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Journal articles on the topic 'American Contemporary Poetry (Anthologies)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Karnad, Girish. "Performance, Meaning, and the Materials of Modern Indian Theatre." New Theatre Quarterly 11, no. 44 (November 1995): 355–70. http://dx.doi.org/10.1017/s0266464x00009337.

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Girish Karnad is not only India's leading playwright, and a practitioner across the performing arts in all that nation's media, but the first contemporary Indian writer to have achieved a major production in a regional American theatre – Naga-Mandala, seen at the Guthrie Theatre in July 1993. The following interview was recorded on the occasion of that production, and ranges widely not only over Karnad's own work and its circumstances, but the situation and problems of the Indian theatre today, and its ambivalent relationship alike to its classical and its colonial past, and to the contemporary problems of its society. The interviewer, Aparna Dharwadker, is Assistant Professor of Drama and Eighteenth-Century British Studies at the University of Oklahoma. Her essays and articles have appeared or are forthcoming in PMLA, Modern Drama, and The Sourcebook of Post-Colonial English Literatures and Cultural Theory (Greenwood, 1995). She has also published collaborative translations of modern Hindi poetry in major anthologies, including The Oxford Anthology of Modern Indian Poetry (1994), and is currently completing a book-length study of the politics of comic and historical forms in late seventeenth-century drama.

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2

Hudgins, Andrew. "Contemporary Poetry: Four Anthologies." Missouri Review 12, no. 1 (1989): 197–216. http://dx.doi.org/10.1353/mis.1989.0004.

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3

McCormick, Adrienne. "Theorizing Difference in Asian American Poetry Anthologies." MELUS 29, no. 3/4 (2004): 59. http://dx.doi.org/10.2307/4141842.

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4

Knight, C. J. "Contemporary American Poetry." American Literary History 14, no. 1 (March 1, 2002): 181–93. http://dx.doi.org/10.1093/alh/14.1.181.

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5

Kronick, Joseph G., and Robert von Hallberg. "Contemporary American Poetry." Contemporary Literature 27, no. 2 (1986): 265. http://dx.doi.org/10.2307/1208661.

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6

Sobalkowska, Estera. "Przegląd antologii serbskiej poezji współczesnej wydanych w Polsce po 1990 roku." Przekłady Literatur Słowiańskich 9, no. 3 (October 30, 2019): 145–59. http://dx.doi.org/10.31261/pls.2019.09.03.16.

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This text deals with the anthologies of Serbian contemporary and newest poetry, which appeared in Poland in the last twenty-eight years. Four publications by four different authors and translators present the wealth of Serbian poetry composed by several generations of poets. Each of the anthologies presents a different image of Serbian poetry, thus showing its great diversity. Thanks to these publications, many names appeared in Poland for the first, yet not the last, time — as shown in the subsequent Bibliographies printed in the “Translation of Slavic Literatures”.

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7

Wagstaff, Emma, and Nina Parish. "Translating Contemporary French Poetry." Irish Journal of French Studies 18, no. 1 (December 13, 2018): 163–94. http://dx.doi.org/10.7173/164913318825258347.

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This article examines a bilingual anthology edited by the authors and published in 2016. It argues that the process of editing an anthology of contemporary poetry with multiple translators is a form of re-writing that not only introduces new writers into the target-language poetic system, but also recasts their positions in the poetic system of the source culture by giving them new readers who have no or few preconceptions about the writers' place in that system. Anthologizing operates in tandem with translating in this instance, and we additionally use the notions of inference and cognitive stylistics to discuss the particular habitus of academic translators who are not poets, and the opportunities those approaches offer to produce a creative translation. Style is an appropriate lens through which to consider poems included in this anthology because it is a contested question in contemporary French poetic practice. The article therefore treats the question of présence that this special issue addresses in three ways. It discusses, on the most literal level, the new or more visible presence that French poetry can acquire in the anglophone context through translation and anthologies. Moreover, it examines the ways in which the presence of new or decontextualized voices affects poetic systems. Finally, it considers whether an approach to translation that sees it as an embodied, interpretative process may allow some access to the présence of the 'original' poetic work.

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8

García, Miguel Ángel. "Crítica en simpatía." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 55, no. 1 (February 19, 2019): 117–37. http://dx.doi.org/10.1075/rro.18015.gar.

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Abstract For the first time, we analyze in detail the reading that Pedro Salinas makes of a series of relevant anthologies for the history of contemporary Spanish poetry: the two anthologies of Gerardo Diego (1932–1934) and the anthologie of Federico de Onís (1934), among others. Also, we study his theoretical reflection about this genre, which is always supported in these “criticism with simpathy” that he claims.

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9

Nesme, Axel. "Canonical Agon in Post-World War II American Poetry Anthologies." Revue Française d Etudes Américaines 110, no. 4 (2006): 42. http://dx.doi.org/10.3917/rfea.110.0042.

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10

Chakraborty, Joydeep. "Hallucinations in Post-9/11 American Poetry." Critical Survey 33, no. 3-4 (September 1, 2021): 1–15. http://dx.doi.org/10.3167/cs.2021.33030403.

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This article seeks to enlarge the scope of the current scholarly discussion on the trauma-related or, more precisely, ‘belated’ aspect of post-9/11 American literature through a focus on hallucinatory experiences in post-9/11 American poetry, and through the application of the information-processing models of Post-Traumatic Stress Disorder (PTSD) to the interpretation of these experiences. To attain this purpose, the article focuses on four poems – ‘High Haunts’ by Tish Eastman, ‘The Dead Have Stopped Running’ by Matthew Mason, ‘Making Love after September 11, 2001’ by Aliki Barnstone and ‘Strangers’ by Lucille Lang Day – all of which were included in An Eye for an Eye Makes the Whole World Blind: Poets on 9/11 and September 11, 2001: American Writers Respond, two of the major anthologies of 9/11 poems that came into being in the immediate aftermath of 9/11. This article, finally, attempts to discover a poetic strategy to conquer the trauma of 9/11 at the personal level.

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11

Kočan Šalamon, Kristina. "Translating Culture: Contemporary African American Poetry." ELOPE: English Language Overseas Perspectives and Enquiries 12, no. 2 (December 29, 2015): 211–24. http://dx.doi.org/10.4312/elope.12.2.211-224.

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The paper interrogates cultural specifics of contemporary African American poetry and exhibits translation problems when translating this poetic work. African American writers have always included much of their cultural heritage in their writing and this is immediately noticed by a translator. The cultural elements, such as African American cuisine, attire and style in general, as well as spiritual and religious practices, often play a significant role for African American poets who are proclaiming their identity. Moreover, the paper presents the translation problems that emerge when attempting to transfer such a specific, even exotic, source culture into a target culture, like Slovene. The goal is to show to what extent contemporary African American poetry can successfully be translated into the Slovene language and to highlight the parts that inevitably remain lost in the translation process.

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12

Altieri, Charles. "On difficulty in contemporary American poetry." Daedalus 133, no. 4 (September 2004): 113–18. http://dx.doi.org/10.1162/0011526042365618.

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13

Maver, Igor. "Slovenia as a locale in contemporary Australian verse." Acta Neophilologica 30 (December 1, 1997): 73–75. http://dx.doi.org/10.4312/an.30.0.73-75.

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Despite the fact that the writer Patrick White had worked on his novels for a short while also at Lake Bled in Slovenia at Hotel "Toplice", just like Agatha Christie did at Lake Bohinj, Slovenia has only recently come to feature in mainstream Australian literature, more precisely in contemporary Australian poetry. It should be stressed that Slovenia is thus no longer present only in Slovene migrant poetry written in Australia as has so far been the case: it entered the major contemporary Australian anthologies. This testifies to the fact that Slovenia no longer belongs to the uncharted part of Central Europe on the geographical and consequently also on the Australian literary map. Rather than that Slovenia increasingly makes part of an average Australian 'Grand Tour' travel itinerary in Europe; it has thus become present in the Australian cultural consciousness. In this light two recent Australian poems with Slovenia as a literary locale are discussed, Andrew Taylor's "Morning in Ljubljana" I and Susan Hampton's poem "Yugoslav Story".

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14

Maver, Igor. "Slovenia as a locale in contemporary Australian verse." Acta Neophilologica 30 (December 1, 1997): 73–75. http://dx.doi.org/10.4312/an.30.1.73-75.

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Despite the fact that the writer Patrick White had worked on his novels for a short while also at Lake Bled in Slovenia at Hotel "Toplice", just like Agatha Christie did at Lake Bohinj, Slovenia has only recently come to feature in mainstream Australian literature, more precisely in contemporary Australian poetry. It should be stressed that Slovenia is thus no longer present only in Slovene migrant poetry written in Australia as has so far been the case: it entered the major contemporary Australian anthologies. This testifies to the fact that Slovenia no longer belongs to the uncharted part of Central Europe on the geographical and consequently also on the Australian literary map. Rather than that Slovenia increasingly makes part of an average Australian 'Grand Tour' travel itinerary in Europe; it has thus become present in the Australian cultural consciousness. In this light two recent Australian poems with Slovenia as a literary locale are discussed, Andrew Taylor's "Morning in Ljubljana" I and Susan Hampton's poem "Yugoslav Story".

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15

Porter, David, Norman Finkelstein, and Lynn Keller. "The Utopian Moment in Contemporary American Poetry." American Literature 61, no. 1 (March 1989): 146. http://dx.doi.org/10.2307/2926552.

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16

Steffy, Rebecca Couch. "Sites and Sociability in Contemporary American Poetry." Contemporary Literature 55, no. 2 (2014): 402–11. http://dx.doi.org/10.1353/cli.2014.0021.

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17

Abramson, Glenda. "Apocalyptic Messianism and Contemporary Jewish-American Poetry." Journal of Jewish Studies 38, no. 1 (April 1, 1987): 138–39. http://dx.doi.org/10.18647/1335/jjs-1987.

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18

Dickie, Margaret, Charles Altieri, and R. W. (Herbie) Butterfield. "Self and Sensibility in Contemporary American Poetry." Yearbook of English Studies 18 (1988): 365. http://dx.doi.org/10.2307/3508294.

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19

Burris, Sidney, and Charles Altieri. "Self and Sensibility in Contemporary American Poetry." South Atlantic Review 50, no. 1 (January 1985): 92. http://dx.doi.org/10.2307/3199535.

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20

Eisner, Eric. "Disaster Poetics: Keats and Contemporary American Poetry." Wordsworth Circle 44, no. 2-3 (March 2013): 153–58. http://dx.doi.org/10.1086/twc24044240.

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21

Long, Beverly Whitaker, and Timothy Scott Gage. "Contemporary American ekphrastic poetry: A selected bibliography." Text and Performance Quarterly 9, no. 4 (October 1989): 286–97. http://dx.doi.org/10.1080/10462938909365940.

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22

Economou, George, and Helen Vendler. "The Harvard Book of Contemporary American Poetry." World Literature Today 60, no. 2 (1986): 314. http://dx.doi.org/10.2307/40141786.

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23

Dickie, Margaret. "The Alien in Contemporary American Women's Poetry." Contemporary Literature 28, no. 3 (1987): 301. http://dx.doi.org/10.2307/1208623.

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24

Fast, Robin Riley. "Borderland Voices in Contemporary Native American Poetry." Contemporary Literature 36, no. 3 (1995): 508. http://dx.doi.org/10.2307/1208832.

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25

Harris, Jim. "Idaho+, Contemporary Poetry From the American West." Western American Literature 23, no. 3 (1988): 255. http://dx.doi.org/10.1353/wal.1988.0066.

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26

McGuiness, Daniel. "The Long Line in Contemporary American Poetry." Antioch Review 47, no. 3 (1989): 269. http://dx.doi.org/10.2307/4612064.

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27

Orfali, Bilal. "An Addendum to the Dīwān of Abū Mansūr al-Ta'ālibī." Arabica 56, no. 4 (2009): 440–49. http://dx.doi.org/10.1163/057053909x12475581297605.

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AbstractThere have been several attempts in modern scholarship to reconstruct the lost dīwān of Abū Mansūr al-Tālibī (350-429/961-1038 or 9). This article is an addendum to this dīwān that collects verses that were overlooked by previous scholarship or selected from recently published anthologies contemporary to al-Tālibī. It also sheds light on al-Tālibī's minor literary character, i.e. being a poet, and offers some observations on his poetry in general.

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28

Berryman, Jim. "Breaking fresh ground: New Impulses in Australian Poetry, an anthology." Queensland Review 23, no. 2 (December 2016): 246–57. http://dx.doi.org/10.1017/qre.2016.32.

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AbstractNew Impulses in Australian Poetry was an anthology of contemporary Australian poetry published in Brisbane in 1968. The book was the idea of two Queensland poets, Rodney Hall and Thomas Shapcott. New Impulses was modelled on international modern poetry anthologies. At the time, this type of anthology was unfamiliar in Australia. Hall and Shapcott declared their intentions in modernist terms: to challenge the literary establishment and to promote the new poetry of the 1960s. It was a new type of anthology for a new type of poetry. This article explores the anthology's Queensland origins and examines its modern themes and influences. It concludes with a discussion of the anthology's impact and legacy from the perspective of Australian literary history, especially the ‘New Australian Poetry’, which it prefigured. In addition to its literary significance, New Impulses was an Australian publishing milestone. The book was the first poetry anthology published by University of Queensland Press. Its success demonstrated the market potential for literary publishing in Australia.

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29

Sebola, Moffat. "Female Images and Voices in Kanakana Yvonne Ladzani’s Selected Poetry." African Journal of Gender, Society and Development (formerly Journal of Gender, Information and Development in Africa) 10, no. 1 (March 1, 2021): 211–28. http://dx.doi.org/10.31920/2634-3622/2021/v10n1a10.

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This paper reflects on Kanakana Yvonne Ladzani’s use of poetry to vanguard women’s images and voices. The paper further considers how, apart from articulating the significance of her role as a poet, Ladzani also comments authoritatively on how women are perceived in society. The paper employed the qualitative approach and purposively selected five poems from Ladzani’s three poetry anthologies. Undergirded by the theory of feminism, the analysis appreciated Ladzani’s literary vision of women empowerment. In the analysis of the selected poems, it was argued that Ladzani prefers positive female portraitures over negative ones. It was also argued that Ladzani aims to prod women to move from the margins to the centre of gender discourse through her poetry. In its conclusion, the paper appreciated Ladzani’s poetry as an essential mode of agency through which the Vhavenḓa women may make their voices heard in the contemporary space.

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30

Hamlen, Bard Rogers, and Jim Daniels. "Letters to America: Contemporary American Poetry on Race." MELUS 23, no. 3 (1998): 239. http://dx.doi.org/10.2307/467692.

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31

Balakian, Peter, and James E. B. Breslin. "From Modern to Contemporary: American Poetry, 1945-1965." American Literature 57, no. 1 (March 1985): 149. http://dx.doi.org/10.2307/2926326.

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32

Tuma, Keith. "Contemporary American Poetry and the Pseudo Avant-Garde." Chicago Review 36, no. 3/4 (1989): 43. http://dx.doi.org/10.2307/25305455.

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33

Shcherbak, N. F., and A. I. Gerus. "Transcendentalism, Network Concepts and American Poetry." Discourse 6, no. 1 (March 5, 2020): 106–20. http://dx.doi.org/10.32603/2412-8562-2020-6-1-106-120.

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Introduction. The paper aims at describing the philosophy of transcendentalism as viewed by 19th century American philosopher Ralph Emerson, one of its founders and, above all, the direct application of this framework to the contemporary view of network concepts introduced as a state-of the art paradigm of cultural and social development, often viewed as directly applicable to the study of social processes as well as literary texts.Methodology and sources. The chosen methodology includes the structural semantic study of Emerson’s texts and the analysis of the view of contemporary philosophers of the language and literary critics on the network concept as a basis for state of the art social schemes and internet-communication principles, as well as literary texts analysis.Results and discussion. The results of the research allow to hypothesize that the philosophy of transcendentalism which attempted to give a full-fledged representation of a harmonious and dynamic cosmic principle, seeing ways of moral purification and comprehension of the super-soul has similar principles with the works by outstanding poststructuralist or postmodern philosophers (like G. Deleuze) and is directly applicable to the study of contemporary literary texts if not social processes. These concepts allow to see the development of aesthetic paradigm (a vivid example being the development of the transcendental motive in poetry). One of the possible examples could be seen in the development of poetic paradigm with а) early romantic poetry concentrating on the poet’s emotions, thus rendering the transcendental, with b) modernist writing which used language as a medium, when a poem became a means of expressing the transcendental, with c) poetry combining political views and the transcendental experience, with d) post-colonial poetry, with the transcendental being transferred from the sphere of “eternal” to the sphere of “everyday”. Conclusion. American transcendentalism allows to see common patterns of development and innovation of cultural, literary, philosophical scene, characteristic of the contemporary aesthetic paradigm.

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34

Muenchrath, Anna. "Anthologizing Race." Journal of World Literature 3, no. 4 (November 19, 2018): 552–75. http://dx.doi.org/10.1163/24056480-00304011.

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Abstract This article reads the introductions of two anthologies of Harlem Renaissance poetry published in the Weimar Republic in 1929 and 1932 respectively. Taking into account the history of the concept of Volk and its changing connotations in the interwar years, I argue that both editors problematically and subversively interpret the Harlem Renaissance as an American Volk tradition for their German readers. I contend that this act of interpretation questions and critiques the limits of not only the linguistic meaning of Volk, but also the limits of the concept of political belonging that the word represents in the German inter-war years. The article argues, concomitantly, for closer attention to anthologies of world literature and the paratexts of translations.

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35

Golding, Alan. "From Modern to Contemporary: American Poetry, 1945-1965. James E. B. BreslinIntrospection and Contemporary Poetry. Alan Williamson." Modern Philology 84, no. 2 (November 1986): 235–38. http://dx.doi.org/10.1086/391548.

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36

Kneale, Nick, and Jody Norton. "Narcissus 'Sous Rature': Male Subjectivity in Contemporary American Poetry." Modern Language Review 97, no. 2 (April 2002): 411. http://dx.doi.org/10.2307/3736888.

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37

Moran, Margaret, and John Gery. "Nuclear Annihilation and Contemporary American Poetry: Ways of Nothingness." American Literature 69, no. 3 (September 1997): 644. http://dx.doi.org/10.2307/2928237.

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38

Ramazani, Jahan. ""Sing to Me Now": Contemporary American Poetry and Song." Contemporary Literature 52, no. 4 (2011): 716–55. http://dx.doi.org/10.1353/cli.2011.0047.

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39

Mackay, James. "Off Native ground: Europe in contemporary American Indian poetry." European Journal of American Culture 31, no. 3 (October 18, 2012): 249–63. http://dx.doi.org/10.1386/ejac.31.3.249_1.

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40

Lowe, John, Phillip Foss, and Joseph Bruchac. "The Clouds Threw This Light: Contemporary Native American Poetry." American Indian Quarterly 9, no. 4 (1985): 471. http://dx.doi.org/10.2307/1183585.

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41

Hunter, Walt. "The American Poetic Subprime: Contemporary Poetry, Race, and Genre." New Literary History 51, no. 3 (2020): 615–37. http://dx.doi.org/10.1353/nlh.2020.0037.

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42

Molesworth, Charles. "“Backward‐spreading brightness”: Career's end in contemporary American poetry." Lit: Literature Interpretation Theory 1, no. 3 (March 1990): 183–89. http://dx.doi.org/10.1080/10436929008580028.

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43

Segal, Eyal. "Lyric Shame: The “Lyric” Subject of Contemporary American Poetry." Poetics Today 37, no. 1 (March 2016): 235–37. http://dx.doi.org/10.1215/03335372-3453066.

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44

McKelvey, Seth. "Beyond Protest: Voice and Exit in Contemporary American Poetry." American Literature 91, no. 4 (December 1, 2019): 841–70. http://dx.doi.org/10.1215/00029831-7917332.

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Abstract In liberal political economy, voice (voting, complaining, etc.) and exit (dissociating, boycotting, etc.) are the two primary feedback mechanisms for improving large organizations. When it comes to the political state, however, exit is off the table: no one leaves the state, so dissenters must articulate their dissatisfaction within systems of representation. For any politics opposed to the state, voice is all one has. This essay reads Juliana Spahr’s This Connection of Everyone with Lungs (2005) and Well Then There Now (2011) and Nathaniel Mackey’s Splay Anthem (2006) as exemplars of an impetus in contemporary American poetry to enable exit from the state. However, this project inevitably fails, and the poetics of exit resorts to a renewed voice. Rather than a complaint addressed to authority, these poets’ voiced demand for exit now forms the potential basis of new political collectivities, people joined by a shared desire to leave the state.

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45

Horvath, B. "Syncopations: The Stress of Innovation in Contemporary American Poetry; Distant Reading: Performance, Readership, and Consumption in Contemporary Poetry." American Literature 78, no. 2 (June 1, 2006): 402–4. http://dx.doi.org/10.1215/00029831-2006-014.

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46

Mi-Young Park. "Some Aspects of the Diaspora Spirit of the Writers Reflected in the Sijo-Anthologies of Korean-American Authors." Korean Classical Poetry Studies 25, no. ll (November 2008): 259–300. http://dx.doi.org/10.32428/poetry.25..200811.259.

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47

Becker, Claudia A., and Susan M. Schultz. "A Poetics of Impasse in Modern and Contemporary American Poetry." Rocky Mountain Review of Language and Literature 60, no. 1 (2006): 142. http://dx.doi.org/10.2307/4143900.

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48

Lees, Cynthia. "Identity and the Ethnic Self in Contemporary Franco-American Poetry." Quebec Studies 57 (January 2014): 147–70. http://dx.doi.org/10.3828/qs.2014.10.

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49

Gery, John, and Walter Kalaidjian. "Languages of Liberation: The Social Text in Contemporary American Poetry." American Literature 62, no. 3 (September 1990): 533. http://dx.doi.org/10.2307/2926771.

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50

Porter, David, and Willard Spiegelman. "The Didactic Muse: Scenes of Instruction in Contemporary American Poetry." American Literature 62, no. 4 (December 1990): 739. http://dx.doi.org/10.2307/2927108.

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