Relevant bibliographies by topics / 1970s poetry

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic '1970s poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 January 2023

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Journal articles on the topic "1970s poetry"

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Kane, Daniel. "‘Nor did I socialise with their people’: Patti Smith, rock heroics and the poetics of sociability." Popular Music 31, no. 1 (January 2012): 105–23. http://dx.doi.org/10.1017/s0261143011000481.

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AbstractFrom her time as a young performance poet in New York in the late 1960s to her current position as punk rock's éminence grise, Patti Smith has foregrounded the image of the poet as privileged seer. This essay seeks to read Smith's romantic impulses within the context of her activity in the Poetry Project at St Mark's Church, the pre-eminent public face of the Lower East Side poetry scene of the 1960s and 1970s. Ultimately, this essay will argue how Smith's complex negotiations between her understanding of the Poet as Visionary and the adamantly playful, diffuse and collaborative aesthetic characterising downtown New York's poetic community fed into the development of Smith's performative stance as proto-punk rock icon.
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Rybalczenko, Tatiana. "Поэтическая антроподицея Леонида Мартынова." Acta Polono-Ruthenica 1, no. XXII (April 30, 2017): 31–49. http://dx.doi.org/10.31648/apr.1217.

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The article reveals the picture of the world in poetry L. Martynov, to identify the concept of man as a demiurge-generation of evolution of space development as a tool of self-nature. The article accented the originality of the poetic philosophy and its proximity leading natural-philosophical and cultural concepts in the philosophy of the twentieth century: а noosphere idea in the philosophy of Russian cosmists, a sinergetics development model and the ecophilosophy the second half of the twentieth century. It installed here stability and correction of natural philosophy and anthropology of Martynov in his poetry from the 1920s to the 1970s.
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Shkirtil', Lyudmila Vyacheslavovna. "Spiritual Horizons of the "Thaw": on the Question of New Poetry in the "Female" Vocal Cycle in Russian Music of the 1960s and 1970s." Философия и культура, no. 1 (January 2023): 1–12. http://dx.doi.org/10.7256/2454-0757.2023.1.39583.

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The article is devoted to the new poetry that entered the Russian musical culture with the Khrushchev "thaw". A special perspective of the study is the "female" chamber vocal cycle of the 1960s and 1970s. The wave of interest of Russian composers in chamber and vocal music that arose during this period is associated with a hitherto unprecedented wealth of poetic themes and images, the emergence of modern literature. Spiritual horizons expanded rapidly, original texts entailed fresh genre and technological solutions. The new poetic "information", as well as scientific information, liberated the creative forces of musicians, demanded a new language, style, form. Poetry turned out to be one of the most important incentives for the renewal of compositional concepts. The main conclusion of the study is the idea that the development of vocal music, the figurative and thematic expansion of "female" chamber vocal cycles is primarily associated with the modern poetic tradition, with the expansion of the spiritual horizons of Soviet cultural life in the second half of the last century. Russian chamber and vocal music is being studied for the first time in such a perspective and this direction must be recognized as fruitful, more fully revealing the most important vectors of the development of the musical and poetic tradition. It is quite obvious that the modern literary preferences of composers became the basis for a radical renewal of the chamber-vocal genre in the 1960s and 1970s.
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Regan, Stephen. "Lux Perpetua: The Poetry of Seamus Heaney, from Door into the Dark to Electric Light." Romanticism 22, no. 3 (October 2016): 322–30. http://dx.doi.org/10.3366/rom.2016.0293.

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Light shines perpetually in Seamus Heaney's poetry. It has its first glimmerings in poems conceived in darkness and brought into luminous being. The interplay of darkness and light becomes the prevailing metaphor in a poetry of memory and perception, especially in the books published in the 1960s. In the 1970s and 1980s, writing in a subdued light becomes a necessary condition in a tense and sometimes turbulent political climate. A more equable light shines in the work composed in the 1990s, enabling a poetry of meditation and spiritual scrutiny, of quiet celebration and elegy. In later poems, light is cast on a host of theological and eschatological mysteries, and inspires a visionary apprehension of final things. All of these processes of light, from the glimmerings of poetic imagination in the moment of composition to the equation of light with political freedom and philosophical understanding, are validated for Heaney by their profound significance and appeal in Romantic poetry and poetics.
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MICHAILIDOU, ARTEMIS. "Edna St. Vincent Millay and Anne Sexton: The Disruption of Domestic Bliss." Journal of American Studies 38, no. 1 (April 2004): 67–88. http://dx.doi.org/10.1017/s0021875804007911.

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Popular perceptions of Edna St. Vincent Millay do not generally see her as a poet interested in so-called “domestic poetry.” On the contrary, Millay is most commonly described as the female embodiment of the rebellious spirit that marked the 1920s, the “New Woman” of early twentieth-century feminism. Until the late 1970s, the subject of domesticity seemed incompatible with the celebrated images of Millay's “progressiveness,” “rebelliousness,” or “originality.” But then again, by the 1970s Millay was no longer seen as particularly rebellious or original, and the fact that she had also contributed to the tradition of domestic poetry was not to her advantage. Domesticity may have been an important issue for second-wave feminists, but it was discussed rather selectively and, outside feminist circles, Millay was hardly ever mentioned by literary critics. The taint of “traditionalism” did not help Millay's cause, and the poet's lifelong exploration of sexuality, femininity and gender stereotypes was somehow not enough to generate sophisticated critical analyses. Since Millay seemed to be a largely traditional poet and a “politically incorrect” feminist model, second-wave feminists preferred to focus on other figures, classified as more modern and more overtly subversive. Scholarly recognition of Millay's significance within the canon of modern American poetry did not really begin until the 1990s.
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Fleming, Will. "“It Isn’t Race or Nation Governs Movement”: New Writers’ Press and the Transnational Scope of Irish Experimental Poetry in the 1960s and 1970s." Humanities 8, no. 4 (November 20, 2019): 178. http://dx.doi.org/10.3390/h8040178.

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In this paper, I seek to contribute to the resurrection from critical obscurity of an overlooked tradition in contemporary Irish poetry: namely, that of small-press poetic experimentalism. Taking as a case study the Dublin-based New Writers’ Press (NWP, established 1967), I will interrogate the absence of virtually any mention of small Irish experimental presses in critical narratives of late modernist poetry of the British Isles in the 1960s and 1970s. By using an array of insights gleaned from the many letters, typescripts and other ephemera in the NWP archive housed at the National Library of Ireland, such absences in scholarship are explored in the context of what the press’ founding editors faced in navigating the small Irish poetry market of the mid-twentieth century. Through this archival lens, the reasons why a cohesive avant-garde network of British and Irish poetic experimentalists never materialised are analysed, and an argument for how Irish poetic experiments of the last half century have not received anywhere near the same degree of critical attention as those of their British counterparts will emerge. In the first half of this paper, I focus on the Irish commercial poetry scene in the 1950s and 1960s, ultimately illustrating how narrow and competitive it was in comparison to the British market, as well as the peculiar individual context of an Irish campus magazine, Trinity College’s Icarus (1950-). This will in turn suggest that the absence of presses such as NWP from critical accounts of late modernist poetic experimentalism may well be due to editorial decisions made by those Irish presses themselves. In the second half of this paper, I foreground some important archival evidence to review a number of instances in NWP’s history in which it comes close to forging alliances with presses within the more cohesive British experimental scene, though it never manages to do so. Drawing on this evidence, I present an archival basis for counterarguments to the possible conclusion that the responsibility for the general absence of Irish presses from narratives of small-press experimentalism lies with those Irish presses themselves.
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Smethurst, James. "Review Essay: The Black Arts Movement and the Aesthetic Framing of 21st Century Anthologies of African American Poetry." Journal of Foreign Languages and Cultures 4, no. 2 (December 28, 2020): 47–56. http://dx.doi.org/10.53397/hunnu.jflc.202002005.

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When considering anthologies of African American poetry in the 21st century, it is noteworthy how much the legacy of the Black Arts Movement of the 1960s and 1970s both positively and negatively shapes their aesthetic politics, framing, and reception. This essay considers how these anthologies use the Black Arts Movement to frame their version of Black poetry and the way they come at questions of literary and cultural lineage, the relationship of Black poetry to African American experience, and formal tradition and innovation.
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Strashnov, S. L. "Twice lived youth of Yaroslav Smelyakov." Voprosy literatury, no. 5 (November 9, 2019): 158–86. http://dx.doi.org/10.31425/0042-8795-2019-5-158-186.

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The article discusses the interaction of Y. Smelyakov’s (1913–1972) poetry with mass consciousness and describes the major events of the poet’s biography. Milestones on his literary path have been reconstructed, as has his evolution from a carefree lyrical hero into a confident author. The analysis of Smelyakov’s poetry is supplemented with numerous references to everyday Soviet realia. Especially detailed are descriptions of his debut poems, but the author also takes into account the latest interpretation of the poet’s youthful years in the early 1930s. The context of 1920s–1970s Soviet literature is a pivotal element of the analysis. In particular, the author suggests mutual affinity of Smelyakov’s works with the genre of popular sentimental songs, the works of proletarian poets, and the Sixtiers’ poetry. The article recalls the polemics around Smelyakov’s work, especially in the years before the war in 1941 and in the post-Soviet era. Soviet critics often reproached Smelyakov for excessive lyricism, attention to mundane details, and sentimentalism.
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Frolova, Natalya S. "Swahili Terminology in the Context of the Development of the Versification Theory and “Dispute about Poetry”." Vestnik of Saint Petersburg University. Asian and African Studies 12, no. 4 (2020): 505–20. http://dx.doi.org/10.21638/spbu13.2020.403.

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The article discusses the problem of the development of a scientific approach and Swahili terminology by national Swahili literary science in the context of the emergence of new Swahili poetry in the 1970s against the background of prevailing traditional genres, as well as the comprehension, interpretation and application of this terminology by scientists. Born at the end of the 19th century among European missionaries and scholars, the theory of Swahili versification continued to develop in European-language works until the 1950s when the first critical essay on Swahili versification by the traditional poet Amri Abedi appeared. The emergence of new Swahili poetry in the mid-1970s against the background of traditional genres not only produced the well-known mgogoro wa ushairi (dispute about poetry), but also required the comprehension of poetry itself and Swahili literature as a whole. An important role in this process was the priority of developing a unified scientific approach, as well as Swahili terminology. The emergence of a new Swahili-language poetry embodied in the works of Kezilahabi, Mulokozi, Kahigi and others, from the very beginning posed the task of naming this kind of poetry. The article focuses on the unsettled nature of certain Swahili poetry terms denoting new, modernist, Swahili poetry, a reflection of which is shown by the evident heterogeneity of their use in the studies of literary Swahili scholars of the 2000–2010s.
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Kan, Hobae. "Sensibility Images in Gu Yeon-sik’Poetry." Korean Society of Culture and Convergence 44, no. 6 (June 30, 2022): 395–416. http://dx.doi.org/10.33645/cnc.2022.6.44.6.395.

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Gu Yeon-sik’s second collection of poems, Senses , creates unique and diverse images by combining lyrical and emotional images with surreal techniques. In particular, this collection of poems is an important resource in that it shows the process of transformation from Korean surrealist poetry to lyrical poetry in various ways since the 1970s. Nevertheless, until now, it has received little attention from academia due to the limitations of regional literature. Therefore, the purpose of this study is to examine an aspect of Korean modern poetry since the 1970s through the poetic world of Gu Yeon-sik’s. The characteristic of this collection of poems is sensibility images, which are clearly expressed through the visual images of typography, surreal transformation, and the extensibility and transcendence of images. First of all, typography, a visually unique form of expression, is a form of ‘dada’, which visually arranges the structure of a poem or uses language as a sign, such as pun, to create meaning and content sensibly. And the languages of sensibility images are being transformed into abstract images by making the poetic flow difficult or deconstructing the symbols or meanings inherent in language through methods such as objects, dépaysement, and automatic description methods. In other words, in the process of concrete situations or objects being shaped into poetry, abstract images are created by combining with surreal methodologies, which ‘create’ and ‘deconstruct’ another image or meaning at the same time. In other words, the attitude to become infinitely free from the fixed meaning of the idea of objects or characters is creating an abstract image. Lastly, in the ‘Top (17)’ series, the lyrical and symbolic image of the tower is embodied by a surreal technique, thereby creating expanded and transcendent images. In other words, the lyrical images of waiting and longing, which are the symbolic meanings of the tower, merge with the surreal technique to create a grotesque and new form of poetry. Therefore, the sensibility image that appeared in Gu Yeon-sik’s poetry was created by adding surreal techniques to lyrical images, and this study could not only confirm the characteristics of Gu Yeon-sik’s poetry, but also examine the unique poetic form of Korean modernist poetry after the 1970s.
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Dissertations / Theses on the topic "1970s poetry"

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Cernahoschi-Condurateanu, Raluca. "The political, the urban, and the cosmopolitan : the 1970s generation in Romanian-German poetry." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/28009.

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This study is an introduction to the body of work produced by the German poets who were born during or after World War II in Romania and whose almost simultaneous debut lies in the relatively liberal period 1965 – 1971. Helped onto the Romanian-German literary scene by a propitious environment and informed by the socialist ideology they were born “into,” the poets born between 1942 and 1955 formed a remarkable generation unit which sought to significantly renew German-language literature in Romania. Rejecting identification with the insulary Romanian-German communities, the young poets strove to create a socially and politically relevant verse expressing an urban and cosmopolitan attitude. The growing nationalist rhetoric and isolationist stance of Romania's regime and the material and psychological hardships endured by its population through the 1970s and 80s forced the generation to revise its incipient enthusiasm for Romanian socialism. Increasingly, the poets' work came to depict the threatened existence of the German minority and the harsh general living conditions in Romania and to provide an alternative to the absurd official proclamations of a “golden age” under Ceauşescu, despite the poetry's growing reliance on obscuring literary techniques. The emigration of most of the generation members in the mid to late 1980s brought about the eventual unravelling of the generation unit and marks the end of my study. By following the evolution of three themes – social and political engagement, the German minority, and the urban environment – which define the poets as a generation throughout their literary careers in Romania, the analysis illuminates not only the generation's development from identification with Romanian socialism and rejection of the German minority to criticism of the country's policies and a renewed interest in the fate of the German community but also the changing possibilities and limits of literary expression under communism. In addition to providing an introduction to the body of work created by the 1970s generation in Romania, the study also expands the understanding of German literature in the 20th century by providing new material on literature written under totalitarianism and of intercultural German literature.
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Liu, Weicheng. "Sha qiu zhi lü : qi shi zhi jiu shi nian dai Xianggang xin shi zhong de si wang biao shu = Travel to the dunes : an exploration of the representation of death in modern Hong Kong poetry from the 1970s to the 1990s /." click here to view the abstract and table of contents, 2003. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b17626559a.pdf.

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Head, Adrian. "The resurgence of myth in the 1970s in the poetry of Ted Hughes and R.S. Thomas : a Jungian perspective." Thesis, University of Sheffield, 1994. http://etheses.whiterose.ac.uk/14823/.

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This thesis attempts to introduce Jungian concepts to the study of poetry through a critical examination of the poetry written in the 1970s by Ted Hughes and R.S.Thomas. My Introduction examines two contrasting approaches to literature, the mythical and the historical, defines myth, and introduces aspects of a Jungian approach to literature, including the many-angled approach and analogy. Chapter One explains the Jungian concepts of the Archetype and the Collective Unconscious in a discussion of Crow, and also explores the mythological material relevant to the poems of Crow. Chapter Two deals with the Jungian idea of Compensation, and brings this, as well as the idea of the archetype and the collective unconscious, to bear on the mythological material relevant to Gaudete. Chapter Three introduces Jung's Individuation process and discusses the mythological sources of Cave Birds, in particular Ancient Egyptian myth and Alchemy. At the end of the chapter there is a brief discussion of Jung and Hughes, acting as a sort of conclusion to my discussions of Hughes. Chapter Four uses the philosophy of Kierkegaard to explore the 1970s poetry of R.S.Thomas within a Jungian framework which includes ideas of the archetype, the collective unconscious, compensation and individuation. Jung's idea of Psychological Types is also briefly explored in this chapter. Chapter Five finds in Gnostic literature clear parallels with R.S.Thomas' poetry, and, using the Jungian concepts already mentioned, goes on to suggest that R.S.Thomas attempts to modify Christianity in accordance with the beliefs of the Gnostics. My Conclusion finds that many of the authorities quoted in this thesis call for a reorientation of society along the lines of the mythologies discussed in earlier chapters, and goes on to suggest that there is an unexplored unconscious history of the West.
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Calixto, Fabiano Antonio. "Um poeta não se faz com versos: tensões poéticas na obra de Torquato Neto." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-12122012-101411/.

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Nesta dissertação de mestrado, procuro ler a obra de Torquato Neto através das tensões poéticas e políticas que a mesma engendra. Sua obra é construída num momento importante e ao mesmo tempo problemático da história brasileira, onde, entre outros aspectos, dá-se o processo de autonomia do campo literário (e cultural) brasileiro e, no campo político e social, vive-se uma ditadura militar. Ambas as circunstâncias compõem o turbulento painel criativo torquatiano. Do construtivismo anárquico, passando pelas dicotomias em jogo (vida/arte, política/poética, expressão/construção, matéria/material) e os deslocamentos e a instabilidade enunciativa, à resistência como forma máxima de expressão.
In this dissertation, I try to read the writings of Torquato Neto through the poetic and political tensions that it engenders. His work was built during an important yet problematic moment of Brazilian history, when occurred, among other factors, the process of autonomy of Brazilian literary (and cultural) field, and in the political and social fields people were living under a military dictatorship. Both conditions are responsible for the composition of the artists turbulent and creative panel. From the anarchic constructivism, through the dichotomies at stake (life/art, politics/poetics, expression/construction, substance/materiality), displacement and enunciative instability, to the maximum resistance as a form of expression.
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Anderson, Crystal Lee. "The Coagulate, and, 'Not simply a case' : Frank Bidart's post-confessional framing of mental illness, typography, the dramatic monologue and feint in 'Herbert White' and 'Ellen West'." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/the-coagulateandnot-simply-a-case-frank-bidarts-postconfessional-framing-of-mental-illness-typography-the-dramatic-monologue-and-feint-in-herbert-white-and-ellen-west(2408f29d-e56f-46fe-8301-0f10a463f901).html.

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This doctoral thesis involves two components, a book length collection of poems and a critical study of ‘Herbert White’ and ‘Ellen West’ by Frank Bidart. The collection of poems, The Coagulate, consists of four parts: 1) Semi-personal poems focusing on nature both in a general sense and in specific reference to the natural British landscape. 2) Poems that explore the nature-based myths and contemporary social idiosyncrasies of Japan.3) Poems that explore the social perception of mental illness and the individual voices that exist in spite psychological classification.4) Poems by an alter-ego and pseudonym named Lee Cole, a completely foreign perspective to my own. These poems were written with the intent to adhere to Frank Bidart’s concept of Herbert White as ‘all that I was not.’ However, unlike Bidart, these poems attempt to remove the presence of the poet and forgo the use of a feint. The collection is organised with contexture in mind rather than chronology. Poems build upon one another and one section flows into the next causing the book to have a fluid quality. The critical component examines Bidart’s treatment of two mentally ill characters in respect to the establishment of the form, style, and voice that would become a hallmark of his poetry. Chapter 1 looks at the first poem of Bidart’s first book, ‘Herbert White.’ This chapter examines how Bidart’s unique use of typography, voice, Freudian theory, and the sharing of the poet’s history contributed to the crafting of a mentally ill character and the contexture of Golden State. It suggests that the inclusion of the poet, a stable presence in comparison to White, allows the reader to recognise certain universal human personality traits in a character that seems inhuman. Chapter 2 examines how Bidart crafted ‘Ellen West,’ a character just as unlike Bidart as ‘Herbert White.’ Central to this analysis is the examination of how to construct a character struggling with identity. It also examines the use of dramatic monologues and how ‘Ellen West’ fits into a form with a flexible definition. As with Chapter 1, Chapter 2 examines how Bidart uses the poet’s self to add to a fictional narrative and how that reflects upon his personal poetry, indicating that Bidart’s use of the self is a redirection from how the Confessional poets used first-person.
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Provase, Lucius. "Lastro, rastro e historicidades distorcidas: uma leitura dos anos 70 a partir de Galáxias." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-16082016-150905/.

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Neste trabalho proponho uma relação entre literatura e história a partir do conceito de historicidades distorcidas. Partindo da obra galáxias, de Haroldo de Campos, volto-me aos anos 70 para pensar uma historicidade que consiga levar em contas as múltiplas historicidades em jogo, muitas vezes entrecruzando-se, sem que se caia no relativismo ou em uma nova tentativa de construir narrativas. Para tanto, sob o conceito de historicidades distorcidas, mostro que o regime de historicidade de um poema é relacional, ou seja, só existe em relação a um outro regime de historicidade, seja ele do leitor, de outro poema ou de ambos. Essa maneira de pensar a relação entre literatura e história passa a ser a mais funcional, assim defendo, pois vimos experimentando o que chamo de perda de lastro discursivo: um aumento da distância, temporal e espacial, entre o espaço de experiência e o horizonte de expectativa (Koselleck, 2006), que leva a uma diminuição daquilo que compartilhamos como mínimo múltiplo comum discursivo: o contexto, a fraseologia, o que é ou não ideológico, o que é ou não cinismo. Nessa combinação entre uma concepção dos regimes de historicidade vistos de forma relacional, as historicidades distorcidas, e a diminuição daquilo que compartilhamos em nosso espaço público discursivo, a perda do lastro discursivo, termino propondo, no último capítulo, uma prática historiográfica, terminando em uma possível ontologia variável do poema.
In this thesis, I propose a relationship between literature and history from the concept of distorted historicities. Departing the work galaxies, by Haroldo de Campos, I turn to the 70s to think such a historicity that can take on multiple historicities accounts, often crisscrossing up without it falling into relativism or into a new attempt to build big narratives. To this end, under the concept of distorted historicities, I show that the historicitys regime of a poem is relational, which means that it exists only in relation to one another historicitys regime, whether the reader, another poem or both. That way of thinking about the relationship between literature and history becomes the most functional as well, I argue, as we are experiencing what I call the loss of discursive ballast: an increase of the distance, both in time and space, between the space of experience and the horizon expectation (Koselleck, 2006), which leads to a decrease of what we share as our discursive least common multiple: the context, the phraseology, what is or is not ideological, what is or is not cynicism. This combination of a conception of historicity schemes seen relationally, what I call distorted historicity, and the reduction of what we share in our discursive public space, the loss of discursive ballast, I end offering, in the last chapter, a historiographical practice, ending in a possible variable ontology of the poem.
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Muñoz, Tracy Manning. "Peripheral visions Spanish women's poetry of the 1980s and 1990s /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149000160.

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Muñoz, Tracy Manning. "Peripheral Visions: Spanish Women's Poetry of the 1980s and 1990s." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1149000160.

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劉偉成. "沙丘之旅 : 七十至九十年代香港新詩中的死亡表述 = Travel to the dunes : an exploration of the representation of death in modern Hong Kong poetry from the 1970s to the 1990s." HKBU Institutional Repository, 2003. http://repository.hkbu.edu.hk/etd_ra/481.

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Gillis, Alan A. "Irish poetry of the 1930s /." Oxford (GB) : Oxford university press, 2005. http://catalogue.bnf.fr/ark:/12148/cb399230605.

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Books on the topic "1970s poetry"

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Barry, Peter. Poetry wars: British poetry of the 1970s and the battle of Earls Court. Cambridge: Salt, 2006.

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de, Breyne Mathias, ed. The baby beats & the 2nd San Francisco renaissance: 1970s = Les années 1970. La Souterraine, France: La Main Courante, 2005.

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MacDougall, Alan. Inland sailing: A collection of poetic sketches concerning work on the Great Lakes during the 1970s. Keizer, OR: Eden Pub., 2001.

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Day, Gary, and Brian Docherty, eds. British Poetry from the 1950s to the 1990s. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25566-5.

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1956-, Day Gary, and Docherty Brian, eds. British poetry from the 1950s to the 1990s: Politics and art. New York, N.Y: St. Martin's Press, 1997.

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Irish poetry of the 1930s. Oxford: Oxford University Press, 2005.

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Eugenio, Montale. Satura: 1962-1970. Milano: A. Mondadori, 1992.

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1924-, Arrowsmith William, and Warren Rosanna, eds. Satura: 1962-1970. New York: W.W. Norton., 1998.

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Selected poems, 1970-1985. Bridgend, Mid Glamorgan: Poetry Wales Press, 1986.

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1961-, De Paor Louis, ed. Freacnairc mhearcair: Rogha dánta 1970-1998 = The oomph of quicksilver : selected poems 1970-1998. Cork: Cork University, 2000.

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Book chapters on the topic "1970s poetry"

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Curtis, Tony. "The 1970s." In How to Study Modern Poetry, 117–36. London: Macmillan Education UK, 1990. http://dx.doi.org/10.1007/978-1-349-10285-3_5.

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Davidson, Ian. "The Space Age: The 1950s to the 1970s." In Ideas of Space in Contemporary Poetry, 59–79. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230595569_4.

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Brennan, Claire, and Nicolas Tredell. "1970s: Unifying Strategies and Early Feminist Readings." In The Poetry of Sylvia Plath, 33–63. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-137-19380-3_3.

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Curtis, Tony. "The 1940s and 1950s." In How to Study Modern Poetry, 59–90. London: Macmillan Education UK, 1990. http://dx.doi.org/10.1007/978-1-349-10285-3_3.

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Pykett, Lyn. "Women Poets and ‘Women’s Poetry’: Fleur Adcock, Gillian Clarke and Carol Rumens." In British Poetry from the 1950s to the 1990s, 253–67. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25566-5_14.

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Day, Gary. "Introduction: Poetry, Politics and Tradition." In British Poetry from the 1950s to the 1990s, 1–22. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25566-5_1.

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Dowson, Jane. "Anthologies of Women’s Poetry: Canon-Breakers; Canon-Makers." In British Poetry from the 1950s to the 1990s, 237–52. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25566-5_13.

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Roberts, Neil. "Dance of Being: The Poetry of Peter Redgrove." In British Poetry from the 1950s to the 1990s, 87–102. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25566-5_6.

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Day, Gary. "‘Never Such Innocence Again’: The Poetry of Philip Larkin." In British Poetry from the 1950s to the 1990s, 33–47. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25566-5_3.

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Milton, Colin. "‘Half of My Seeing’: the English Poetry of Iain Crichton Smith." In British Poetry from the 1950s to the 1990s, 193–220. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25566-5_11.

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Conference papers on the topic "1970s poetry"

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Mitkina, Evgenia. "QIU XIAOLONG’S NOVELS: AMERICAN DETECTIVE STORIES WITH CHINESE ROOTS." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.23.

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Qiu Xiaolong is an American writer born in China, but he has been living in the United States since 1988. He wrote eleven novels about Inspector Chen, who lives in Shanghai and investigates crimes committed in that city. One of the features of Qiu Xiaolong’s work is insertions of poetry. Its main character is an educated person, he writes poetry himself, translates and actively uses the Chinese poetic heritage to express feelings. The author uses the form of a detective novel to show the various problems of modern China (the period covered is from the 1990s to the present day).
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Maulida, Evira Nida, and Suminto A. Sayuti. "The Ideology Construction in Poetry of Generation of 1980s Poets of South Kalimantan." In Proceedings of the International Conference on Interdisciplinary Language, Literature and Education (ICILLE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icille-18.2019.19.

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Guo, Yingjie, and Qing Zhao. "On the Intertextual Features of Chinese Poetry and American Poetry in the 1920s Taking Hu Shih and Ezra Pound s Poetic Experiences and Poetry as an Example." In 2014 International Conference on Management, Education and Social Science (ICMESS 2014). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icmess-14.2014.10.

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Guo, Yingjie, and Wen Wang. "An Intertextual Perspective of Chinese and American Poetry around 1920s." In The 2013 International Conference on Applied Social Science Research (ICASSR-2013). Paris, France: Atlantis Press, 2013. http://dx.doi.org/10.2991/icassr.2013.3.

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Ings, Welby. "Beyond the Ivory Tower: Practice-led inquiry and post-disciplinary research." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.171.

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This address considers relationships between professional and postdisciplinary practices as they relate to practice-led design research. When viewed through territorial lenses, the artefacts and systems that many designers in universities develop can be argued as hybrids because they draw into their composition and contexts, diverse disciplinary fields. Procedurally, the address moves outwards from a discussion of the manner in which disciplinary designations, that originated in the secularisation of German universities during the beginning of the nineteenth century, became the template for how much knowledge is currently processed inside the academy. The paper then examines how these demarcations of thought, that included non-classical languages and literatures, social and natural sciences and technology, were disrupted in the 1970s and 1980s, by identity-based disciplines that grew inside universities. These included women’s, lesbian and gay, and ethnic studies. However, of equal importance during this period was the arrival of professional disciplines like design, journalism, nursing, business management, and hospitality. Significantly, many of these professions brought with them values and processes associated with user-centred research. Shaped by the need to respond quickly and effectively to opportunity, practitioners were accustomed to drawing on and integrating knowledge unfettered by disciplinary or professional demarcation. For instance, if a design studio required the input of a government policymaker, a patent attorney and an engineer, it was accustomed to working flexibly with diverse realms of knowledge in the pursuit of an effective outcome. In addition, these professions also employed diverse forms of practice-led inquiry. Based on high levels of situated experimentation, active reflection, and applied professional knowing, these approaches challenged many research and disciplinary conventions within the academy. Although practice-led inquiry, argued as a form of postdisciplinarity practice, is a relatively new concept (Ings, 2019), it may be associated with Wright, Embrick and Henke’s (2015, p. 271) observation that “post-disciplinary studies emerge when scholars forget about disciplines and whether ideas can be identified with any particular one: they identify with learning rather than with disciplines”. Darbellay takes this further. He sees postdisciplinarity as an essential rethinking of the concept of a discipline. He suggests that when scholars position themselves outside of the idea of disciplines, they are able to “construct a new cognitive space, in which it is no longer merely a question of opening up disciplinary borders through degrees of interaction/integration, but of fundamentally challenging the obvious fact of disciplinarity” (2016, p. 367). These authors argue that, postdisciplinarity proposes a profound rethinking of not only knowledge, but also the structures that surround and support it in universities. In the field of design, such approaches are not unfamiliar. To illustrate how practice-led research in design may operate as a postdisciplinary inquiry, this paper employs a case study of the short film Sparrow (2017). In so doing, it unpacks the way in which knowledge from within and beyond conventionally demarcated disciplinary fields, was gathered, interpreted and creatively synthesised. Here, unconstrained by disciplinary demarcations, a designed artefact surfaced through a research fusion that integrated history, medicine, software development, public policy, poetry, typography, illustration, and film production.
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Bao, Wei. "Research on the Special Issue of "Poetry of North China" The Unique Landscape of Inner Mongolian Poetic Circle in the 1980s." In Proceedings of the 2nd International Conference on Contemporary Education, Social Sciences and Ecological Studies (CESSES 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/cesses-19.2019.184.

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Rocaciuc, Victoria. "Book graphics in the creation of the fine artist Stefan Sadovnikov." In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.10.

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Since the 1980s, visual artist Stefan Sadovnikov has been involved in book graphics. In this field, the artist managed to approach various genres of literature: poetry, prose, scientific literature, etc. According to the illustrated topics, the graphic techniques approached by the graphic designer are: pencil, pen, gouache, including computer techniques. The strong part of his illustrations consists in appealing by the artist to the plastic principles related to the sign and symbol. Analyzing the book illustrations signed by the fine artist Stefan Sadovnikov, we notice a wide range of allegorical symbols and metaphors created by the artist based on various principles of agglutination, interference of shapes and plastic lines, specific especially to the thinking of sculpture artists. By plastically combining the human figure with the object, the artist personifies the ideas of home, city, music, poetry and love. The artistic image appears as a quintessence of the human character’s relations with the object. Thus, in several illustrations created by the fine artist Stefan Sadovnikov, inanimate objects came to life and features identical to human character and spirit.
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Olarescu, Dumitru. "The historical-biographical film: destinies and personalities." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.10.

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The history of national cinema shows that the evolution of non-fiction biographical film began with subjects dedicated to prominent personalities. These were included in the film magazine “Soviet Moldova” and in the almanac “Life in pictures”. In 1961, the first historical-biographical film “The Legendary Brigade Commander”- a eulogy to Grigore Kotovski (director A. Litvin) appeared at the “Moldova-film” studio, followed by other films dedicated to the heroes of the times: Pavel Tkacenko, Elena Sârbu, Tamara Cruciok, which were dominated by a pronounced propagandistic character. A new level of national historical-biographical film can be noticed in the late 1960s and early 1970s, when the filmmakers: Emil Loteanu (“Academician Tarasevici”), Andrei Buruiană (“Ştefan Neaga”), Vlad Druc (“Ion Creangă”) made their debut. Yet, the idea of biography especially predominates in the creation of Anatol Codru, who played a significant role in the affirmation stage of this kind of nonfiction film, bringing through his films, “Alexandru Plămădeală”, “Alexei Şciusev”, “Dimitrie Cantemir”,”Vasile Alecsandri” a new breath in the context of the films made before him. He imposed himself through a poetic-philosophical vision on the destinies and the creation of the personalities, who contributed to the spiritual prosperity of the nation.
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Lopes Dias, Tiago. "La mirada de Pedro Vieira de Almeida a Le Corbusier: una visión desde Portugal en la segunda mitad del siglo XX." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.732.

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Resumen: Pedro Vieira de Almeida (Lisboa, 1933 – Matosinhos, 2011) es uno de los más importantes críticos y teóricos de la arquitectura en la segunda mitad del siglo XX en Portugal. En 1963, presenta en la Escuela de Bellas Artes de Oporto una tesis titulada “Ensayo sobre el espacio de la arquitectura”, influida por el pensamiento de Bruno Zevi. Hasta la Revolución de los Claveles (1974), va a compaginar su práctica profesional como arquitecto con una intensa actividad crítica ejercida sobre todo en periódicos y revistas culturales. Desde sus primeros trabajos se evidencia una notable capacidad de utilizar conceptos críticos innovadores en el análisis de obras de arquitectura, lo que será fundamental en sus estudios historicos desarrollados a lo largo de su vida, dados a conocer en publicaciones y exposiciones retrospectivas sobre arquitectos clave. Este ensayo propone una reflexión sobre el legado de Le Corbusier poniendo el aciento en algunos artículos de Vieira de Almeida escritos entre 1965 y 1970, así como en la investigación que ha llevado a cabo en los últimos años de su vida. Esta lectura diacrónica pone de relieve el papel central del maestro franco-suizo en la lectura crítica de Vieira de Almeida del racionalismo, a través de las nociones por él manejadas: “estructura crítica como condición base de la creación”, las vertientes poético-simbólica y mítica de la arquitectura o el concepto de carácter más instrumental de la “espesura”. Abstract: Pedro Vieira de Almeida (Lisbon, 1933 – Matosinhos, 2011) is one of the most prominent critics and theorists of architecture in the second half of the 20th century in Portugal. In 1963, he presented at the Oporto School of Fine Arts a thesis entitled “Essay on architectural space”, clearly influenced by the thoughts of Bruno Zevi. Until the Carnation Revolution (1974), he will combine his professional practice as an architect with an intense critical activity, developed mainly in newspapers and cultural magazines. Since his early work, a remarkable ability to use innovative concepts in the critical analysis of buildings have been put forth, with major consequences in his historiographical studies, developed throughout his life through publications or retrospective exhibitions on key architects. The following paper proposes a reflection on the legacy of Le Corbusier based on Vieira de Almeida’s theoretical work, linking some texts written between 1965 and 1970 with his research carried out in his last years of life. This diachronic study highlights the central role of Le Corbusier in Vieira de Almeida’s critical approach to rationalism, by means of notions as: “criticism as a basic condition of creation”, poetic-symbolic and mythical aspects of architecture, or the more instrumental concept of “thickness”. Palabras clave: Crítica; Teoría; Pedagogía; Poética; Espesura; Ronchamp. Keywords: Critique; Theory; Pedagogy; Poetics; Thickness; Ronchamp DOI: http://dx.doi.org/10.4995/LC2015.2015.732
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Reports on the topic "1970s poetry"

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Klengel, Susanne. Pandemic Avant-Garde Urban Coexistence in Mário de Andrade’s Pauliceia Desvairada (1922) after the Spanish Flu. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, December 2020. http://dx.doi.org/10.46877/klengel.2020.30.

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The radical aesthetic of the historical avant-garde movements has often been explained as a reaction to the catastrophic experience of the First World War and a denouncement of the bourgeoisie’s responsibility for its horrors. This article explores a blind spot in these familiar interpretations of the international avant-garde. Not only the violence of the World War but also the experience of a worldwide deadly pandemic, the Spanish flu, have moulded the literary and artistic production of the 1920s. In this paper, I explore this hypothesis through the example of Mário de Andrade’s famous book of poetry Pauliceia desvairada (1922), which I reinterpret in the light of historical studies on the Spanish flu in São Paulo. An in-depth examination of all parts of this important early opus of the Brazilian Modernism shows that Mário de Andrade’s poetic images of urban coexistence simultaneously aim at a radical renewal of language and at a melancholic coming to terms with a traumatic pandemic past.
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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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