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Journal articles on the topic 'American poet'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

Thomson, David E. "Lifespan development in the academy of American poets." Scientific Study of Literature 5, no. 1 (November 19, 2015): 83–98. http://dx.doi.org/10.1075/ssol.5.1.04tho.

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The present study investigated lifespan writing tendencies among members of the Academy of American Poets (N = 411). All original English language poems (N = 2,558) available on the Academy website during 2013 were included provided that each poet was represented by at least two poems. Correlations of the age in which each poet published each poem with established indicators of lifespan development were small to moderate (r’s from -.11 to .16). Contrary to lifespan development for expository and emotionally expressive writing, poets tended to employ past tense and use less emotionally valenced language as they aged. Multilevel analysis revealed no significant relationships between publishing age and maturation outcomes, although that process did indicate various curvilinear relations. I conclude by discussing the implications of automated text analysis on literary analysis of career development.

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2

Foust, Graham. "American Poet." Critical Quarterly 56, no. 4 (December 2014): 124. http://dx.doi.org/10.1111/criq.12152.

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3

Miller, Nicola. "Recasting the Role of the Intellectual: Chilean Poet Gabriela Mistral." Feminist Review 79, no. 1 (March 2005): 134–49. http://dx.doi.org/10.1057/palgrave.fr.9400206.

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The life and work of Gabriela Mistral, the first Latin American writer to be awarded the Nobel Prize for Literature in 1945, is examined as an example of how difficult it was for women to win recognition as intellectuals in 20th-century Latin America. Despite an international reputation for erudition and political commitment, Mistral has traditionally been represented in stereotypically gendered terms as the ‘Mother’ and ‘Schoolteacher’ of the Americas, and it has been repeatedly claimed that she was both apolitical and anti-intellectual. This article contests such claims, arguing that she was not only committed to fulfilling the role of an intellectual, but that she also elaborated a critique of the dominant male Latin American view of intellectuality, probing the boundaries of both rationality and nationality as constructed by male Euro-Americans. In so doing, she addressed many of the crucial issues that still confront intellectuals today in Latin America and elsewhere.

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4

Al-Douri, Hamdi. "الشعر الوثائقي: دراسة لقصيدة امريكية “احدهم فجر امريكة”." Al-Kitab Journal for Human Sciences 1 (October 3, 2020): 94–112. http://dx.doi.org/10.32441/kjhs.01.00.6.

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The modern age is prolific of literary movements and literary genres. Documentary poetry, which can be considered a new genre, combines both primary source material, such as war, political events, terrorism, people in detention and many other events with poetry. Amiri Baraka is a contemporary American poet whose poem "Somebody Blew up America" belongs to this genre. It records the September 11 blowing up of the Trade Centre from a perspective different from what the American propaganda and mass media tell the world. The recent paper attempts to shed light on Amiri Baraka's attitude towards this event, the reasons behind it, the real terrorists and the intentions behind this terrorist event according to this poem. The poet argues that the American government knew beforehand that the Trade Centre was going to be blown up and they took no action to prevent the catastrophe and, in this sense, they were partners in the crime. Furthermore, he accuses the Americans of blowing up the trade centre.The paper is divided into three sections and a conclusion. Section One is Introductory; it sheds light on documentary poetry, its characteristic features and practitioners. Section Two is a biographical note of Amiri Baraka paying special attention to his attitude to American politics based on domination, persecution and genocide. Section Three gives a detailed analysis of "Somebody Blew up America" as a documentary poem recording the September 11 blowing up of the Trade Centre with the aim of finding a pretext to invade other countries. The paper concludes that this event happened according to a well-made plan in cooperation with the American government and the CIA as partners.

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5

Mahdi, Amer Rasool. "“[I]t is a word unsaid”." Al-Adab Journal 1, no. 126 (September 15, 2018): 1–8. http://dx.doi.org/10.31973/aj.v1i126.3.

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This study attempts to trace the aesthetic of the act of naming in Walt Whitman’s poem “Song of Myself”. It tries, furthermore, to approach America as a geo-poetic concept and formation in the earlier American poetics of being. The literary geography of Whitman’s poetry might here be measured against the poeticity of the American con(text) or poetic dwelling, with all the nuances of the question of identity being implicated. The poet as a namer is the one who re-invents his linguistic-poetic gear to re-signify his existence in the act of renaming the second creation. Building on the Emersonian pseudo-philosophical premises, the poet Whitman thus sets himself the task of mapping out his Eden, or this terra incognita, by creating his textual geography and by Whitmanizing the American scene for that matter.

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6

BYER, R. H. "POET OF THE AMERICAN TRAGEDY." Essays in Criticism XLVI, no. 2 (April 1, 1996): 175–86. http://dx.doi.org/10.1093/eic/xlvi.2.175.

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7

Rashid, Frank D. "Transparent Eye, Voice Howling Within: Codes of Violence in Lawrence Joseph's Poetry." PMLA/Publications of the Modern Language Association of America 123, no. 5 (October 2008): 1611–20. http://dx.doi.org/10.1632/pmla.2008.123.5.1611.

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In the early quatrains of “Rubaiyat,” a poem in Lawrence Joseph's fourth book, into it, The poet adopts a curious perspective for an American poet of Arab ancestry who is intensely critical of American military aggression. Taking on the “eye” of the aggressor, he pulls up the “satellite image of a major / military target, a 3-D journey / into a landscape of hills and valleys.” He follows the lens as it zooms closer to the ground:Zoom in close enough—the shadowsof statues, the swimming pools of palaces …closer—a garden of palm trees,oranges and lemons, chickens, sheep. … (41)

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8

Al-Husseini, Sahar Abdul Ameer Haraj. "Graphematic Emblems in Selected Poems by John Hollander Sahar Abdul Ameer Haraj Al-Husseini." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES, no. 226(1) (September 1, 2018): 49–60. http://dx.doi.org/10.36473/ujhss.v0i226(1).172.

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Graphematic poem or shape poem or pattern poem, like any other poem, is a poem that discusses diverse and common subjects like love, idea, time and many other topics ; yet with a certain difference that is the subject is similar to the printed format of the text. To say that it presents a picture of certain familiar object that is similarly the subject of the poem. Such poems are likewise termed shaped verse. They are not new for they are part of a long convention that ranges from Alexandrian Greek poets to Lewis Carroll and beyond. John Hollander(1929 –2013) is an American poet who wrote pattern poetry with a variety of diverse themes . His Types of Shape (1969) offers twenty-five shaped poems in the convention of George Herbert, a seventeenth century English poet. Graphematic poems must also to a certain degree own their special self-reflective picture in so far as the shape as well as the content are concerned. They show a wide array of themes and Hollander's graphematic poems show fascinating investigates with unbending forms that undermine the authority of his writing. Hollander in uniting content and form supports creating one authoritative outcome in the field of poetry.

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Al-Husseini, Sahar Abdul Ameer Haraj. "Graphematic Emblems in Selected Poems by John Hollander Sahar Abdul Ameer Haraj Al-Husseini." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 226, no. 1 (September 1, 2018): 49–60. http://dx.doi.org/10.36473/ujhss.v226i1.172.

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Graphematic poem or shape poem or pattern poem, like any other poem, is a poem that discusses diverse and common subjects like love, idea, time and many other topics ; yet with a certain difference that is the subject is similar to the printed format of the text. To say that it presents a picture of certain familiar object that is similarly the subject of the poem. Such poems are likewise termed shaped verse. They are not new for they are part of a long convention that ranges from Alexandrian Greek poets to Lewis Carroll and beyond. John Hollander(1929 –2013) is an American poet who wrote pattern poetry with a variety of diverse themes . His Types of Shape (1969) offers twenty-five shaped poems in the convention of George Herbert, a seventeenth century English poet. Graphematic poems must also to a certain degree own their special self-reflective picture in so far as the shape as well as the content are concerned. They show a wide array of themes and Hollander's graphematic poems show fascinating investigates with unbending forms that undermine the authority of his writing. Hollander in uniting content and form supports creating one authoritative outcome in the field of poetry.

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10

Viner, C. B. "The Formal Deviant: The Innovative Features of E. E. Cummings’s ‘next to of course god america i’." Westcliff International Journal of Applied Research 3, no. 1 (November 1, 2019): 17–21. http://dx.doi.org/10.47670/wuwijar201931cbv.

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This article explores the modernist American poet, E. E. Cummings, and his experimentations with the traditional sonnet form in poetry. E. E. Cummings was an influenced by cubism and used the principles of this form to stylize his poetry. He changed the nature of the sonnet form, as seen in his political poem and satire, ‘Next of course god america i’, which this article will explore through close reading and literary analysis.

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11

Crawford, Richard. "Edward MacDowell: Musical Nationalism and an American Tone Poet." Journal of the American Musicological Society 49, no. 3 (1996): 528–60. http://dx.doi.org/10.2307/831771.

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After American-born, European-trained Edward MacDowell returned to the United States in 1888 and settled in Boston, he was welcomed as the composer American music had been awaiting. Enhanced by a professorship at Columbia University (1896-1904), his fame drew him into the current debate over musical nationalism. MacDowell relished the role of American composer, using national elements to approach artistic universality. "To a Wild Rose" for piano links post-Wagnerian tonality with programmatic suggestion in a style echoed by later popular songs. And "Dirge" from the Indian Suite evokes Native American experience to ground America's independent spirit in an idealized primeval past.

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12

Mata Buil, Ana. "Poet-translators as double link in the global literary system." Beyond transfiction 11, no. 3 (November 7, 2016): 398–415. http://dx.doi.org/10.1075/tis.11.3.05mat.

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Based on the diachronic and international study of American Modernism and its translation into Spanish, this article aims to analyze the complementary role of poet-translators as a double link in the global literary system. On the one hand, when translating other authors, poet-translators introduce them to a new audience. On the other hand, their translations complement their own poetic creations. While translating poetry, poet-translators assimilate the original poet’s style and images, which will later filter in their own poetic works. But, at the same time, these literary agents — consciously or unconsciously — introduce their own style marks into their translations. In order to illustrate the analysis, those people whose role as poet-translators stands out have been chosen among all the translators of Modernist poets into Spanish. Added to this discussion is commentary on some examples of Modernist poets who were also translators, including Yvor Winters, Marianne Moore, Langston Hughes, Hilda Doolittle, and Ezra Pound.

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13

MIDDLETON, PETER. "Folk Poetry and the American Avant-Garde: Placing Lorine Niedecker." Journal of American Studies 31, no. 2 (August 1997): 203–18. http://dx.doi.org/10.1017/s002187589700563x.

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What is the effect of placing speech in a poem? What is the effect of placing a poem in a collection of poems by other poets? These ordinary cultural acts of displacement are taken for granted by most writers and readers, but for the Objectivist poet Lorine Niedecker they represented highly conscious acts alien to her everyday world. Although her fellow Objectivists were marginalized by the literary world for much of their careers, they mostly lived and worked within the metropolitan cultures where their avant-garde poetry was read. She spent almost all her life in rural Wisconsin in relative poverty, keeping her writing life quite separate from her various working-class jobs and the local community. By reading her relations with the poetic avant-garde in terms of these acts of displacement, it is possible to appreciate the complexity of a poetic style that can appear to dissolve meaning into a limpid clarity that leaves nothing to interpret, and to recognize that the poetic avant-garde makes rarely questioned assumptions about the universal transmissibility of poetry.

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14

Griswold, Wendy, and Robert N. Wilson. "The American Poet: A Role Investigation." Social Forces 72, no. 2 (December 1993): 592. http://dx.doi.org/10.2307/2579872.

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15

Jaskoski, Helen, and Robert N. Wilson. "The American Poet: A Role Investigation." Contemporary Sociology 21, no. 3 (May 1992): 395. http://dx.doi.org/10.2307/2076321.

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16

Firchow, P. "The American Auden: A Poet Reborn?" American Literary History 11, no. 3 (March 1, 1999): 448–79. http://dx.doi.org/10.1093/alh/11.3.448.

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17

Mathieu, Gustave Bording. "An American Poet Laureate's German Connection." Germanic Review: Literature, Culture, Theory 78, no. 1 (January 2003): 10–12. http://dx.doi.org/10.1080/00168890309597456.

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18

Murphy, Richard. "Vanishing Artist: American Poet and Differend." International Journal of the Humanities: Annual Review 1, no. 1 (2004): 0. http://dx.doi.org/10.18848/1447-9508/cgp/v01/58169.

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19

Nemet-Nejat, Murat. "Mustafa Ziyalan Turkish or American poet?" Comparative American Studies An International Journal 4, no. 3 (September 2006): 251–55. http://dx.doi.org/10.1177/1477570006066669.

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20

Pratt, Lloyd. "Early American Literature and Its Exclusions." PMLA/Publications of the Modern Language Association of America 128, no. 4 (October 2013): 983–88. http://dx.doi.org/10.1632/pmla.2013.128.4.983.

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James Allen, the author of an “epic poem” entitled “Bunker Hill,” of which but a few fragments have been published, lived in the same period. The world lost nothing by “his neglect of fame.”—Rufus Griswold, The Poets and Poetry of AmericaAcross several of his influential anthologies of american literature, rufus griswold—nineteenth-century anthologist, poet, and erstwhile editor of Edgar Allan Poe—offers conflicting measures of what we now call early American literature. In The Prose Writers of America, for example, which first appeared in 1847 and later went into multiple editions, Griswold offers a familiar and currently derided set of parameters for this corpus of writing. In his prefatory remarks, dated May 1847, he explains that he has chosen not to include “the merely successful writers” who precede him. Although success might appear a high enough bar to warrant inclusion, he emphasizes that he has focused on writers who “have evinced unusual powers in controlling the national mind, or in forming the national character …” (5). This emphasis on what has been nationally consequential echoes other moments in Prose Writers, as well as paratextual material in his earlier The Poets and Poetry of America (1842) and his Female Poets of America (1848). In his several miniature screeds condemning the lack of international copyright, as well as the consequent flooding of the American market with cheap reprints, Griswold explains the “difficulties and dangers” this lack poses to “American literature”: “Injurious as it is to the foreign author, it is more so to the American [people,] whom it deprives of that nationality of feeling which is among the first and most powerful incentives to every feat of greatness” (Prose Writers 6). In The Poets and Poetry of America, he similarly complains that America's “national tastes and feelings are fashioned by the subject of kings; and they will continue so to be, until [there is] an honest and political system of reciprocalcopyright …” (v). Even in The Female Poets of America, the subject of which one might think would change the nature of this conversation, Griswold returns to the national project, examining the significance of women writers for it. He cites the fact that several of the poets included in this volume have written from lives that were “no holydays of leisure” but defined rather by everything from “practical duties” to the experience of slavery. He also responds to those carping “foreign critics” who propose that “our citizens are too much devoted to business and politics to feel interest in pursuits which adorn but do not profit”; these home-laboring women writers, he argues, may end up being the source of that which is most genuinely American and most correctly poetic: “Those who cherish a belief that the progress of society in this country is destined to develop a school of art, original and special, will perhaps find more decided indications of the infusion of our domestic spirit and temper in literature, in the poetry of our female authors, than in that of our men” (8). As it turns out, even women poets are held to the standard of national self-expression and national self-realization; the surprise lies only in the fact that they live up to this standard.

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21

Klein, Lucas. "What Does Tang Poetry Mean to Contemporary Chinese Writers?" Prism 18, no. 1 (March 1, 2021): 138–69. http://dx.doi.org/10.1215/25783491-8922225.

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Abstract Examining how contemporary poets raised in China are looking at classical Chinese poetry from the Tang—in particular, the poetry and the figure of Li Bai 李白 (701–762)—this article questions the epistemological divide, common to scholarship, between premodern and modern Chinese poetry. The texts come from Shenqing shi 深情史 (Histories of Affection) by Liu Liduo 劉麗朵 (1979–); The Banished Immortal, Chinese-American poet and novelist Ha Jin's 哈金 (1956–) biography of Li Bai; the book-length poem-sequence Tang 唐, by Yi Sha 伊沙 (1966–); and poet Xi Chuan's 西川 (1963–) scholarly book Tang shi de dufa 唐詩的讀法 (Reading Tang Poetry). The author contends not only that these writers' dealings with Tang poetry make it part of a still-living tradition but also that such engagement offers a way to understand the dynamic, rather than static, canonicity of Tang poetry.

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Kaczmarski, Paweł. "Adam Ważyk, the New Sentence and the question of entropy." Acta Universitatis Lodziensis. Folia Litteraria Polonica 40, no. 2 (August 27, 2018): 91–105. http://dx.doi.org/10.18778/1505-9057.40.04.

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In its first section, the article focuses on certain concepts belonging to Adam Ważyk’s theory of poetics. Specifically, I note the role of entropy in Ważyk’s thought on the form of the poem. Ważyk’s thinking of entropy served the poet to regulate his more general conception of the formal constitution of the poem. Although entropy seems to be an unavoidable process, the poet’s role and duty is to partly control it. For Ważyk, such partial containment of entropy is the condition of poetic communication.The second section of the article places the entropy-related tensions identified by Ważyk in the context of poetic debates of the 90’s between Fredric Jameson, a prominent Marxist critic, and the American poets identified as the LANGUAGE group.

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Grace, Stephen. "13Poetics." Year's Work in Critical and Cultural Theory 27, no. 1 (2019): 242–60. http://dx.doi.org/10.1093/ywcct/mbz013.

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Abstract This review is divided into three sections. The first, ‘Poet-Critics and Criticizing Poets’, considers the accounts of poetry traced in Robert Hass’s A Little Book on Form: An Exploration of the Formal Imagination of Poetry and Don Paterson’s The Poem: Lyric, Sign, Metre. The second section, ‘(Dis)embodied Sound’, examines the different ways that Peter Robinson and Angela Leighton (themselves both prominent critics and poets) approach sound in poetry in The Sound-Sense of Poetry and Hearing Things: The Work of Sound in Literature, while the third section, ‘Hybrids and Remnants’, explores the eccentric, hybrid forms of prose poetry and ecopoetics, as described in Jane Monson’s essay collection British Prose Poetry: The Poems Without Lines and Margaret Ronda’s monograph Remainders: American Poetry at Nature’s End.

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24

Noie, Saber. "Comparison of Emerson and Hafiz Based on Claudio Guillen's Comparative Literary Theory of Influence." Budapest International Research and Critics in Linguistics and Education (BirLE) Journal 2, no. 1 (February 26, 2019): 12–23. http://dx.doi.org/10.33258/birle.v2i1.182.

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The poetry of Khajeh Mohammad Hafiz Shirazi has vastly influenced the poetry of Ralph Waldo Emerson, as many critics have noted but have not demonstrated. Emerson is an American poet whose work reflects the influences of Persian poets, among which that of Hafiz is remarkable. The influence of Hafiz on Emerson includes memorable images, themes and motifs. While one can argue that this influence was indirect, it is obvious from the closeness of certain similarities, from Emerson’s intimate knowledge of Hafiz’s poetry, and from his love for Persian poetry, that the influence was more direct than otherwise. Although Emerson knew German and read Hafiz in German translations yet, he embarked on translating the poems of Hafiz in English in order to master Hafiz’s poetry and to introduce him to American readers. These translations themselves are another proof of the claim of influence of Hafiz on Emerson. The methodology of this article is to set the poems of the two poets over against one another and study them watchfully in order to demonstrate the influence of the precursor poet on the belated poet. Therefore the sources of familiarity of Emerson with Hafiz must not be forgotten and should be brought to the surface.

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Gad, Barsoom Fikry Barsoom. "Anne Sexton’s Confessional Tradition and Individual Talent." CLEaR 3, no. 1 (March 1, 2016): 10–26. http://dx.doi.org/10.1515/clear-2016-0002.

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Abstract In his influential essay “Tradition and the Individual Talent,” T. S. Eliot emphasizes the significance of tradition as well as the inevitability of the present talent of the artist. He argues that every artist has his own original and individual themes and techniques that separate him from and link him with his predecessors at the same time. Anne Sexton, the Confessional American woman poet, is a good example that proves this everlasting notion of the allusion to “the dead poets” of the past together with the inevitable existence of the innovative original talent of the poet. Chiefly, Sexton is labeled “Confessional” and is compared with the most remarkable Confessional poets. However, the Confessional mode is not a new movement; it has its roots in the British tradition of the Metaphysical lyrics. It is also manifest in the American tradition of Puritan Poetry. Moreover, Confessional themes and techniques can be seen in the poetry of some Modernists. Meanwhile, Anne Sexton’s exceptional Confessional “individual talent” makes her a unique Confessional poet: the uncommon imperfect raw confessions, the unconventional bold sexual imagery, the fearful and astonishing religious symbols and the excessive degrees of “impersonality” are all characteristic examples of Sexton’s creative Confessional art.

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Rodden, John. "“The Rope That Connects Me Directly with You”: John Wain and the Movement Writers' Orwell." Albion 20, no. 1 (1988): 59–76. http://dx.doi.org/10.2307/4049798.

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No British writer has had a greater impact on the Anglo-American generation which came of age in the decade following World War II than George Orwell. His influence has been, and continues to be, deeply felt by intellectuals of all political stripes, including the Marxist Left (Raymond Williams, E. P. Thompson), the anarchist Left (George Woodcock, Nicolas Walter), the American liberal-Left (Irving Howe), American neoconservatives (Norman Podhoretz), and the Anglo-American Catholic Right (Christopher Hollis, Russell Kirk).Perhaps Orwell's broadest imprint, however, was stamped upon the only literary group which has ever regarded him as a model: the Movement writers of the 1950s. Unlike the above-mentioned groups, which have consisted almost entirely of political intellectuals rather than writers—and whose members have responded to him as a political critic first and a writer second—some of the Movement writers saw Orwell not just as a political intellectual but also as the man of letters and/or literary stylist whom they aspired to be.The Movement writers were primarily an alliance of poet-critics. The “official” members numbered nine poets and novelists; a few other writers and critics loomed on the periphery. Their acknowledged genius, if not leading publicist, was Philip Larkin, who later became Britain's poet laureate. Orwell's plain voice influenced the tone and attitude of Larkin's poetry and that of several other Movement poets, especially Robert Conquest and D. J. Enright. But Orwell shone as an even brighter presence among the poet-novelists, particularly John Wain and Kingsley Amis, whose early fictional anti-heroes were direct descendants of Gordon Comstock in Keep the Aspidistra Flying (1936) and George Bowling in Coming Up for Air (1939).

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Furaih, Ameer Chasib. "‘Let no one say the past is dead’: History wars and the poetry of Oodgeroo Noonuccal and Sonia Sanchez." Queensland Review 25, no. 1 (June 2018): 163–76. http://dx.doi.org/10.1017/qre.2018.14.

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AbstractThe histories of Australian Aboriginal and African American peoples have been disregarded for more than two centuries. In the 1960s, Aboriginal and African American civil rights activists addressed this neglect. Each endeavoured to write a critical version of history that included their people(s). This article highlights the role of Aboriginal Australian poet Oodgeroo Noonuccal (formerly Kath Walker) (1920–93) and African American poet Sonia Sanchez (born 1934) in reviving their peoples’ history. Using Deleuze and Guattari's concept of ‘minor literature’, the essay shows how these poets deterritorialise the English language and English poetry and exploit their own poetries as counter-histories to record milestone events in the history of their peoples. It will also highlight the importance of these accounts in this ‘history war’. It examines selected poems from Oodgeroo's My People: A Kath Walker Collection and Sanchez's Home Coming and We A BaddDDD People to demonstrate that similarities in their poetic themes are the result of a common awareness of a global movement of black resistance. This shared awareness is significant despite the fact that the poets have different ethnicities and little direct literary impact upon each other.

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Haft, Adele J. "Marianne Moore’s “Sea Unicorns and Land Unicorns”: The “Unreal realities” of Early Modern Maps and Animals." Cartographic Perspectives, no. 46 (September 1, 2003): 28–64. http://dx.doi.org/10.14714/cp46.485.

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This paper is about a poet and two cartographers. The poet is Marianne Moore, one of the most lauded and loved American poets of the twentieth century. In 1924 she published “Sea Unicorns and Land Unicorns,” a poem examining four exotic beasts—narwhals, unicorns, sea lions, lions—and their celebrated, if unreal, relationships to one another. While describing sea unicorns early in the poem, Moore specifies “the cartographers of 1539.” The date can only allude to the Carta Marina of the Swedish mapmaker and historian Olaus Magnus, whose famous 1539 “marine map” features a profusion of Scandinavian land and sea creatures. Moore’s “cartographers of 1539” compels us, in turn, to consider other mapmakers who crowded their maps with animals. The plural phrase also balances and anticipates her comparison, near the end of the poem, of the unicorn and “an equine monster of an old celestial map.” Though vague, the simile may suggest the winged figure of Pegasus on a celestial chart by Peter Apian. This popular German cartographer and astronomer originally designed his chart in 1536, then reproduced it—a year after the Carta Marina—in his exquisite Astronomicum Caesareum (1540). In the end, Moore’s portrayal of animals in “Sea Unicorns and Land Unicorns” captures the spirit that animated mapping, art, and science during the sixteenth-century Age of Exploration.

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Kuyath, Jarosław. "Charles Bukowski – America’s Poet of the South." European Journal of Language and Literature 5, no. 3 (September 25, 2019): 11. http://dx.doi.org/10.26417/ejls.v5i3.p11-13.

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One of the most expressive trends in American culture of the 1950s and 1960s, manifested by the treatment of travel as a motive of life in both the mental and creative spheres, can be confidently attributed to the Beat generation. Their consumption lifestyle, crazy undertakings, love and moral fights, in which they entered without any moderation, led them to living problems and, consequently, to being lost. This generation almost automatically brings to mind the portrait of young, vulnerable Americans, rebellious and lost, oppressed and radical, wanting freedom and falling into trouble. The myth of the Beat generation is one of the most distinct myths of American culture of the twentieth century. We know very little about Beat in Poland. Admittedly, there have been several studies concerning the literary output of Beat writers, but they do not fully reflect the complexity of the phenomenon and contexts in which they were shaped. We are constantly looking at them in terms of mythologized rebellion. Associated with beat, Charles Bukowski is the best example of a person whose work was inspired by his own experiences related to sex, alcohol, poverty and human weaknesses.

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Burkemper, Elizabeth, and David C. Mahan. "The Wind’s Prayer, the World’s Sabbath: Spirit and Place in Lance Henson and Wendell Berry." Religions 12, no. 9 (August 30, 2021): 697. http://dx.doi.org/10.3390/rel12090697.

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Although a vast body of poetry celebrates the natural world and addresses issues concerning the environment, it can be overlooked in the discourses of environmental activism. In this paper, we seek to demonstrate the unique contributions that poetry makes to a thoughtful, and in this case, theological, engagement with our present environmental crises. Here, we create a conversation between two poets of two different religious traditions. Cheyenne poet Lance Henson’s poem “we are a people” reimagines humanity’s self-conception in light of earthly interconnectedness from the perspective of his own Native American spiritual sensibilities. Christian poet Wendell Berry’s poem “Sabbaths IV” (1983) relocates our understanding of Sabbath beyond its liturgical designations and practices, asking us to attend to “the true world’s Sabbath”. We offer close readings of these two poems that mark the distinctions that emerge from and interact with their respective theological visions, but also where they find common ground. Through this work of reading literature theologically, we argue that these poems both refine our attentiveness to the earth as the site of religious import and consequence, and call upon readers to enact other ways of being in the world amidst the climate catastrophe that are inspired by faith and spirituality.

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Flanzbaum, Hilene. "The Imaginary Jew and the American Poet." ELH 65, no. 1 (1998): 259–75. http://dx.doi.org/10.1353/elh.1998.0002.

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Bush, Andrew. "Overhearing Hollander's Hyphens: Poet-Critic, American-Jew." diacritics 30, no. 2 (2000): 70–87. http://dx.doi.org/10.1353/dia.2000.0011.

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Mosher, Michael. "Walt Whitman: Jacobin Poet of American Democracy." Political Theory 18, no. 4 (November 1990): 587–95. http://dx.doi.org/10.1177/0090591790018004007.

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Taylor, Ellen. "Ornithological Passions of American Poet Celia Thaxter." Ecozon@: European Journal of Literature, Culture and Environment 12, no. 1 (February 7, 2021): 138–52. http://dx.doi.org/10.37536/ecozona.2021.12.1.3831.

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American poet Celia Leighton Thaxter (1835 – 1894) was shaped by both environmental beauty and destruction she witnessed in her New England community. As a woman who spent much of her life on a small wind-swept island, she was educated by seasons and migrations that later informed her work. A brief education among Boston’s literary elite launched her creative career, where she focused on her local ecology. At that time, over-hunting and newly fashionable plumed hats and accessories had created a serious possibility of avian decimation. By creating awareness of humans’ culpability for birds’ endangerment, Thaxter’s work evoked public sympathy and contributed to social and political change. This essay applies ecofeminist and cultural analyses to Thaxter’s work written as part of the 19th century bird defense movement, by examining the emotional rhetoric employed and activism implied in her poems and prose about birds, specifically: “The Kittiwakes,” “The Wounded Curlew,” and “The Great Blue Heron: A Warning.” Little attention has been paid to Thaxter’s didactic poems which use birds as subjects to instruct children and adults about the fragility of birdlife and to warn of humans’ destructive behaviors. These works illustrate Thaxter’s ecological sensibility and her use of emotion and reason to communicate an ecological message. Her poetry and prose about birdlife fortified the budding Audubon Society and contributed to the birth of the environmental movement. We can learn from such poetic activism, from attention to nature turned commodity, and the dangers of depleting finite resources. In our global environmental crisis, we recognize the interwoven relationships between birds and humans. Perhaps poems can help stymie our current ecological trajectory.

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Olaru, Victor. "The two english versions of Mioritza." Alea : Estudos Neolatinos 16, no. 1 (June 2014): 192–200. http://dx.doi.org/10.1590/s1517-106x2014000100014.

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This paper proposes a short comparative analysis of two English translations of the Romanian poem Mioritza, the first from 1856, made by Henry Stanley, and the second, by the American Poet W.D. Snodgrass, from 1972. It is argued that the latter has more poetic value, for it utilizes rhyme patterns and a meter closer to the Romanian ballad.

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Tanter, Marcy L. "Martha Dickinson Bianchi: War Poet." New England Quarterly 80, no. 2 (June 2007): 317–21. http://dx.doi.org/10.1162/tneq.2007.80.2.317.

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The article recovers poet Martha Dickinson Bianchi, niece of Emily Dickinson, who served in the Amherst, Massachusetts, branch of the Red Cross and tended wounded soldiers in New York City at the end of World War I. Two previously unpublished poems reflect American despair in the aftermath of the war.

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Ue, Tom. "From Whitman to Hugo: An interview with Brian Selznick." Book 2.0 10, no. 2 (December 1, 2020): 175–85. http://dx.doi.org/10.1386/btwo_00028_7.

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‘Walt Whitman loved words’. So begins Barbara Kerley’s and Brian Selznick’s Walt Whitman: Words for America (2004), a biography of the American poet for young readers that has been recognized as a Robert F. Sibert Honor Book. Kerley and Selznick trace the poet from his beginnings as a printer’s apprentice to his volunteer work as a nurse during the American Civil War; and from the young Walt poring over the pages of Arabian Nights and Ivanhoe to his own creative output being interpreted as the voice of his nation. Like all of Selznick’s books, Walt Whitman is illustrated with precise, evocative drawings for all ages. The New York Times bestselling author and illustrator returns to the poet with his latest, Live Oak, with Moss (2019). Among Selznick’s many other popular books for children are The Invention of Hugo Cabret (2007) and Wonderstruck (2011) (covers available at https://www.thebrianselznick.com/books.htm). These two works have now been adapted into award-winning films by Martin Scorsese (2011) and Todd Haynes (2017), respectively.

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Godina, Polona. "Selected American and Slovene critical responses to the work of Emily Dickinson." Acta Neophilologica 37, no. 1-2 (December 1, 2004): 25–38. http://dx.doi.org/10.4312/an.37.1-2.25-38.

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Emily Dickinson, deemed one of the greatest and most prolific American woman poets, published only a handful of poems during her lifetime. Since its posthumous discovery, however, her opus has aroused innumerable critical debates, which mainly fall into the following three cat egories: psycho-biographical, strictly analytical and feminist. On the contrary, Slovenes have still not yet fully discovered all Dickinson has to offer. In addition to providing a short overview of American criticism on Emily Dickinson, the author of this largely by drawing a comparison with the Slovene woman poet Svetlana Makarovič, who bears a striking resemblance to Dickinson.

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Ku, Taehun. "Modern American Experimental Poetry: Objectivism and Language Poet." British and American Language and Literature Association of Korea 121 (June 17, 2016): 1–16. http://dx.doi.org/10.21297/ballak.2016.121.1.

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Arner, Robert D., and Cynthia Dubin Edelberg. "Jonathan Odell: Loyalist Poet of the American Revolution." American Literature 60, no. 2 (May 1988): 293. http://dx.doi.org/10.2307/2927217.

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Norton, Mary Beth, and Cynthia Dubin Edelberg. "Jonathan Odell: Loyalist Poet of the American Revolution." American Historical Review 94, no. 2 (April 1989): 514. http://dx.doi.org/10.2307/1866969.

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Havens, Daniel F., and Cynthia Dubin Edelberg. "Jonathan Odell: Loyalist Poet of the American Revolution." William and Mary Quarterly 46, no. 2 (April 1989): 412. http://dx.doi.org/10.2307/1920276.

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Fein, Richard. "What Can Yiddish Mean to an American Poet?" Shofar: An Interdisciplinary Journal of Jewish Studies 14, no. 4 (1996): 79–84. http://dx.doi.org/10.1353/sho.1996.0087.

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Judd, M. "Lewis Latimer: African American Inventor, Poet and Activist." OAH Magazine of History 12, no. 2 (January 1, 1998): 25–27. http://dx.doi.org/10.1093/maghis/12.2.25.

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deGategno, Paul J. "Replying to a Crisis: James Macpherson's The Rights of Great Britain Asserted against the Claims of America." Britain and the World 11, no. 2 (September 2018): 195–211. http://dx.doi.org/10.3366/brw.2018.0299.

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The chaotic period of the American Revolution engaged many writers on both sides of the Atlantic arguing for and against the claims of the American colonists. One of the most popular and effective statements of the British position regarding the rebellion emerged from James Macpherson, poet of Ossian, historian, and government writer. As an accomplished literary talent in the service of politics, Macpherson wrote the pamphlet, The Rights of Great Britain Asserted against the Claims of America (1775), designing a persuasive appeal to the British public for preserving order and supporting the Monarchy. Macpherson displays a controlled, often dispassionate voice in dealing with the American rebellion, while seeking humane solutions with creativity, conviction, and agility in an environment of popular discontent and political instability. Finally, as a poet, he insisted on balancing the historian's empirical demand for facts with sensitivity and a liberal spirit of dialogue often in opposition to the dominant opinion of his King and ministers.

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Pantalei, Giulio Carlo. "Because the Poet." Le Simplegadi 18, no. 20 (November 2020): 107–21. http://dx.doi.org/10.17456/simple-160.

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The transdisciplinary dialogue, the rebellious attitude, and the sublimation of dissidence by experimenting new forms as an act of hope are the key features of the relationship between Pier Paolo Pasolini and Patti Smith, who saluted the Italian writer as one of her greatest teachers throughout her entire career, along with Blake, Rimbaud and the Beats. From the poetry of Babel to the lyrics of Easter, passing through the photographic series Pasolini es vie, the eclectic American artist has never ceased to appraise the literary works and movies of this author as a constant source of inspiration, creating a bond that became very important to the audience but was never properly explored by the critics. In terms of reception, one should not forget that this original relationship also led many (especially outside Italy) to discover the figure of Pasolini. This article seeks to investigate Patti Smith’s Pasolini and the works that influenced her most, revealing through an intertextual and interdiscursive approach how the poet contributed to shape the imaginary and spiritual vision of one among the most important lyrical voices in the world today.

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Byerman. "Talking Back: Phillis Wheatley, Race and Religion." Religions 10, no. 6 (June 25, 2019): 401. http://dx.doi.org/10.3390/rel10060401.

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This essay examines the means by which African American poet Phillis Wheatley uses her evangelical Christianity to engage issues of race in revolutionary America. In her poetry and other writings, she addresses and even instructs white men of privilege on the spiritual equality of people of African descent.

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García-Bryce, Iñigo. "Transnational Activist: Magda Mortal and the American Popular Revolutionary Alliance (APRA), 1926–1950." Americas 70, no. 04 (April 2014): 677–706. http://dx.doi.org/10.1017/s0003161500003606.

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In March of 1929, die young Peruvian poet and political activist Magda Portal departed from die Yucatan in Mexico to give a series of lectures in Cuba, Puerto Rico, the Dominican Republic, and Colombia. She traveled as an emissary of the Alianza Popular Revolucionaria Americana (American Popular Revolutionary Alliance, APRA), a recendy founded political organization that sought to transform Latin America by creating a united front against foreign imperialism. On July 14, in Santo Domingo she gave a lecture titled “Latin America Confronted by Imperialism,” at “the largest theater in town” to an audience of about 200. Her presence as an intelligent, energetic, and beautiful woman, standing on stages normally reserved to men, enhanced the power of her words, and she was well aware of the striking effect on audiences of seeing a woman in the traditionally male role of political orator

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García-Bryce, Iñigo. "Transnational Activist: Magda Mortal and the American Popular Revolutionary Alliance (APRA), 1926–1950." Americas 70, no. 4 (April 2014): 677–706. http://dx.doi.org/10.1353/tam.2014.0052.

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In March of 1929, die young Peruvian poet and political activist Magda Portal departed from die Yucatan in Mexico to give a series of lectures in Cuba, Puerto Rico, the Dominican Republic, and Colombia. She traveled as an emissary of the Alianza Popular Revolucionaria Americana (American Popular Revolutionary Alliance, APRA), a recendy founded political organization that sought to transform Latin America by creating a united front against foreign imperialism. On July 14, in Santo Domingo she gave a lecture titled “Latin America Confronted by Imperialism,” at “the largest theater in town” to an audience of about 200. Her presence as an intelligent, energetic, and beautiful woman, standing on stages normally reserved to men, enhanced the power of her words, and she was well aware of the striking effect on audiences of seeing a woman in the traditionally male role of political orator

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Socarides, Alexandra. "What Happens When We Don’t Read Ballads Closely Enough." Nineteenth-Century Literature 71, no. 2 (September 1, 2016): 215–26. http://dx.doi.org/10.1525/ncl.2016.71.2.215.

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Alexandra Socarides, “What Happens When We Don’t Read Ballads Closely Enough: The Cautionary Tale of the American Woman Poet and the Ballad” (pp. 215–226) This essay looks closely at two ballads by the nineteenth-century American poet Emma Embury in order to explore some of the ways in which the ballad’s use of the structural refrain enables a critique of its often-gendered content. By situating Embury’s poems within the context of the proliferation of the “bad woman ballads” that appeared in print in the first several decades of the nineteenth century, this essay explores her particular manipulations of the genre. In Embury’s ballads, the cautionary tale is housed in a refrain that is sung by a woman. This form works to make these women’s downfalls come true at the same time that it suggests a way out of this endlessly repeatable story that the genre performs so faithfully. This essay suggests that in our consideration of the genre, we pay particularly close attention to how women poets approached the ballad’s formal devices.

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