are examined as recuperations of the orally composed and transmitted song of the shaman. I argue that the epics,the origins of which predate their composition in literary form,bear witness to these most ancient and mysterious forms of linguistic expression. As depictions of Otherwordly journeys, they can be viewed through a metaphysic outside of time, rendering divination not only possible but inevitable, and necessitating a language of abstraction, allusion, and ambiguity. Today's experimental poetries may not all partake of a conscious recuperation of shamanic themes and forms, but they share an imaginary (yet not imagined) repositioning of reality, an open questioning of consensus forms of awareness, and an aesthetic shaping of what Jean Gebser calls "Integral Consciousness" (15), the simultaneous integration-disintegration of archaic, mythic, magic, and mental paradigms in an intensification of awareness which sees time as diaphanous, and Mind as a doorway between possibilities. [source] Her kind: Anne Sexton, the Cold War and the idea of the housewifeCRITICAL QUARTERLY, Issue 3 2006CLARE POLLARD As a key figure of the 'Confessional' movement, Anne Sexton's work has often been critically assessed only in relation to her life - her history of mental illness and eventual suicide. This article attempts to place Sexton's poetry back into its historical context, arguing that with American suburbia being viewed as a new 'home front' during the Cold War, the persona of 'Housewife-poet' that Sexton adopted was highly politically charged. Seizing the language of pop-culture - from advertising to sci-fi - Sexton used it to expose the nightmare behind the white picket fence, and deconstruct the carefully constructed propaganda of the American housewife. [source] Mock as screen and opticCRITICAL QUARTERLY, Issue 3 2004Simon Jarvis As its unique approach to the question of generational differences, this essay takes the relationship looks at poetry and modernity; that is, what happens when a style [such as the mock heroic, or the poetically inflated] starts to feel its age, yet doesn't die; and how its readers cope with its resurrections. Moving nimbly from Nigel Slater to Alexander Pope and back, the essay abandons the usual and reduced conception of 'mock' - that it describes trivial happenings but in an elevated language - and instead looks for a better conception, suggesting instead that mock is ubiquitous, both in literature and the everyday, as a broad and all-pervasive style of thinking and feeling. [source] | ||||||||||||||||||||||||||||||||||||||||