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Journal articles on the topic '1970s poetry'
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1
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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Popova, Matrena. "Eastern forms in Yakut poetry: transformation features (the works of A. Parnikova-Sabara-Ilge as a case-study)." SHS Web of Conferences 134 (2022): 00092. http://dx.doi.org/10.1051/shsconf/202213400092.
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This article attempts to comprehend the innovations of Yakut poets in the creation of small-form genres in modern Yakut poetry, namely forms borrowed from the Eastern poetry, to be more exact, the poetry created by Anna Parnikova-Sabaray-Ilge as a case-study. The tendency of the poetess in her poetic stylization of the Eastern genres is to enrich the modern genre systematizing the examples from the treasury of world literature. As early as the 1960s and 1970s, Yakut poets sought to master oriental forms. However, in their poems they did not strictly follow the requirements of certain oriental forms. Only in the early 2000s young poet A. Parnikova managed to keep to the special requirements of the hard forms, namely the eastern ghazals. Although the author managed to nationalize the imagery, for example, the author used lilies instead of tulips, we consider her poem a model of oriental forms in the Yakut style.
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Wiguna, Riefki Fajar Ganda, and Maxymilianus Soter Mite Kombong. "Critical Discourse Analysis on Contemporary Indonesian Poetry from 1966-1998." Indonesian Journal of English Language Studies (IJELS) 2, no. 2 (December 12, 2016): 159–75. http://dx.doi.org/10.24071/ijels.v2i2.556.
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The growth of Indonesian literary works began since the generation of Pujangga Baru brought literature to the surface. Many poets, novelists, and writers emerged, bringing about their works which remain popular in the present. This paper is a critical discourse analysis which aims to find the dominant ideology represented in the Contemporary Indonesian Poetry from the 1960s to the 1970s. The data were taken from Contemporary Indonesian Poetry translated by Harry Aveling (1975). There are 11 poems that were analyzed in this study. They are Sermon, Pickpockets Advice to His Mistress, and Prostitutes of Jakarta Unite! by W.S Rendra, Two Poems with One Title, Space, and Who Are You by Sapardi Djoko Damono, Between Us, Prayer and Image by Ajip Rosidi, and A Tale Before Sleep and Cold Unregistered by Gunawan Muhammad. By using the Seven Building Tasks proposed by James Paul Gee (2011), the researchers analyzed each poem based on the seven tasks. The result shows that the dominant ideologies in Contemporary Indonesian Poetry from the 1960s to the 1970s are in the matters of socialism and humanism. Socialism here covers the condition of social life at that time where there power abuse occurred from the powerful people towards the powerless ones. On the other hand, humanism merely covers the condition of human beings, especially Indonesians, at that time.Keywords: ideology, critical discourse analysis, seven building tasks, contemporaryIndonesian poetry.
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Tornatore-Loong, Maria (Connie). "Poesia Visiva: Italian Concrete and Visual Poetry of the 1960s and 1970s." International Journal of the Arts in Society: Annual Review 5, no. 6 (2011): 307–48. http://dx.doi.org/10.18848/1833-1866/cgp/v05i06/35959.
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ДРЕЙЗИС, Юлия Александровна. "Acoustic Dimension Textualization Techniques in Chinese Poetry of the 1950s through 1970s." Известия Восточного института 1, no. 53 (March 2022): 91–98. http://dx.doi.org/10.24866/2542-1611/2022-1/91-98.
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Статья представляет собой попытку описать различные приёмы "вписывания" звучания в китайский поэтический текст на современном языке, которые широко использовались в поэзии 1950–1970-х годов – на пике популярности массовой декламации в период активного регулирования декламационной практики. Анализ текстов 1950–1970-х годов даёт возможность увидеть общие тенденции в эволюции "новой поэзии" в сторону возрождения отдельных техник и приёмов, характерных для различных форм традиционного стихосложения, а также оценить соотношение "устного" и "письменного" в китайской поэзии XX в. китайская поэзия, современная поэзия, поэтическая декламация, поэтический дискурс, "письменное" vs. "устное", фоническая реализация, организация стихотворного текста
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Lipovetsky, Mark. "Soviet “Political Unconscious” in Dmitrii A. Prigov’s Poetry of the 1970s–1980s." Russian Literature 87-89 (January 2017): 225–60. http://dx.doi.org/10.1016/j.ruslit.2017.04.009.
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Yulianto, Henrikus Joko. "Material Overconsumption as Ecological Polemics in Allen Ginsberg’s “Plutonian Ode” and Gary Snyder’s “Smokey the Bear Sutra”: Re-Envisioning Beat Critiques of Anthropocentric Materialism." Humanities 10, no. 2 (May 20, 2021): 78. http://dx.doi.org/10.3390/h10020078.
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Beat poetry, since its origination in the American milieu in the 1950s until its further maturation in the late 1960s and 1970s, has embodied ecological visions. Allen Ginsberg’s and Gary Snyder’s Buddhist poetics of the emptiness of material phenomena evoke one’s awareness ofthe true nature of material goods. This ecological awarenessenlightensanyoneto not overconsume the goods in fulfilling his/her daily necessities. In this recent era, Ginsberg’s “Plutonian Ode” and Snyder’s “Smokey the Bear Sutra” memorialize this Beat green poetics against anthropocentric materialism and its potential detrimental impacts on the natural environment. These poems view human’s material attachment as a recurring melancholia even in today’s digital technology era. Their ecological criticisms through the Buddhist poetics pave the way for anyone to cherish rather than objectify any material thing in living the biotic community.
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Nyagolova, Natalia. "The topos of the city in the Bulgarian prose from the 1960s. Its structure and mythopoetics." Slavic Almanac, no. 1-2 (2022): 265–78. http://dx.doi.org/10.31168/2073-5731.2022.1-2.3.04.
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The article depicts the main processes of literary urbanism in the 1960s in the Bulgarian prose, which witness the permeability of the socialist realist canon and the expansion of its thematic and structural boundaries. Three new models of negatively connoted city space that came into being in the context of the “Thaw” are outlined. The differences between the presented models and the Soviet urbanism of the 1960s, which often presents city as a territory of poetry, trust and connection with the revolutionary past, are taken into account. The present article traces the presence of the topos of the “sinful city” in Pavel Vezhinov’s Smell of Almonds, Bogomil Rainov’s Roads to Nowhere and Vassil Popov’s The Time of the Hero. The author reconstructs the genesis of the given topos in the tradition of Bulgarian urban literary fiction from the 1920s to the 1940s and analyzes the influence of mass literature. A group of semantic features typical for the poetics of this topos in the considered works is presented, such as: — destruction and fragmentation; — incompleteness and deformation of the interior; — semiotization of sounds and aromas; — provincialism and cosmopolitanism. The confrontation of the topos with the basic postulates of the socialist realism as well as the productivity of the given model in the Bulgarian literary fiction of the 1970s is outlined.
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Figueroa, Michael A. "“Behind the Sounds”." Journal of Musicology 38, no. 4 (2021): 401–18. http://dx.doi.org/10.1525/jm.2021.38.4.401.
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In this article I explore the aesthetics and political valence of shirei meshorerim (SM), a body of Israeli sung poetry that emerged out of a series of radio programs, festivals, and recording projects beginning in the 1970s and drawing on long-standing local practices in both Palestine/Israel and contemporary Mediterranean sung-poetry movements. I argue that the development of SM was characterized by an aesthetic distinction, wherein the high cultural register of poetry—a value produced by both the domestic discourse on art vis-à-vis politics and the broader global discourse in which the local field was embedded—and an associated move to cosmopolitanize music production contributed to the “cultural accreditation” of post-1967 pop-rock in Israel. This article explores what poetry meant for song, and vice versa, in Israel during the 1970s and 1980s through sociopolitical analysis and close listening to the text-setting practices and stylistic affinities of two musicians strongly identified with SM: Matti Caspi and Shlomo Gronich.
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Pērkone, Inga. "TOWARDS SOCIAL CINEMA: EXTENDING OF RIGA POETIC STYLE IN THE 1970s." Culture Crossroads 12 (November 10, 2022): 19–34. http://dx.doi.org/10.55877/cc.vol12.122.
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In the 1960s, a group of young and very gifted documentary filmmakers established themselves at Riga Film Studio and developed a poetic style, based on visual metaphors which they named themselves as Riga Style but later in the Soviet and East European context the style and its creators came to be known as Riga Poetic Documentary Film School. Yet in the 1970s one can identify pronounced focusing by the documentary filmmakers on social issues, the aspirations to offer in their films analysis of the problems existing in the society and sometimes offering their solution without losing the artistic qualities of the films. The article written in 1971 by Armīns Lejiņš, the script writer and theorist of the poetic cinema, “Poetic Cinema + Scientific Cinema = Social Cinema” can be perceived as their manifesto. Lejiņš was convinced that by combining poetry and science, Riga documentary filmmakers could facilitate henceforth logical, analytical and dialectical thinking culture in their films. Within the framework of my article, I’ll provide a broader insight into the social angle of films by Latvian documentary filmmakers, into their thematic and aesthetic aspects, and also offer a more detailed analysis of the film “The Woman We Expect?” (Sieviete, kuru gaida?, 1978) – the concept, the process of its making, relations with censorship and its reception.
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Vickery, Ann. "THE RISE OF ‘WOMEN'S POETRY’ IN THE 1970s." Australian Feminist Studies 22, no. 53 (July 2007): 265–85. http://dx.doi.org/10.1080/08164640701378596.
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Wolff, Larry. "The Poetry and Prose of Everyday Life in Communist Kraków: Moths, Old Maids, and the Memoirs of Adam Zagajewski." Slavic Review 61, no. 2 (2002): 345–56. http://dx.doi.org/10.2307/2697121.
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This essay analyzes Adam Zagajewski’s recent memoir W cudzym pigknie (Another beauty), in which he reflects particularly on the decades of the 1960s and 1970s, when he was a student and young poet in Kraków. The essay addresses Zagajewski’s perspective on the city of Kraków, his reflections on communism in Wladyslaw Gomulka’s Poland, his sense of the relations between older and younger Polish generations, and his efforts to negotiate a personal balance between poetry and politics. Zagajewski’s memoir is discussed in the context of his own poetry, of Polish intellectual life, and of Kraków’s cultural history from the 1890s to the 1980s. Intellectual points of reference and comparison range from Tadeusz “Boy“ Żeleński and Stanisław Wyspiański in fin-de-siècle Kraków, to Witold Gombrowicz, Czesław Miłosz, and Adam Michnik in later twentieth-century Polish letters and politics. The essay, finally, attempts to assess the significance and implications of communism for Polish poetry, literature, and intellectual life.
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Korchagin, Kirill M. "Bureau “Transatlantic”: French and US Poets on Rendezvous." Literature of the Americas, no. 12 (2022): 261–73. http://dx.doi.org/10.22455/2541-7894-2022-12-261-273.
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Since the middle of the 19th century, American literature has been perceived by French poets as a kind of Other, at the same time alien and attractive, capable of teaching the experience of liberation, which the French poets themselves lack. Nevertheless, the situation is more familiar when other poets of the world are looking for inspiration in French poetry. French poetry for American modernists of the first quarter of the 20th century was synonymous with everything that expands the horizons of literature. At the same time, the reverse situation, when French poetry is saturated with outside influences, in particular, American ones, is studied much worse. Abigail Lang's book tries to fill this gap, considering the transformations that the new, “post-Surrealist” French poetry is experiencing under the impression of the new American poetry. The book is divided into three chapters: the first one deals with the reception of objectivism since the 1970s to the present, the second one deals with the problem of the “transatlantic” poetic community, which manifests itself in various forms and genres, and, finally, the third one tells about the “speech turn,” which, from the author's point of view, takes place in French poetry of recent decades.
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Dhakal, Lekha Nath. "Musical Tradition and Cultural Vision in Langston Hughes’s Poetry." Literary Studies 33 (March 31, 2020): 41–45. http://dx.doi.org/10.3126/litstud.v33i0.38034.
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In American music, Langston Hughes is one of the literary figures that hold a place similar to the aforementioned luminaries. In the literary field, Hughes is respected as one of the most important figures of the twentieth century. With the rise of African American Studies as an academic field in the 1970s, his life, writing, and influence has received frequent attention. What has not been documented in more specific terms is his importance to America’s musical culture in the twentieth century. Whether directly or indirectly, Langston Hughes has been a fixture in American musical culture, both popular and concert music, since the 1920s. In addition to his personal affinity for blues, jazz and other specifically African American musical forms such as gospel music, his vast contribution to American music specifically and American music culture in a broader sense can be separated into four general categories.
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Leroux, Alain. "Poetry Movements in Taiwan from the 1950s to the late 1970s: Breaks and Continuities." China Perspectives 2006, no. 6 (November 1, 2006): 56–65. http://dx.doi.org/10.4000/chinaperspectives.3113.
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Šalamon, Samo. "The Political Use of the Figure of John Coltrane in American Poetry." ELOPE: English Language Overseas Perspectives and Enquiries 4, no. 1-2 (June 16, 2007): 81–98. http://dx.doi.org/10.4312/elope.4.1-2.81-98.
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John Coltrane; one of the most influential and important musicians and composers of the 20th century; began to inspire jazz musicians and American poets in the 1960s with the Black Arts Movement poets. His music was interpreted and used for the promotion of political ideas in the poetics of Amiri Baraka; Sonia Sanchez; Askia Muhammad Toure; Larry Neal and others. This is the political Coltrane poetry. On the other hand; Coltrane’s music inspired another kind of poets; the musical poets; which began to emerge in the 1970s. In this case; the poetry reflects the true nature of Coltrane’s spiritual music quest. The poets belonging to this group; like Michael S. Harper; William Matthews; Jean Valentine; Cornelius Eady; Philip Levine; Nathaniel Mackey and others; go beyond politics; beyond race or gender. The paper will examine the first type of the Coltrane poetry; where Coltrane’s music was used to promote the political ideas of the Black Art Movement in connection with the political movement of Malcolm X. These poets changed; rearticulated and shifted Coltrane’s spiritually musical message towards the principles of the black nationalism.
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Möller-Sibelius, Anna. "Kärlekens etos i Gösta Ågrens 1960-talslyrik." AVAIN - Kirjallisuudentutkimuksen aikakauslehti, no. 1 (April 3, 2017): 22–37. http://dx.doi.org/10.30665/av.66191.
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The Ethos of Love in Gösta Ågren’s Poems from the 1960s Gösta Ågren is one of the most appreciated poets in contemporary Finland-Swedish literature. Nevertheless, his early works dating back to the 60s have been considered (not least by himself) to be of little interest. The common opinion is that his engagement with left-wing politics impoverished the aesthetic aspects of his poetry; when released from these ideological bonds in the late 1970s he became an important poet. The aim of this article is to call into question the reasons put forth by the negligence of his early poetry. Ågren is one of the earliest examples of the 1960s left-wing movement in Finland-Swedish poetry, which per se is of literary historical interest. However, he combines his Marxist perspective with ideas recognizable in a broader tradition of history of ideas, which makes his ideological and ethical undertaking complex. In addition, he integrates political and existential aspects in his poems at an early stage. In this article, I examine a central theme in Ågren’s early poetry from the 1960s: love. I relate his thoughts on the topic to various thinkers such as eodor W. Adorno & Max Horkheimer, R.W. Emerson, C.G. Jung and Rudolf Steiner. Although love between man and woman in many respects is a timeless issue, the contextual aspects of love are important in Ågren’s poems. Furthermore, in his early poetry dating from the rather dystopic post-war period in Europe love has an emphasized ethical function. In his efforts to find a solution to the problems of a contemporary world in distress, the very concept of “woman” becomes a metaphor for ideas such as peace, hope, love and freedom. Clearly, this is an idealist but also (more surprisingly) a feminist standpoint.
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Lynd, Juliet, and Ana Roncero-Bellido. "Art, Poetry, and Testimonio in Cecilia Vicuña’s Saborami (1973)." Letras Femeninas 43, no. 1 (May 1, 2017): 93–119. http://dx.doi.org/10.14321/letrfeme.43.1.0093.
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Abstract Saborami (1973) is the first book published by Chilean poet-artist Cecilia Vicuña (b. 1947) and one of the first artistic denunciations of the violence of the September 11, 1973 military coup d’état in Chile. This understudied work of the Chilean neo avant-garde was first published in a bilingual Spanish-English edition with Beau Geste Press, one of the most influential independent presses for the publication, printing and duplicating of experimental art in the 1970s. This first artisanal edition of 250 copies was constructed from recycled paper and gathered several of the art projects Vicuña had been working on in the years prior to the coup, pairing them with poetic reflections on the politics of her art. Saborami is a dense, complex, multi-tonal work composed of –among other things– found objects, personal letters, ironic and non-ironic self-portraits of the artist in suggestive positions, mimeographed images of various types, duplications of the author’s earlier paintings, and a collection of erotic poems that were slated to be published during the last years of the Allende regime but were apparently censored for their explicit sexuality. Co-authors Lynd and Roncero-Bellido position this work at the crossroads between testimonio and vanguard art, then proceed to examine Vicuña’s aesthetically innovative contribution to the testimonial genre. Recent new editions of Saborami, the authors argue, demonstrate the need for a scholarly discourse that takes seriously the role of 1960s and 1970s experimental art as an important manifestation of oppositional discourses.
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Goldfeder, André. "Estrelas de Letras. Teatralidades do poema no Brasil pós-1970." Elyra, no. 17 (2021): 199–223. http://dx.doi.org/10.21747/2182-8954/ely17a13.
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By analyzing poems by Paulo Leminski, Ana Cristina Cesar and Veronica Stigger, this essay puts forward a notion of the theater of poetry aiming at clarifying a paradoxal and multiple status of the space of the poem, seen through de lenses of Brazilian poetry produced from de 1970s on. For doing so, it approaches a few contemporary modes of reception of a theoretical and practical antitheatrical field inherited from a modern context, where poetry, theater and visual arts hold converge by means of plural mises-en-scène of the specifity problem
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Frolova, Natal’ya S. "Expatriate Kenyan poetry: Marjorie Phyllis Oludhe Macgoye and Stephen Derwent Partington." Vestnik of Kostroma State University 26, no. 4 (January 28, 2021): 172–78. http://dx.doi.org/10.34216/1998-0817-2020-26-4-172-178.
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English-language poetry in Kenya emerges and begins to develop in the 1970s, a decade later than the Ugandan one. It was at this time that the first truly brilliant examples of poetic work appeared – these are poems of Jared Angira and Micere Githae Mugo, who later became classics of Kenyan literature, whose work characterises the two main directions of Kenyan English-language poetry of the second half of the 20th century – critical-realistic and philosophical-mystical [Frolova: 75–90]. Studying the English-language poetry of Kenya draws attention to such an interesting phenomenon as the Kenyan poetry of expatriate writers. These are the creative work of Marjorie Oludhe Macgoye and the Stephen Partington, whose creative work cannot be called typical for East African literature. Both Macgoye and Partington are ethnic British, who had moved, each at own time, to Kenya and devoted themselves to literature, and, what is most important, called Kenya their homeland and themselves, Kenyans. In their poems, one can feel sincere love for the land, which has become their home, sympathy for Africans who suffer social injustice, and huge efforts to understand African reality through the eyes of a European.
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Баков, Хангери Ильясович. "Circassian poetry in the flow of time." Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», no. 2(297) (October 31, 2022): 130–36. http://dx.doi.org/10.53598/2410-3489-2022-2-297-130-136.
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В статье впервые рассматриваются вопросы эволюции черкесской поэзии на протяжении нескольких десятилетий, уделяется внимание творчеству поэтов разных поколений, внесших значительный вклад в освоение жанров, в ликвидацию диспропорции в их системе. В рамках историко-хронологического метода рассмотрены произведения А. Охтова, Х. Гашокова, А. Ханфенова, отмечаются их достижения и недостатки, мотивированные влиянием большевистской идеологии периода. Значительное место уделено «поколению 60-70-х годов» черкесской поэзии, представленному яркими творческими индивидуальностями: М. Бемурзовым, К. Дугужевым, М. Пхешховым, М. Нахушевым, которые подняли художественный уровень литературного процесса в целом. Их творчество рассматривается в контексте всей адыгской литературы. Именно в поэзии, особенно в лирике велико творческое «я» поэта, его интеллект, особое видение «мира вещей». Данное поколение отличается высоким уровнем образованности, что отмечено в статье, и это отразилось на их творчестве. Вопросы мастерства, новаторства перечисленных поэтов также рассмотрены в статье For the first time, the paper examines the evolution of Circassian poetry over several decades, analyzes the work of poets of various generations who have made a significant contribution to the development of genres, to the elimination of imbalance in their system. Within the framework of the historical and chronological method, the works of A. Okhtov, Kh. Gashokov, A. Khanfenov are studied; their achievements and shortcomings, motivated by the influence of the Bolshevik ideology of the period, are noted. This generation is distinguished by a high level of education, which was reflected in their work. In the context of the Adyg literature, the author studies the work of the generation of the 1960s-1970s of Circassian poetry, represented by bright individuals, which raised the artistic level of the literary process as a whole, as well as issues of skill and innovation. The research shows that it is in poetry, especially in lyrics, that the poet's personality, his intellect, and a special vision of the "world of things" matter
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Miles, Malcolm. "Herbert Marcuse and the Promesse Du Bonheur." Cultural Politics 13, no. 1 (March 1, 2017): 34–47. http://dx.doi.org/10.1215/17432197-3755168.
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In an essay on French literature in the period of Nazi occupation, Herbert Marcuse argues that a literature of intimacy—love poems and romantic novels—is the last resort of freedom in totalitarian conditions. Written in 1945 and revised in the 1970s, Marcuse’s essay argues that in the face of totalitarianism, a literature of intimacy opens a realm of human experience that is outside the control of the regime. Because it carries a memory of joy, it is radically other to the ethos of the regime. Later, in The Aesthetic Dimension (1978), Marcuse returns to the role of aesthetics when political change is unlikely to occur. The article revisits Marcuse’s 1945 essay and his reading of the poetry of Charles Baudelaire and Paul Eluard. It begins by relating Marcuse’s interest in love poetry to the work of other critical theorists who see a radical role for aesthetics and the pursuit of happiness in periods when political change is blocked. It examines the 1945 essay, puts it in context of Marcuse’s work for the US intelligence services in the 1940s, and looks at the similarities between the 1945 essay and Marcuse’s later writing. Finally, it asks whether Marcuse’s arguments matter today (as the dreams for which the New Left of the 1960s went in search appear as remote as ever).
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Ribeiro, Thales de Medeiros. "A poesia no arquivo da anistia." Elyra, no. 18 (2021): 65–85. http://dx.doi.org/10.21747/2182-8954/ely18a4.
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In the late 1970s, poetry was used as a privileged strategy to disseminate the ideas of the social movement, serving as a form of didactic material or propaganda pro-amnesty slogan and as a form of denunciation, testimony, and remembrance. After the amnesty law, the amnestied militants wrote and published a set of books, forming specific literature. This work describes the main trends in poetry circumscribed to this condition of production
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Fedyakin, S. R. "V. I. Narbut. Collected works: Poems. Translations. Prose." Voprosy literatury, no. 4 (August 28, 2020): 288–91. http://dx.doi.org/10.31425/0042-8795-2020-4-288-291.
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Kozhukharov, R., ed. (2018). The collected works of V. Narbut: Poems. Translations. Prose. Moscow: OGI. (In Russ.)Vladimir Narbut, a celebrity in the early 20th c., became known to the 1970s reader from V. Kataev’s book My Diamond Crown [Almazniy moy venets], where the poet, along with many other 1920s literary figures, is portrayed in a cartoonish manner. The first reprint of a wide selection of Narbut’s collected poems appeared as late as 1990. It took another 18 years to publish Narbut’s critical works. It was in 2018 that a new edition printed the fullest collection of his poetry to date, as well as selected prose and drafts/fragments. The Аcmeist Narbut conformed very little to the formal teachings of this poetic school. Similarly, he found his unique voice as a Soviet poet. The detailed introduction, comprehensive commentary, section with sketches, and abundant illustrations instill a more in-depth idea of the writer, with the book acting as a guide to his oeuvre.
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Leal, Luciana Brandão. "O cotidiano do verso (in-verso): revoluções poéticas em Ana Cristina César e Paulo Leminski / The daily life of the verse (in-verse): poetic revolutions in Ana Cristina César and Paulo Leminski." Caligrama: Revista de Estudos Românicos 26, no. 3 (December 27, 2021): 87. http://dx.doi.org/10.17851/2238-3824.26.3.87-106.
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Resumo: Este artigo propõe uma leitura de poemas de Ana Cristina César e Paulo Leminski escritos sob os ecos da ditadura militar da década de 1970. Esses poetas representaram, com seus traços peculiares, a dicção própria da geração mimeógrafo. Neste percurso, considera-se o contexto político-social em que surgiu a poesia marginal e suas feições particulares, além das características próprias do gesto literário de Ana C. e Paulo Leminski. Em tempos de silenciamento, a poesia busca novos caminhos para expressão do eu, reelaborando a linguagem poética e propondo novos vieses de expressão e divulgação artística.Palavras-chave: Ana Cristina Cesar; Paulo Leminski; ditadura militar; literatura marginal; violência.Abstract: This article proposes a reading of poems by Ana Cristina César and Paulo Leminski written under the echoes of the military dictatorship of the 1970s. These poets represented, with their peculiar features, the diction proper to the mimeograph generation. In this way, we consider the political-social context in which marginal poetry and its particular features emerged, in addition to the characteristics of the literary gesture of Ana C. and Paulo Leminski. In times of silence, poetry seeks new ways to express the self, reworking the poetic language and proposing new biases of expression and artistic dissemination.Keywords: Ana Cristina Cesar; Paulo Leminski; military dictatorship; marginal Literature; violence.
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Salimzanova, Dilyara A., and Gulnara T. Gilfanova. "The Problem of Historical Choice in East German Literature: Johannes Bobrowski in Context of the Postwar Literature of the 1950s-1970s." Journal of History Culture and Art Research 6, no. 5 (November 28, 2017): 342. http://dx.doi.org/10.7596/taksad.v6i5.1253.
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<p>The article tells about works of the famous German writer Johannes Bobrowski (1917-1965) born 100 years ago; the world literary community celebrates his 100 anniversary as in 2017. The poetic speech of Bobrowski, difficult for perception, reflected the main perspective of his poetry: history of the people and communication of the person with the nature. Art development of history, author’s cycle of stories and two novels of the original narrative technique in the conditions of totalitarian regime and continuous censorship, in many respects predetermined development of a genre of the historical novel in literature of the East German space of the "middle" of the last century. The creativity J. Bobrowski opens the new truth about the German life and history, thereby expanding a framework of art judgment of the past country. </p>
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Lavrač, Maja. "China’s New Poetry or Into the Mist." Asian Studies, no. 3 (December 1, 2010): 29–40. http://dx.doi.org/10.4312/as.2010.14.3.29-40.
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The late 1970s and early 1980s represent a period of important innovation in the development of contemporary Chinese poetry. As this was highly personal and experimental, it soon became characterized as being “misty” or “obscure”. A new generation of young poets questioned the Chinese cultural tradition and expressed the need for its re-evaluation. They tried to re-examine the meaning of literature, and while doing so, they based the foundation for their poetry on the tradition and the spirit of personal freedom and democracy of the May 4th Movement (1919), having been at the same time strongly influenced by the Western modernist poetry, in which they found alternative fresh ideas.
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Jones, Megan. "The train as motif in Soweto poetry." Journal of Commonwealth Literature 53, no. 1 (April 28, 2016): 21–42. http://dx.doi.org/10.1177/0021989416640321.
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This article considers protest poetry written between 1961 and 1976. I argue that the Soweto poetry of the 1970s enabled activism that would change Johannesburg’s landscape, facilitating the racial mixing of inner city areas and eroding the segregationist policies that had defined the city from its beginnings. Concomitantly, the paper focuses on representations of the train as a site through which black localities were produced as resistance. Via close readings of poetry by Mbuyiseni Oswald Mtshali, Sipho Sepamla, and Mongane Wally Serote, I show how the train establishes Soweto as a “neighbourhood”, while also constructing a white “other” against which its identity is affirmed.
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Kandziora, Jerzy. "Odwoływanie granic (Biograficzne i poetyckie przekroczenia Jerzego Ficowskiego)." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 16 (December 8, 2017): 79–93. http://dx.doi.org/10.24917/20811853.16.6.
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Revoking boundaries (Jerzy Ficowski’s biographical and poetic transcension) The article describes the phenomenon of “revoking” or transcending boundaries, present both in the family tradition and biography of Jerzy Ficowski and in his artistic choices. The biographical reflection focuses especially on the figure of the poet’s father, a bearer of the multicultural experiences of Polish communities in pre-revolutionary Russia, the post-war contacts Ficowski had with emigrant authors and the Jewish diaspora, as well as on the poet’s transcending the boundaries of state-censored works in the mid 1970s. At the same time, the article is looking for a iunctim between the openness encoded in Ficowski’s biography and his poetic language. In doing so, it describes the latter’s qualities, such as meaning inconstancy, semantic opalization of words, homonyms and antonyms incessantly destabilizing the boundaries of word and verse, that seem to be an equivalent of the discussed openness. In particular, attention is drawn to the influence the 1970s had on boosting the semantic potential of Ficowski’s poetry.Key words: Jerzy Ficowski; Tadeusz Ficowski; multiculturalism; hieroglyph; history in poetry; immigration literature;
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Булатова, О. Р., and Е. Ю. Третьякова. "Ivan Bunin’s Poetry in Russian Vocal Lyrics." Nasledie Vekov, no. 4(24) (December 31, 2020): 13–27. http://dx.doi.org/10.36343/sb.2020.24.4.001.
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Статья призвана определить характер и степень влияния музыки русских композиторов XX−XXI вв. на постижение своеобразия поэзии И. А. Бунина. Материалами послужили поэтические произведения И. Бунина, музыка русских композиторов, сведения нотных библиографических справочников, результаты исследований отечественных филологов и музыковедов. Установлено, что с достаточной полнотой до сих пор учтены лишь ранние (1900−1910-е гг.) переложения поэзии И. Бунина на музыку. Проведен музыковедческий анализ вокальных циклов Г. Дмитриева, создавшего более 30 сочинений на стихи И. Бунина. Изучен созданный русскими композиторами «бунинский пласт» отечественной вокальной музыки. Диапазон творческих стимулов коллективного творческого процесса был соотнесен с бунинской поэтикой, выделены произведения, родственные поэзии И. А. Бунина по художественному методу. Сделан вывод, что отпечаток православного мировоззрения позволил композиторам воплотить черты, кардинально важные для русского гения как такового. The aim of the article is to determine the nature and influence of the music of Russian composers of the 20th and 21st centuries on the comprehension of the artistic originality of Ivan Bunin’s poetry. This will make it possible to come closer to the formulation of the creative method that unites such prominent persons as Ivan Bunin, Sergey Rachmaninoff and Georgy Dmitriyev. The materials of the research were the poetic works of Bunin, the music of Russian composers, information from music and bibliographic reference books, the results of studies by Soviet and Russian philologists and musicologists. The research methodology combines musicological and literary analysis with methods of comparative study of various types of art and a systemic cultural approach to the national worldview. The authors point out that the first romances to Bunin’s poems were written almost 120 years ago, and since then the panorama of musical incarnations of his poetry has been expanding, every year growing due to academic genres, works of contemporary authorial and Orthodox songs. At the first stage of the research, when summarizing the music and bibliographic reference books published in the 1960s−2010s, the authors found that only the early (1900s−1910s) transcriptions of Bunin’s poetry to music were taken into account with sufficient completeness. Lists of works of the academic genre, written in the 1970s−2010s, are extremely incomplete. The second stage of the research was to eliminate the existing gaps, starting with the most significant works. The authors carried out a musicological analysis of the vocal cycles of Georgy Dmitriyev, who created more than 30 compositions based on Bunin’s poems. With a detailed analysis of Dmitriyev’s vocal-instrumental cycles, the authors of the article supplement the musicological analysis of the choral cycle Old Russian Legends (1987) and the polyptych Pictures from an Old Book (2008), which Yury Paisov, a well-known Russian musicologist, performed in 2007−2018. The authors of the article also included romances by Sergey Rachmaninoff, Reinhold Gliere, and Sergei Vasilenko in the musicological analysis and comparison. The research resulted in the study of the “Bunin layer” of Russian vocal music created by Russian composers. The range of creative incentives of the rather wide collective creative process was correlated with Bunin’s poetics proper. The works related to Bunin’s poetry by the artistic method were determined. The authors of the article came to the conclusion that the method they were analyzing was generated by the Orthodox worldview and reflects features that are fundamentally important for the Russian genius as such.
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Boev, Hristo. "The sea in the works of Sylvia Plath and Petya Dubarova: A comparison." Studies in Linguistics, Culture, and FLT 10, no. 3 (December 12, 2022): 7–29. http://dx.doi.org/10.46687/aekz8148.
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This article compares the portrayals of the sea in Sylvia Plath’s and Petya Dubarova’s works. Both authors wrote their major poetry and prose during the Cold War, the former in the 1950s, early 1960s, the latter in the 1970s, on both sides of the Atlantic, respectively. They also belonged to opposing political and military camps – the USA and NATO on one side, and the Comecon on the other of which Bulgaria was a member state. The sea as a heterotopic place and space bordering on the human ones in their case will be shown to be a frequently personified natural element that is benevolent to the narrator and that allows a getaway into a phantasmatic world composed of dreamscapes marked by fictional transformations of the body typically contained in the areas around Boston, USA and Burgas, Bulgaria. Strongly present in their childhood, the sea also served as a vital force of the imagination which helped sustain both poets in their adolescence years and whose waning power in terms of its receding literary presence eventually signaled their approaching untimely demise.
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Polanowska, Patrycja. "poesie più recenti di Milo De Angelis." Polisemie 2 (September 7, 2021): 113–35. http://dx.doi.org/10.31273/polisemie.v2.819.
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The article compares the poetic trends which emerged during the 1970s, and still present in the field of contemporary poetry, with the latest poems written by the Milanese author, Milo De Angelis. By underlining the problem of the crisis of the subject, the article also considers how this phenomenon may affect the vision of the poetic chronotope. Distancing itself from the dominant approach found in contemporary poetry, De Angelis' latest collection, Linea intera, linea spezzata (2021), aims instead to recover the status of the subject and the autonomy of the lyrical encounter through a particular form of memory. L’articolo confronta le tendenze evidenziatesi durante gli anni Settanta, e fin ora presenti nel campo della poesia contemporanea, con le ultime poesie dell’autore milanese Milo De Angelis. Rilevando il problema della crisi del soggetto, viene mostrato inoltre come tale fenomeno può incidere sulla visione del cronotopo poetico. Lontana dall’impostazione dominante, l’ultima raccolta di De Angelis, Linea intera, linea spezzata (2021), attraversando una particolare forma di memoria, si volge invece a recuperare lo statuto dell’io, nonché l’autonomia dell’incontro lirico.
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Kazakova, Maria V. "Bilingual Worldview in the Poetry of Oleg Mišin – Armas Hiiri: The Study of Self-Translation." Studia Litterarum 6, no. 1 (2021): 338–53. http://dx.doi.org/10.22455/2500-4247-2021-6-1-338-353.
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The article analyzes the interaction of two worldviews that coexist in the mind of a bilingual poet, on the example of self-translation. Finnish-Ingrian by birth, A.I. Mishin (Oleg Mishin — Armas Hiiri) begins his literary career in Karelia in the 1950s as a Russian poet. After a decade and a half of creative work in the Russian language, Mishin-Hiiri begins to publish poems in Finnish as well. The 1970s is the first stage of his bilingual work that has memory and symbolic return to the roots by learning the native Finnish language as its main theme. Being a native speaker of two languages (Russian and Finnish), the bilingual author enters the cognitive intercultural dialogue reflected in his poetic worldview that bears a mark of his national identity. The article discusses the author’s self-translations of Finnish poems into Russian, the result of the dialogic creative thinking in two languages. These self-translations are the texts semantically different from the originals. The poet not only begins to explore the possibilities of versification in two different languages but also employs different poetic images and symbols and uses different intonation. His poems and their self-translations reflect the difference in mentality of Russian and Finnish people that harmoniously co- exist in Mishin’s poetry shifting between two language systems.
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Grünthal, Satu. "Metre and meaning in two poems by Ilpo Tiihonen." Sign Systems Studies 40, no. 1/2 (September 1, 2012): 192–210. http://dx.doi.org/10.12697/sss.2012.1-2.10.
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Metre and meaning intertwine in manifold ways. The aim of this paper is to discuss the interplay between the metric and semantic structures in poetry in the light of the work of a Finnish poet, Ilpo Tiihonen. Throughout his career, which started in the 1970s, he has been one of the few Finnish contemporary poets to make constant use of metric structures and rhyme. The article also aims to shed some light on questions that arise when metrical poetry is translated from one language into another, in this case from Finnish into English.
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Queen, Christopher. "Reading Dalit Autobiographies in English: A Top Ten List." CASTE / A Global Journal on Social Exclusion 2, no. 2 (December 18, 2021): 281–94. http://dx.doi.org/10.26812/caste.v2i2.338.
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Dalit autobiography has joined protest poetry as a leading genre of Dalit Literature since the nineteen seventies. Finding their inspiration in the social and political activism of B. R. Ambedkar (1891-1956), leader of the India’s anti-caste movement and a founding father of the Republic, low caste men and women have documented their struggles and victories in the face of ongoing violence and deprivation. Surveying ten life narratives translated into English from Marathi, Hindi, and Kannada, the essay treats works by Ambedkar, Daya Pawar, Sharankumar Limbale, Baby Kamble, Laxman Gaikwad, Siddhalingaiah, Omprakash Valmiki, Urmila Pawar, Vasant Moon and Namdeo Nimgade. Tracing the origins of Dalit autobiography in the writings of Siddharth College and Milind College students in the 1950s, protest writers in the 1960s, and the Dalit Panthers and their followers in the 1970s, the survey identifies recurring themes of social exclusion, poverty, patriarchy, survival and assertion in the realms of politics, employment, education, and religion. These intimate testimonials share a radical vision of social transformation across caste, class, gender, linguistic and geographic boundaries and provide a needed corrective to mainstream portraits of modern Indian social history.
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권혁웅. "The Context of Avant-garde in Korean Modren Poetry after 1970s'." Korean Poetics Studies ll, no. 20 (December 2007): 87–113. http://dx.doi.org/10.15705/kopoet..20.200712.004.
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Jo, Hyo-ju. "A Study on Places Described in People’s Poetry in the 1970s." Hanminjok Emunhak 95 (March 31, 2022): 141–81. http://dx.doi.org/10.31821/hem.95.5.
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Picchione, John. "Poetry and the Human Sciences in Italy (The 1970s and 80s)." Forum Italicum: A Journal of Italian Studies 33, no. 1 (March 1999): 249–61. http://dx.doi.org/10.1177/001458589903300120.
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Qin, Cai, and Cheng Ta Seah. "Chinese Ethnic Minorities and their Oral Poetry: A Perspective from Ethnopoetics." Advances in Language and Literary Studies 12, no. 5 (October 31, 2021): 6. http://dx.doi.org/10.7575/aiac.alls.v.12n.5.p.6.
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Ethnopoetics involves in the conducting of translation experiments on oral poems of native ethnic groups, converting its relevant oral texts into written forms. The theory of ethnographic poetry begins in the 1970s and was translated and introduced to China in the early 21st century. However, most ethnic minorities in China do not have textual writings. Their oral creations from primitive society to modern society such as epics, long poems, narrative poems, ballads, and folk songs are mostly in form of oral poetry. The collection and translation of oral poems of ethnic minorities in China began in the late 1950s, that demarcated the beginning of ethnopoetics in China. In this article, the reasons behind the collection and translation of Chinese ethnic minority oral poems will be analysed. The restoration process of ethnopoetics and the connections between the collections and the translations, and the issues on whether translation is consistent to Chinese ethnic minority oral poems will also be further elaborated. The history of Chinese ethnic minorities oral poetry traces back to a long history and consists of a variety of themes and contents. Therefore, the restoration process of ethnopoetic research on the relationship between oral culture and written culture not only have gained the attention from the Chinese academic community, but also shown strong interests by the Western academic research community and worldwide.
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Cruz, Antonio Donizeti, and Dhandara Capitani. "The Lyrical Art of Ana Cristina Cesar." Journal of Digital Art & Humanities 1, no. 1 (October 2, 2020): 25–32. http://dx.doi.org/10.33847/2712-8148.1.1_3.
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Ana Cristina Cesar is one of the great poets of the 1970s and 80s in Brazil. In this paper, some of her poems are analyzed in the perspective of how her lyrical narrative presents an interactive dialogue with the reader and criticizes modernity. Ana Cristina Cesar's poetic work privileges critical-reflexive language, the theme of identity, alterity, lyrical memory, poetic synthesis, and questioning, as marks of modernity. The word-memory is the essential factor that moves the aspirations and feelings of poetic self, because at the moment of reminiscing, the self recollects, in depth, the events and experiences previously experienced. The word is a force that drives the Word Artist to realize dreams, goals, and achievements. Through the poetic word, the poem develops the continuous transmutation of language, generating new possibilities of being and effecting poetic procedures through the lyrical genres, centered in the articulations of the poetic creation. The poetic craft is essentially of creating oneself, thus poetry being also self-creation, knowledge, and transmutation.
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Park ji- young. "Gender/Sexuality Politics in Women Workers' Poetry in the 1970s and 1980s : Focusing on the poetry of Choi, Myung-Ja and Jeong, Myung-Ja." Korean Poetics Studies ll, no. 53 (February 2018): 39–84. http://dx.doi.org/10.15705/kopoet..53.201802.002.
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