Academic literature on the topic 'A Book of Good Poems'
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Journal articles on the topic "A Book of Good Poems"
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Cope, Jonas. "Scrapped Sentiment: Letitia Landon and Fisher's Drawing Room Scrap-Book, 1832–1837." Romanticism 25, no. 2 (2019): 190–204. http://dx.doi.org/10.3366/rom.2019.0419.
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This essay examines several ‘companion poems’ that Letitia Elizabeth Landon (L. E. L.) wrote for the literary annual Fisher's Drawing Room Scrap-Book between 1832 and 1838. Each of these poems was designed to ‘complement’ the visual content of an engraving with which the poem was paired. Most of the poems are written in the first person. The ‘I’ that speaks each one seems motivated by a particular set of ideological allegiances that clash with the apparent ideological allegiances of other ‘I's. No attempt is made to account for the discrepancies. I argue that the companion poems ultimately showcase the unsettling resemblance between moral convictions and commodities. The net effect is that the annual implies – in the words of Dickens's villainous character James Harthouse – that ‘any set of ideas will do just as much good as any other set, and just as much harm as any other set’.
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Harrison, S. J. "Deflating the Odes: Horace, Epistles 1.20." Classical Quarterly 38, no. 2 (1988): 473–76. http://dx.doi.org/10.1017/s0009838800037083.
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Epistles 1.20, the last poem of its book, begins with an elaborate joke on the entry of Horace's book of epistles into the world and ends with a well-known σϕραγίς describing the poet himself. It will be argued here that this final poem recalls and subverts the pretensions of two earlier final poems in Horace's own Odes, and that its good-humoured depreciation of Horace himself is matched by a similar attitude towards his previous grand poetic claims as a lyric vates.
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Garcia, Álvaro Andrade, and Lucas Santos Junqueira. "Poetic Publications Authored with Free Software Managana." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 6, no. 2 (2018): 223–30. http://dx.doi.org/10.14195/2182-8830_6-2_16.
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In the Ciclope atelier, what moves us is the creation of new languages for the digital medium. In this text I present a synthesis of our research and experimentation work: a free digital publishing software called Managana; the first poetry eBook authored with it, Grão [Grain], launched along with the software in 2012; and our latest release, Poemas de Brinquedo [Toy Poems], launched in 2016. Grain and Toy Poems are good examples of publications that use Managana. Resulting from prolonged research in dictionaries and linguistics’ texts, etymology and mythology, Grain proposes to recreate the world through the word. Its poems experiment the evolution of James Joyce’s verbivocovisual to the possible interanimaverbivocovisual in a digital publication. The application-book-performanceToy Poems is a publication that addresses the possibilities and difficulties of today’s transmedia poiesis.
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Hurnik, Elżbieta. "Piękno i dramat istnienia w poetyckich obrazach przyrody Marii Czerkawskiej." Poznańskie Studia Polonistyczne. Seria Literacka, no. 32 (October 2, 2018): 41–56. http://dx.doi.org/10.14746/pspsl.2018.32.2.
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The article is devoted to Maria Czerkawska’s poetry written during interwar period. Nature is the main subject of her poems. It is shown in a detailed and precise way. The good example is her book entitled Zielony cień (1928) and subsequent volumes. Zielony cień contains portraits of plants. Literary critics noticed several important features of these poems: versatility of observation, accuracy and concreteness of description. The same characteristics can also be observed in works of Skamander group of poets. Article focuses on the following topics: suffering observed in nature and continuous process of dying. Czerkawska’s poems tell us about transience, absurdity, horror and drama of existence. It is caused by close relation between the lyric subject and the nature. Czerkawska is trying to discover nature’s secrets. These tendencies are also present in poems of Bolesław Leśmian, Leopold Staff and Maria Pawlikowska-Jasnorzewska.
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Vardi, Amiel D. "An anthology of early Latin epigrams? A ghost reconsidered." Classical Quarterly 50, no. 1 (2000): 147–58. http://dx.doi.org/10.1093/cq/50.1.147.
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In Book 19, chapter 9 of the Nodes Atticae Gellius describes the birthday party of a young Greek of equestrian rank at which a group of professional singers entertained the guests by performing poems by Anacreon, Sappho, ‘et poetarum quoque recentium ⋯λεγεῖα quaedam erotica’ (4). After the singing, Gellius goes on, some of the Greek συμπόται present challenged Roman achievements in erotic poetry, excepting only Catullus and Calvus, and criticized in particular Laevius, Hortensius, Cinna, and Memmius. Rising to meet this charge, Gellius’ teacher of rhetoric, Antonius Julianus, admits the superiority of the Greeks in what he calls ‘cantilenarum mollitiae’ in general (8), but to show that the Romans too have some good erotic poets, he recites four early Latin love epigrams, by Valerius Aedituus (frs. 1 and 2), Porcius Licinus (fr. 6), and Lutatius Catulus (fr. I). The same three poets are listed in the same order in Apuleius’ Apology in a list of amatory poets which he provides in order to establish precedents and thus invalidate his prosecutors’ referral to his erotic poems in their accusation (Apul. Apol. 9). Catulus is also enumerated in Pliny's list of Roman dignitaries who composed ‘uersiculos seueros parum’ like his own (Ep. 5.3.5), and an amatory epigram of his is cited by Cicero in De Natura Deorum 1.79 (fr. 2). We possess no further evidence connecting the other two with the composition of either erotic or, more generally, ‘light’ verse, but a poem by Porcius Licinus on Roman literary history is attested by several sources including Varro, Suetonius, and Gellius himself.
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Ustinov, A. B., and I. E. Loshchilov. "Nikolai Zabolotsky and His Artists." Studies in Theory of Literary Plot and Narratology 15, no. 1 (2020): 260–90. http://dx.doi.org/10.25205/2410-7883-2020-1-260-290.
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The essay reconstructs the history of Nikolai Zabolotsky’s relations with artists, starting with his debut book of poems “The Pillars,” published in February 1929 and throughout the 1930s. Zabolotsky can be considered an artist both in a broad (an artist as a creator) and in a professional sense: before “The Pillars,” he attended Pavel Filonov’s workshop, created some drawings, and designed his handwritten books using the technique of Filonov’s “analytical art.” He included some of these calligraphic manuscripts in his collection “Ararat” (1928). He also painted the cover putting in the center of the composition an image of a spread skin, borrowed from Vera Ermolaeva’s illustrations for his children’s book “Good Boots” (1928). The same year Zabolotsky was asked to prepare a collection of his poems for the “Publishing House of Writers in Leningrad.” He asked another artist Lev Yudin (1903–1941), who collaborated with Kazimir Malevich in Ginkhuk, to make a cover for “The Pillars.” However, the publishing house went with a different design, and Yudin’s cover was lost. He also worked on the design of Zabolotsky’s book “The Circus,” which he envisioned as a livre d’artiste, as well as on illustrations for a never published story “The Indians” (1929). Vera Ermolaeva (1893–1937) made her own cover for “The Pillars” a study of which is preserved in the Russian Museum. She also collaborated with Yudin on drawing a poster for the famous OBERIU performance “Three Left Hours,” held on January 24, 1928, at the Leningrad Press House. Her remarkable cover for “The Pillars” is discussed here in connection with the poems, selected by Zabolotsky for his first book. His creative collaboration with the artists found its realization in the field of children’s literature, primarily in the famous magazines “Hedgehog” and “Siskin,” published under the editorial supervision of Samuil Marshak. The publication of Zabolotsky’s “The Tale of the Crooked Man” (1933) in “Siskin” magazine is of particular interest. The poem was illuminated by Pavel Kondratiev (1902–1985), who also attended Filonov’s workshop, and depicted the poet together with his son Nikita in one of his illustrations.
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Kolbuszewski, Jacek. "Karola Hawliczka Borovskiego wyprawa do Tatr." Góry, Literatura, Kultura 14 (August 18, 2021): 375–83. http://dx.doi.org/10.19195/2084-4107.14.23.
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In the summer of 1842, Karel Havlíček Borovský (1821–1856) traveled from Prague (Czech) to Galicia. He was a good walker, and walked most of the way (over 1000 km). The last stage of his journey was a few days’ stay in the Tatra Mountains. He was then in the Kościeliska Valley, where he inscribed his name on the Pisana rock. After spending the night in Kościelisko, he visited the iron-works in Kuźnice, and moved to Bukowina Tatrzańska. There he wrote a poem in the memorial book. The article discusses this work as one of the most important Czech poems about the Tatras. The main highlight of the journey was a trip to Morskie Oko, after which the poet crossed the moun-tains to Kieżmark.
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Bourus, Terri. "The Good Enough Quarto." Critical Survey 31, no. 1-2 (2019): 72–86. http://dx.doi.org/10.3167/cs.2019.31010206.
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This article challenges A.W. Pollard’s foundational distinction between good and bad quartos, which confuses ethical and bibliographical categories. Some quartos are badly inked, or printed on poor-quality paper. But Q1 Hamlet is a professional, well-made commodity. Zachary Lesser has conjectured that Q1 sold poorly, and has claimed that the similarity of the title pages of Q1 and Q2 supports that hypothesis. But both title pages are typical of Ling’s books, and their similarities are no more remarkable than those in Ling’s different quartos of Michael Drayton’s poems. Q1 Hamlet apparently sold more quickly than Q2. Using D.W. Winnicott’s theories about the ‘good enough mother’ and ‘transitional objects’, we can identify Q1 as a ‘good enough quarto’.
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Venn, Edward. "SERENADES AND ELEGIES: THE RECENT MUSIC OF HUGH WOOD — PART II." Tempo 59, no. 233 (2005): 26–37. http://dx.doi.org/10.1017/s0040298205000215.
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Geoffrey Hill's latest book of poems, Scenes from Comus, borrows its title from Wood's op. 6, and is dedicated to the composer for his seventieth birthday. The two men have been friends for many years and are exact contemporaries: for the poet's seventieth birthday, Wood wrote a vocal-instrumental setting of Hill's Tenebrae. This interchange between poet and musician highlights Wood's abiding concern with poets and poetry, and particularly English verse of the 20th century. He has described this repertoire as ‘a treasure-house, and our poets continue to produce good lyric poetry to this day: it's a waste of being English not to draw on these riches; and the composer has a particular duty to the poets of his own time’. More recently, Jeremy Thurlow has drawn attention to Wood's ‘idiomatic and refined response to English verse: his songs for voice and piano form a considerable part of his oeuvre and must be considered the most distinctive and substantial contribution to British song-writing since Britten and Tippet’.
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Mayer, Roland. "Horace on good manners." Proceedings of the Cambridge Philological Society 31 (1985): 33–46. http://dx.doi.org/10.1017/s0068673500004740.
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This essay aims to discover and to illustrate one of the leading themes of Horace's first book of Epistles. This theme, good manners, despite its importance, is nonetheless neglected, or at any rate huddled up within the general praise of Horace's tact. Tact there certainly is, and we shall watch it in operation. But the poet would be setting aside that uerecundia which his patron praised (Epist. 1.7.37) if he were merely blowing his own trumpet. The display of tact and good manners perhaps serves other ends, and the suggestion of reasons for this choice of theme will form the substance of my remarks.Some preparation of the ground is necessary. This essay completes an argument begun in an article entitled ‘Horace's Epistles I and philosophy’ which will appear in the American Journal of Philology for 1985. In order that this essay may be fairly complete in itself it will be useful to set out very briefly the considerations which induced me to look more closely at good manners. To do this most compendiously, I shall offer some quotations from E. C. Wickham's English commentary on the first epistle and explain why they appear unsatisfactory. Wickham is not chosen as a whipping-boy for any other reason than that he neatly expresses a common view; in all respects he is a serious and helpful student of the poems.
Dissertations / Theses on the topic "A Book of Good Poems"
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Haeussler, Doyle L. "Chasing losses : a book of poems." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1260489.
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This work presents a collection of creative verse written in both classical forms, e.g., sonnet, pantoum, haiku, tanka, sestina, prose poem, and blank verse, as well as open form pieces. Examples of both narrative and lyrical verse are represented, with an emphasis on the narrative craft as well as an exploration of the lyrical forms in the context of contemporary and historical themes. While the theme of loss, in all its aspects, is present throughout, it is present as a geist rather than as a dictum. These poems have as their subject matter a wide range of experiences, both imaginative and commonplace, both familiar and magical. Mundane situations are elevated to the level of emotional consideration, and the overwhelming is reduced to familiar and intimate terms. These poems deal largely with the resilience of the human spirit and the buoyancy of hope despite the roiling seas of uncertainty and the unpredictable winds of change.<br>Department of English
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Randle, Jonathan Thomas. "The homiletic context of the Vercelli book poems." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624470.
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Myers, Jeffrey Alan. "A rebirth of sight : a book of poems." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285588.
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The following project is representative of both my struggles and achievements as a student of creative writing. The poems contained within were developed through a virtual restructuring of my creative process. With the exception of one sonnet and two haiku poems, the remaining creations are free-verse experiments, heavily influenced by the works of James Wright, Robert Bly, and Robert Creeley. My goal for each poem was to connect the verse with those rare and fleeting moments in life that are often overlooked. In order to achieve this goal, I had to venture a little deeper into the realm of both imagination and possibility, without, of course, completely letting go of reality. Essentially, each poem explores two distinct worlds: that which is contained in the heart and that which the heart can never attain.<br>Department of English
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Perry, Lynda Fleet. "Account Book." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/640.
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ACCOUNT BOOK By Lynda Fleet Perry, MFA A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2014 Major Director: Thesis / David Wojahn, Professor, English Department
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Hills, P. D. "A commentary on selected poems in Horace's Fourth Book of Odes." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604066.
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The dissertation includes a general introduction and commentaries on <I>C. </I>4.1, 2, 10, 11 and 15. A detailed essay, including an overview of recent literary criticism, prefaces the commentary proper on each of the selected odes. In each case line-by-line exposition is offered on literary, linguistic, textual, metrical, historical and generic matters. In the general introduction verbal and thematic connections between <I>Odes</I> Four and Ennius <I>Annals</I> Book Sixteen are highlighted and examined. Horace's self-representation as a poet, particularly with regard to Augustus, is also discussed. The introduction to <I>C. </I>4.1 explains how the central stanzas of the poem are an idealized rehearsal of epithalamial festivities; this is a development from a hypothesis first expounded by Kiessling that Paullus is commended to Venus in terms suitable for a bridgegroom. In the commentary, an ancestral precedent for Paullus' dedication of a shrine to Venus is demonstrated. The introduction to <I>C. </I>4.2 focuses on the problem of how the addressee, Iullus Antonius, could plausibly be requested to play a Pindaric role in the stead of Horace himself. This entails both a discussion of peotic <I>aemulatio</I> and an analysis of the relationship of <I>laudator</I> and <I>laudandus</I> as depicted by Pindar, with a consideration of how this relates to Horace's modes of praise in <I>Odes</I> Four. The introduction and commentary on <I>C. </I>4.10 show how Horace takes a situation familiar from Greek epigram, and introduces verbal and thematic novelties into the standard framework. The introduction to <I>C. </I>4.11 demonstrates the unity of what is usually seen as one of Horace's most starkly disjointed odes, by illustrating how the theme of Maecenas' birthday and the limits of mortal life extends even into the <I>exempla</I> and advice ostensibly directed only at Phyllis. In the commentary, the importance of the context of the Bellerophon <I>exemplum </I>in Pindar <I>I. </I>7.38ff, is highlighted for the first time.
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Sadler, Benjamin. "A linguistic analysis of dated poems from the book of Taliesin." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:5e946b80-9923-4281-a7e6-07bd3b8de985.
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The lack of surviving Welsh vernacular manuscripts from before the thirteenth century, and the general scarcity of Welsh-language material elsewhere from that early period, has meant a great deal of controversy around those texts which may be early but are found in later manuscripts. The confidence with which many texts were given early dates has disappeared, and even those texts for which early dates are still proposed meet with varying levels of scepticism. Work has been done to develop our understanding of the language's historical developments, however Haycock has remarked that it is something of an embarrassment that there exists no agreed and dependable set of linguistic criteria for pre-c. 1100 verse. This thesis takes five poems from the fourteenth-century Book of Taliesin, for which dates have been offered between the ninth and eleventh centuries, on the basis of their historical context. The same scribal hand copied four other manuscripts, the contents of which date from the twelfth and thirteenth centuries. The language of the poems is analysed, using the language of the other manuscripts as a linguistic control, informed by other scholarship, to assess the survival of archaic forms through the process of subsequent redaction to arrive at the Book of Taliesin. The main finding of the thesis is that the language of all five surviving manuscripts by the Book of Taliesin scribe presents a largely uniform picture. There are a handful of examples that do diverge from the scribal norm. If the dates given to the poems are accepted, the evidence points to extensive redaction, removing those forms that had become unfamiliar or out-of-date. In this scenario, there should be no embarrassment that early texts cannot be dated on the basis of their linguistic features: the language of early texts may have been so altered as to appear contemporary to texts many centuries their junior.
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com, karib34@hotmail, and Ibolya Balla. "Attitudes toward Sexuality in the Book of Ben Sira." Murdoch University, 2008. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20090828.142046.
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The fact that Ben Sira seemingly has a negative attitude towards women or femininity can easily lead to the assumption that the work has a negative attitude toward sexuality. However, this thesis will seek to demonstrate that the author's view on sexuality is complex, subtle, and depends on the context of the individual sayings. First of all we have to make a distinction between the attitudes of the writer of the original Hebrew text of the book and that of the Greek translator. The two texts, produced in different social settings, circumstances, times and places, differ substantially at times in regard to sexuality. Therefore it is essential to treat them separately and to compare them. In addition, the Book of Ben Sira, the longest Jewish wisdom book, is a complex combination of carefully composed wisdom poems that structure the whole work, and of teachings on everyday issues including marriage, family life, self-control, desires and passions, and sexual promiscuity. The openness about issues of eroticism that characterizes some of the poems concerning personified female wisdom is unprecedented in the wisdom writings of Second Temple Judaism. Similarly, the sage dedicates a greater number of passages than other wisdom books, to the discussion of social relations especially in regard to family. In so doing his regular point of departure seems to be what benefits or damages these relations mean, and whether they bring disgrace to a person, especially through sexuality. These all have bearings on the authors and translators views of sexuality, including the position a person or situation under discussion might have in the sages social value system. Therefore the thesis examines the wisdom poems, and all sayings that concern sexuality found in discussions of passions, relations with parents, daughters and sons, wives and husbands, and warnings against sexual wrongdoing, including prostitution and adultery. All this is done with a special regard to the differences between the Hebrew original text and the Greek translation.
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Errington, Andrew Ross. "Every good path : wisdom and practical reason in Christian ethics and the Book of Proverbs." Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=235585.
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This study brings the biblical book of Proverbs into discussion with two significant accounts of the nature and foundation of practical reason in Christian ethics, one medieval—Thomas Aquinas—and one modern—Oliver O'Donovan. It begins with an outline of the complexities of practical reason in the thought of Aristotle, which leads to an extended discussion of Aquinas's moral theory. The centrality of Proverbs 8 in Aquinas's account of eternal law opens the way to a reading of Proverbs, in which the central constructive ideas of the thesis are developed. These are then sharpened through an engagement with the work of Oliver O'Donovan. The conclusions are consolidated and developed in a final, constructive chapter. The study's central thesis is that the way the Book of Proverbs thinks about wisdom presents an important challenge to the way practical reason has been understood in the Western theological and philosophical tradition. Rather than being a perfection of speculative knowledge, in the Book of Proverbs, wisdom is a practical knowledge of how to act well, grounded in the reality of the world God has made. God's wisdom is therefore better understood as a perfection of his action, which is why it ultimately relates to Jesus Christ crucified. This perspective reframes our understanding of certain aspects of Christian ethical theory. It shows that created, natural order is a crucial, unavoidable presupposition of Christian ethics, but not its only norm. It helps us understand why moral deliberation and discernment centres on the construal of actions as kinds. Finally, it clarifies the purpose of Christian ethics as a theoretical discipline that accompanies the practical wisdom of the Christian life.
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Betz, Marianne. "»But oh for a Good Opera Book!« George Whitefield Chadwicks (1854–1931) Oper The Padrone." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71897.
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Young, Heather E. "More than a pretty good book idea: a self-publisher's perspective on development, marketing, and sales /." Burnaby B.C. : Simon Fraser University, 2006. http://ir.lib.sfu.ca/handle/1892/2768.
Full textBooks on the topic "A Book of Good Poems"
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The Good Book also says--: Numerous humorous poems inspired by the New Testament. Time Being Books, 1999.
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The book of moonlight: Why life is good and God is generous and kind. Zondervan Pub. House, 1998.
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Rilke, Rainer Maria. Rilke's book of hours: Love poems to God. Riverhead Books, 1996.
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Rilke, Rainer Maria. Rilke's Book of hours: Love poems to God. Riverhead Books, 2005.
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Rilke, Rainer Maria. Poems from The book of hours =: Das Stundenbuch. New Directions, 2009.
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Rilke, Rainer Maria. Poems from The book of hours =: Das Stundenbuch. New Directions, 2009.
Find full textBook chapters on the topic "A Book of Good Poems"
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Kowalski, Robert. "What Makes a Good CLI?" In The CLI Book. Apress, 2017. http://dx.doi.org/10.1007/978-1-4842-3177-7_1.
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Tiberius, Valerie. "Maximization and the Good." In Happiness Studies Book Series. Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-6609-9_5.
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Hale, Vera. "Good Places Through Community-Led Design." In The Urban Book Series. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55855-4_13.
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Maltby, Robert. "Tibullan impersonation and Callimachean influence in the Messalla Panegyric ([Tib.] 3.7)." In Constructing Authors and Readers in the Appendices Vergiliana, Tibulliana, and Ouidiana. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198864417.003.0010.
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This chapter asks how a hexameter panegyric found its way into an elegiac collection by various authors that has come down to us as the Appendix Tibulliana. Peirano (2012) makes a good case for the poem being a Tibullan impersonation and this chapter takes the argument further, suggesting that some of the peculiarities of the panegyric are derived from its connection with Callimachean epinicion, also a feature of Tibullus 1.7. The similarity in the positioning of the Messalla Panegyric as seventh in its book, following a group of six love elegies, exactly parallels the position of Tibullus 1.7. The Callimachean features of both poems deserve further investigation; these throw light on the poem’s links with Catalepton 9 and the Laus Pisonis. In conclusion, it is suggested that the poem could have been deliberately placed seventh in the collection by its author, who may well have edited the whole book.
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Zeitlin, Steve. "God Is in the Details." In The Poetry of Everyday Life. Cornell University Press, 2016. http://dx.doi.org/10.7591/cornell/9781501702358.003.0019.
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This chapter looks at what it calls ur-poem and place moments. For the author's course called Writing New York Stories, which he taught for more than ten years at Cooper Union University, the author developed an approach to remembering his students' names: he had everyone write, in class, a “list poem” in which each line began “I am from…” The poem that spawned this assignment is by Kentucky-born poet and children's book writer George Ella Lyon. He says “I am from…” poems are ur-poems: everyone has one in them. He also talks about the concept of “place moments” as well as the layers of history and lore and perceptions that make up what philosopher Edward Casey refers to as “place memory.” The author argues that personal experiences transform space into place and that the value of places should be measured by the sum total of the place moments that take place within them and are committed to memory.
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Auger, Peter. "Introduction." In Du Bartas' Legacy in England and Scotland. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198827818.003.0001.
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Du Bartas’ poems are about how the world was made, and how we make sense of the world. In praising the creative powers of God, his works advocate a Protestant poetics that denigrates human creativity and urges poets to replicate the established truths found in Scripture and nature. Despite contemporary and later comparisons between Du Bartas’ poems and the Book of Nature, his poems were self-consciously imperfect and are better understood as ‘poems of commonplaces’ that organize knowledge around a set of authoritative scriptural headings. This reading of the poems’ biblical aesthetics, in line with recent francophone criticism, provides a basis for understanding how English and Scottish readers from varied backgrounds read and imitated the poems. This chapter also outlines the book’s structure.
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Hejduk, Julia Dyson. "Propertius." In The God of Rome. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190607739.003.0005.
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While Augustus in Propertius stands for Roman military power, Jupiter’s additional association with sex makes him a far more complex figure. The erotic rivalry between Jupiter and Propertius throughout book 2, the lovesickness book, would devolve into even greater absurdity if Jupiter were metonymy for Augustus. Whether or not Augustus is on his way to becoming a “Jupiter figure,” the four poems in which he and the god are juxtaposed make clear the increasing concentration of power in the hands of one man. In book 2, Jupiter’s unsung Gigantomachy, followed immediately by Augustus’s unsung Aeneid, creates a connection; the inability of either Jupiter or Caesar to separate devoted lovers strengthens it. Book 3 floats the idea—playfully, one hopes—of an opposition between the chief man and the chief god, as the poet claims that Rome should not fear even Jupiter while Augustus is safe. By book 4, Jupiter has been further upstaged by Augustus, merely sitting in the audience while Caesar’s victory at Actium is sung. On the other hand, the rise and fall of Jupiter the Lover throughout Propertius’s poems does tell us something about the changing mores of Augustan Rome. The absence of this figure from book 4, and his replacement with the censorious persona who refuses to “suffer” Tarpeia’s love-wounds, may reflect the moral climate that Augustus’s marriage and adultery legislation sought to foster. Yet like the revenant Cynthia of 4.8, combining Juno’s wrath with Jupiter’s might, amor cannot really be killed.
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Mack, Peter. "Petrarch, Scholarship, and Traditions of Love Poetry." In Reading Old Books. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691194004.003.0002.
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This chapter focuses on Petrarch's (1304–1374) own poetry in order to articulate what he achieved and how he used his sources. In returning to the source, the chapter reveals how good Petrarch's poems are and how much their excellence owes to his subtle and restrained exploitation of the tradition of his poetic predecessors. It begins by considering the advice which Petrarch gives scholars and writers about imitation and the ways of using one's reading in order to write. He was aware of the role which his own work might play as a model for other writers, and he advised them on how to use their reading. Drawing on previous scholarship, the chapter makes some connections between his Italian poems and what he says about his life in the collections of letters which he constructed and in his Secretum. Then it looks at some examples of Petrarch's poems, both to substantiate a claim about their excellence and to show how that excellence derives from his creative use of his reading. Finally, the chapter considers his attitude to Dante, his immediate and overwhelming forerunner, and discusses the ways in which later writers used Petrarch's work.
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Plejić Poje, Lahorka. "Raz jeszcze o liryce kajkawskiej sprzed odrodzenia narodowego – uwagi o repertuarze gatunkowym." In Periferno u hrvatskoj književnosti i kulturi / Peryferie w chorwackiej literaturze i kulturze. University of Silesia Press, 2021. http://dx.doi.org/10.31261/pn.4028.22.
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Old Kajkavian literature or, Kajkavian literature before the Croatian National Revival, remains relatively unstudied and poorly integrated into the corpus of Croatian national literature. Its peripheral status is mostly due to the political and national-identity-forming processes occurring since the 1830s where the key role was given to Štokavian literature. When Kajkavian literature was studied, the focus was placed predominantly on the printed books. Unlike pre-Revival Kajkavian prose, where the author was in most cases known and the prose was printed, Kajkavian lyric poetry was chiefly preserved as anonymous and in manuscript form. None of the numerous preserved Kajkavian collections of poems have been published in a critical edition, not even recently. The topic of this paper is Pjesmarica Nikole Šafrana (Nikola Šafran’s Collection of Poems), the largest manuscript collection which, along with several Latin poems, contains more than 180 Kajkavian secular poems. Its large size, a significant number of poems which also appear in other Kajkavian collections, as well as its generic and thematic diversity make this collection representative, and a good subject for a detailed research of both the collection’s generic content and the poetic traits of Kajkavian secular lyric poetry.
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Maring, Heather. "Refiguring Hybrid Oral-Literate Signs." In Signs That Sing. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813054469.003.0005.
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This is the first of three chapters that examines poems in which oral-traditional themes play a distinctly metaphorical role. Old English oral-connected themes are a rich resource for creating and framing narrative subjects. When poets make such themes metaphorical, they are using a strategy consonant with the reading practices of medieval Christian textual communities. Chapter 4 describes how the two themes explored in previous chapters bear metaphorical meaning in The Phoenix, Exeter Riddle 47 (“Book Moth”), and the Advent Lyrics (Christ I). Being transplanted to unusual narrative contexts, they profit from literate modes of interpretation. Used allegorically and metaphorically, the devouring-the-dead theme describes the fate of the soul during the Apocalypse, in hell, and in heaven. The lord-retainer theme in the Advent Lyrics serves as a metaphor for humanity’s renewed covenant with God. These metaphorical uses of oral-connected themes constitute a rhetorical category made possible by hybrid poetics. They exemplify how Anglo-Saxon poets fused oral-traditional and literate modes of signification.
Conference papers on the topic "A Book of Good Poems"
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Houriet, J., YE Arnold, C. Petit, YN Kalia, and JL Wolfender. "Porcine small intestine, a good ex vivo model to investigate absorption and metabolism of natural products." In GA 2017 – Book of Abstracts. Georg Thieme Verlag KG, 2017. http://dx.doi.org/10.1055/s-0037-1608241.
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Pflug, Elizabeth C., and Arwa K. Nasir. "Children's Health Literacy Through Literature: What Makes a Good Book?" In Selection of Abstracts From NCE 2016. American Academy of Pediatrics, 2018. http://dx.doi.org/10.1542/peds.141.1_meetingabstract.228.
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Leinecker, Nadia Rivera. "P4.015 Community prevention of problematic consumption ‘Feel good, enjoy without excesses’." In Virtual Pre-Conference Global Injury Prevention Showcase 2021 – Abstract Book. BMJ Publishing Group Ltd, 2021. http://dx.doi.org/10.1136/injuryprev-2021-safety.218.
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Barone, Lauren F. "Brush, Book, Bed - 3 Simple Steps to Good Oral Health and Improved Literacy." In Selection of Abstracts From NCE 2016. American Academy of Pediatrics, 2018. http://dx.doi.org/10.1542/peds.141.1_meetingabstract.597-a.
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Barone, Lauren F. "Brush, Book, Bed - 3 Simple Steps to Good Oral Health and Improved Literacy." In Selection of Abstracts From NCE 2016. American Academy of Pediatrics, 2018. http://dx.doi.org/10.1542/peds.141.1_meetingabstract.597.
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Markovic, Marija, Nevenka Kovacevic, Svetlana Mladenovic Jankovic, Gordana Tamburkovski, Andjelka Brkovic, and Dusanka Matijevic. "8A.006 Road safety peer education in belgrade – an example of good local practice." In Virtual Pre-Conference Global Injury Prevention Showcase 2021 – Abstract Book. BMJ Publishing Group Ltd, 2021. http://dx.doi.org/10.1136/injuryprev-2021-safety.188.
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Hanif, I. "4CPS-171 Study of inhaled anaesthetic agents used at two vanguard hospitals to compare and identify good practice." In Abstract Book, 23rd EAHP Congress, 21st–23rd March 2018, Gothenburg, Sweden. British Medical Journal Publishing Group, 2018. http://dx.doi.org/10.1136/ejhpharm-2018-eahpconf.261.
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Malinetskii, Georgii Gennadyevich. "Good and bad luck of a computer project." In 4th International Conference “Futurity designing. Digital reality problems”. Keldysh Institute of Applied Mathematics, 2021. http://dx.doi.org/10.20948/future-2021-3.
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A computer project in the world and in Russia is now usually viewed as an economic, technological or military one. At the same time, it is a global social project. From the theory of the humanitarian and technological revolution, it follows that at the current point of bifurcation, its results can determine the path of humanity to the future. I show that the results of this project reflect the readiness of civilizations for socio-technological change. The COVID-19 pandemic turned out to be a test for social imperatives and had a huge impact on computer reality in the formation of a new sociality. Book by K. Schwab, T. Mallerert “COVID-19: The great reset” represents a variant of such sociality. The analysis presented in this work shows the unacceptability of the proposed changes for the world of Russia. A study of large-scale computer projects in Russia and Belarus shows the need to bring them to a new sociocultural level, much higher than the current one. The unsuccessful experience of mass e-education in the Union State confirmed the imperative of Norbert Wiener: “Render unto man the things which are man’s and unto the computer the things which are the computer’s”. This should, apparently, be a reasonable line of behavior in organizing joint actions of people and machines.
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Suyata, Pujiati, and Hermanto Hermanto. "A Local Wisdom - Based Good Indonesia Book: Its Effectiveness in Teaching Indonesian as Foreign Language For The A-1 Level." In Proceedings of the 2nd Konferensi BIPA Tahunan by Postgraduate Program of Javanese Literature and Language Education in Collaboration with Association of Indonesian Language and Literature Lecturers, KEBIPAAN, 9 November, 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.9-11-2019.2295074.
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Ward, Monica. "THE GOOD, THE BAD AND THE FUTURE – THE CHALLENGES, POSITIVES AND FUTURE STRATEGIES FOR HIGHER EDUCATION BLENDED TEACHING." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end078.
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There have been many changes that have taken place in all levels of education since the Covid-19 pandemic, including at Higher Education (HE). While the swift pivot to blended teaching has been challenging and not welcomed by all, there are some positives have come about because of it and it would be good to be able to hold on to these. The challenges include moving learning materials (written, video and audio) online, engaging with students in a constructive manner and how to do assessments that are academically rigorous and have academic integrity. It is difficult for those who are used to teaching in a face-to-face environment to suddenly switch over to developing online resources and know who do this effectively and efficiently. Interacting with students online requires a different skill set than in a face-to-face environment and educators should not be expected to acquire these skills automatically. Closed-book, invigilated exams are the norm in HE institutions and ensure a level of academic integrity that has worked well for many years. It is difficult to switch from this scenario to an open-book, non-invigilated exam. It means that questions have to be re-thought to explore the students’ understanding in an academic rigorous manner. Ideally, it would be good to be able to address these challenges as they mean a less positive experience for both educators and students. The positive aspects include a more flexible approach to teaching and learning, facilitation of different modes of learning and in some cases, more interesting and authentic assessments. A more flexible approach enables students to learn at a time and place that suits them and is in keeping with the needs of the more diverse population that makes up student body in HE today. While there is a debate around learning styles, providing learning materials in a variety of formats is beneficial for all students. While it is definitely more difficult to develop open-book assessments, it is also an opportunity to do more real-world, authentic assessments that assess students’ higher order skills. This moves assessment further along the Bloom’s taxonomy. This paper looks at the challenges and positives outcomes of the move to blended teaching and learning and how the challenges can be addressed, the positive aspects maintained and how a sustainable approach can be adopted to ensure that future changes to teaching are less challenging and more positive.
Reports on the topic "A Book of Good Poems"
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HEFNER, Robert. IHSAN ETHICS AND POLITICAL REVITALIZATION Appreciating Muqtedar Khan’s Islam and Good Governance. IIIT, 2020. http://dx.doi.org/10.47816/01.001.20.
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Ours is an age of pervasive political turbulence, and the scale of the challenge requires new thinking on politics as well as public ethics for our world. In Western countries, the specter of Islamophobia, alt-right populism, along with racialized violence has shaken public confidence in long-secure assumptions rooted in democracy, diversity, and citizenship. The tragic denouement of so many of the Arab uprisings together with the ascendance of apocalyptic extremists like Daesh and Boko Haram have caused an even greater sense of alarm in large parts of the Muslim-majority world. It is against this backdrop that M.A. Muqtedar Khan has written a book of breathtaking range and ethical beauty. The author explores the history and sociology of the Muslim world, both classic and contemporary. He does so, however, not merely to chronicle the phases of its development, but to explore just why the message of compassion, mercy, and ethical beauty so prominent in the Quran and Sunna of the Prophet came over time to be displaced by a narrow legalism that emphasized jurisprudence, punishment, and social control. In the modern era, Western Orientalists and Islamists alike have pushed the juridification and interpretive reification of Islamic ethical traditions even further. Each group has asserted that the essence of Islam lies in jurisprudence (fiqh), and both have tended to imagine this legal heritage on the model of Western positive law, according to which law is authorized, codified, and enforced by a leviathan state. “Reification of Shariah and equating of Islam and Shariah has a rather emaciating effect on Islam,” Khan rightly argues. It leads its proponents to overlook “the depth and heights of Islamic faith, mysticism, philosophy or even emotions such as divine love (Muhabba)” (13). As the sociologist of Islamic law, Sami Zubaida, has similarly observed, in all these developments one sees evidence, not of a traditionalist reassertion of Muslim values, but a “triumph of Western models” of religion and state (Zubaida 2003:135). To counteract these impoverishing trends, Khan presents a far-reaching analysis that “seeks to move away from the now failed vision of Islamic states without demanding radical secularization” (2). He does so by positioning himself squarely within the ethical and mystical legacy of the Qur’an and traditions of the Prophet. As the book’s title makes clear, the key to this effort of religious recovery is “the cosmology of Ihsan and the worldview of Al-Tasawwuf, the science of Islamic mysticism” (1-2). For Islamist activists whose models of Islam have more to do with contemporary identity politics than a deep reading of Islamic traditions, Khan’s foregrounding of Ihsan may seem unfamiliar or baffling. But one of the many achievements of this book is the skill with which it plumbs the depth of scripture, classical commentaries, and tasawwuf practices to recover and confirm the ethic that lies at their heart. “The Quran promises that God is with those who do beautiful things,” the author reminds us (Khan 2019:1). The concept of Ihsan appears 191 times in 175 verses in the Quran (110). The concept is given its richest elaboration, Khan explains, in the famous hadith of the Angel Gabriel. This tradition recounts that when Gabriel appeared before the Prophet he asked, “What is Ihsan?” Both Gabriel’s question and the Prophet’s response make clear that Ihsan is an ideal at the center of the Qur’an and Sunna of the Prophet, and that it enjoins “perfection, goodness, to better, to do beautiful things and to do righteous deeds” (3). It is this cosmological ethic that Khan argues must be restored and implemented “to develop a political philosophy … that emphasizes love over law” (2). In its expansive exploration of Islamic ethics and civilization, Khan’s Islam and Good Governance will remind some readers of the late Shahab Ahmed’s remarkable book, What is Islam? The Importance of Being Islamic (Ahmed 2016). Both are works of impressive range and spiritual depth. But whereas Ahmed stood in the humanities wing of Islamic studies, Khan is an intellectual polymath who moves easily across the Islamic sciences, social theory, and comparative politics. He brings the full weight of his effort to conclusion with policy recommendations for how “to combine Sufism with political theory” (6), and to do so in a way that recommends specific “Islamic principles that encourage good governance, and politics in pursuit of goodness” (8).
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Le Maux, Laurent. Bagehot for Central Bankers. Institute for New Economic Thinking Working Paper Series, 2021. http://dx.doi.org/10.36687/inetwp147.
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Walter Bagehot (1873) published his famous book, Lombard Street, almost 150 years ago. The adage “lending freely against good collateral at a penalty rate” is associated with his name and his book has always been set on a pedestal and is still considered as the leading reference on the role of lender of last resort. Nonetheless, without a clear understanding of the theoretical grounds and the institutional features of the British banking system, any interpretation of Bagehot’s writings remains vague if not misleading—which is worrisome if they are supposed to provide a guideline for policy makers. The purpose of the present paper is to determine whether Bagehot’s recommendation remains relevant for modern central bankers or whether it was indigenous to the monetary and banking architecture of Victorian times.