Journal articles: 'American poetry – 19th century'

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Abushihab, Ibrahim. "A Stylistic Analysis of Arab-American Poetry: Mahjar (Place of Emigration) Poetry." Journal of Language Teaching and Research 11, no. 4 (July 1, 2020): 652. http://dx.doi.org/10.17507/jltr.1104.17.

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The present paper represents an attempt to focus upon analyzing and describing the major features of Arab American poetry written by prominent Arab poets who had arrived in America on behalf of millions of immigrants during the 19th century. Some of who wrote in English and Arabic like Ameen Rihani (1876-1940); Khalil Gibran (1883-1931) and Mikhail Naimy (1889-1988). Others wrote in Arabic like Elia Abumadi (1890-1957). Most of their poems in Mahjar (place of emigration) reveal nostalgia, their love to their countries and their ancestors and issues relating to Arab countries. The paper analyzes some of their poems based on linguistic, grammatical, lexical and rhetorical levels.

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Satorno, Marla Do Vale. "Urban scenarios in Walt Whitman’s poetry." Babel: Revista Eletrônica de Línguas e Literaturas Estrangeiras 7, no. 1 (July 22, 2017): 28–35. http://dx.doi.org/10.69969/revistababel.v7i1.3626.

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One of the most striking features in 19th century poetry is the scenes of astonishing industrial progress, the development of the cities, the people who rush around, either working or just living their lives. Such urban scenarios are constant images in poems of this period. American poet Walt Whitman is also one of the poets who conveys urban movement through his poetry. With these characteristics as a starting point, the purpose of this article is to focus on the urban images in Whitman’s poetry, analyzing the poetry of the cities. Closely linked to Baudelaire’s flâneur, Whitman also observes city life from a contemplative point of view. In poems like City of Ships, I Hear America Singing, Crossing the Brooklyn Ferry, among others, Whitman sings of city life, its constant movement, its people and its landscapes. Focusing on the poet’s observation of urban life in the nineteenth century, this article also intends to make a link between the 19th Century idea of modernity and Whitman’s poems. A small selection of poems from Leaves of Grass which highlights these characteristics was chosen to be the focus of this analysis.

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Scheyer, Lauri, and Zanyar Kareem Abdul. "THE FUNCTION OF POETRY IN THE MODERN WORLD: A CASE STUDY OF WALT WHITMAN AND AUDRE LORDE’S POEMS." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 6, no. 2 (December 27, 2022): 245–50. http://dx.doi.org/10.30743/ll.v6i2.5226.

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Lyric poetry has historically referred to a genre that we think of as brief, musical, and personal as well as subjective. This article addresses the role of lyric poetry in the modern world, and how critical analysis enables us to better appreciate the potential impact of poetry today. Specifically, we will offer brief contrastive assessments of two landmark exemplars of American poets, Walt Whitman and Audre Lorde. These two figures demonstrate some of the varied ways of the American poetry tradition. We compare Walt Whitman, a canonical white male poet from the 19th century, with an equally important 20th century African American woman poet, Audre Lorde. These American poets differ in historical periods, sex, race, and other factors, yet both uphold the conventional functions of lyric poetry and prove its continuing relevance to a global readership. The results show that as the reflection of human life, poetry could represent honesty, realism, democracy and even power.

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Raza, Aqeel, and Nurjis Zahra. "Exploring the Metaphorical Significance of Death in Emily Dickinson's poem 'Because I Could Not Stop for Death' and Its Influence on 19th-Century American Poetry." Indonesian Journal of Interdisciplinary Research in Science and Technology 2, no. 2 (February 28, 2024): 147–58. http://dx.doi.org/10.55927/marcopolo.v2i2.7966.

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This research embarks on an exploration of the nuanced and evolving metaphorical representations of death within 19th-century American poetry focus on Emily Dickinson's poem 'Because I Could Not Stop for Death. The methodology integrates close textual analysis with historical contextualization, shedding light on the broader sociocultural landscape that influenced poetic expressions of death. By scrutinizing metaphorical intricacies, symbolism, and linguistic choices, the study aims to elucidate how Dickinson's portrayal of death diverges or aligns with the works of her peers. Moreover, it endeavors to discern underlying societal attitudes towards mortality, providing a comprehensive understanding of the intricate interplay between poetic representation and cultural dynamics in 19th-century American literature. In examining the metaphorical evolution of death in poetry, this research not only contributes to literary scholarship but also unveils broader insights into the cultural zeitgeist of the time, thereby enriching our understanding of the intricate relationship between poetic expression and societal perceptions of mortality.

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Korchagin, Kirill M. "Bureau “Transatlantic”: French and US Poets on Rendezvous." Literature of the Americas, no. 12 (2022): 261–73. http://dx.doi.org/10.22455/2541-7894-2022-12-261-273.

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Since the middle of the 19th century, American literature has been perceived by French poets as a kind of Other, at the same time alien and attractive, capable of teaching the experience of liberation, which the French poets themselves lack. Nevertheless, the situation is more familiar when other poets of the world are looking for inspiration in French poetry. French poetry for American modernists of the first quarter of the 20th century was synonymous with everything that expands the horizons of literature. At the same time, the reverse situation, when French poetry is saturated with outside influences, in particular, American ones, is studied much worse. Abigail Lang's book tries to fill this gap, considering the transformations that the new, “post-Surrealist” French poetry is experiencing under the impression of the new American poetry. The book is divided into three chapters: the first one deals with the reception of objectivism since the 1970s to the present, the second one deals with the problem of the “transatlantic” poetic community, which manifests itself in various forms and genres, and, finally, the third one tells about the “speech turn,” which, from the author's point of view, takes place in French poetry of recent decades.

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Petrosyan, Gayane. "The Theme of Death and Eternity in Emily Dickenson’s Poetry." Armenian Folia Anglistika 4, no. 1-2 (5) (October 15, 2008): 112–19. http://dx.doi.org/10.46991/afa/2008.4.1-2.112.

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The poetry of the world-renowned poetess Emily Dickenson received general acclaim in the fifties of the previous century, 70 years after her death. This country-dwelling lady who had locked herself from the surrounding world, created one of the most precious examples of the 19th century American poetry and became one of the most celebrated poets of all time without leaving her own garden.Her soul was her universe and the mission of Dickenson’s sole was to open the universe to let the people see it. Interestingly, most of her poems lack a title, are short and symbolic. The poetess managed to disclose the dark side of the human brain which symbolizes death and eternity.

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Zhukov, Vladislav, and Anastasia Smirnova. "Cognitive technologies in cluster of identification of irrational images of Romanticism and symbolism." E3S Web of Conferences 244 (2021): 05037. http://dx.doi.org/10.1051/e3sconf/202124405037.

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The main goal of the project is to use cognitive technologies to create an author’s, metaphorical, temporal system model of images of modern jewelry using the linguo-combinatorial method in the implementation of retro styles - locally stable structures of the design landscape represented by the cultural code of the irrational eidos of poetry and prose of North American symbolism and romanticism of the mid-19th century..

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Leyda, Julia, and Maria Sulimma. "Pop/Poetry: Dickinson as Remix." Arts 12, no. 2 (March 22, 2023): 62. http://dx.doi.org/10.3390/arts12020062.

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In its meticulous, freewheeling adaptation of the life and work of celebrated poet Emily Dickinson, the television series Dickinson (Apple TV+, 2019–2021) manifests a twenty-first-century disruption of high and low culture afforded by digital media, including streaming video and music platforms. This article argues that the fanciful series models a mixed-media, multimodal aesthetic form that invites a diverse range of viewers to find pleasure in Dickinson’s poetry itself and in the foibles of its author, regardless of their familiarity with the literary or cultural histories of the US American 19th century. Dickinson showcases creator Alena Smith’s well-researched knowledge of the poet and her work, while simultaneously mocking popular (mis)conceptions about her life and that of other literary figures such as Walt Whitman and Sylvia Plath, all set to a contemporary soundtrack. This analysis of Dickinson proposes to bring into conversation shifting boundaries of high and low culture across generations and engage with critical debates about the utility of the popular (and of studies of the popular) in literary and cultural studies in particular.

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Pastorková, Marieta. "A linguisitc picture of the world: conceptualization of the human body in the poetry of Emily Dickinson." NOVÁ FILOLOGICKÁ REVUE 15, no. 1 (January 24, 2024): 15–24. http://dx.doi.org/10.24040/nfr.2023.15.1.15-24.

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The paper focuses on the linguistic picture of the body in the poetry of Emily Dickinson, a 19th-Century American poet. The aim is to provide a coherent linguistic picture of the body of Dickinson’s lyric subject and to reconstruct the way she conceptualized and portrayed its physical appearance with regard to the artist’s perception of the self. This research is focused on cognitive ethnolinguistics, the methodology utilizes analytic and interpretative techniques with emphasis on the cognitive definition reconstruction and facet parametrization. The research sample consists of the selected poems in which the poet refers to the body of her lyric subject. This research has allowed for the identification of the following facets into which the conceptualization of Dickinson’s perception of the body can be categorized: 1) the perspective of the body as a spirit-encompassing vessel; 2) the body as a reflection of the social oppression experienced by women in the nineteenth century; 3) the facet of the body size, and 4) the ephemerality of the physical body. The identified facets overlap to some extent, but together they form a unified picture which reveals certain aspects of cognitive metaphor theory, such as the conceptual metaphor of a container. This unified picture also reveals literary and linguistic reflections of socio-cultural aspects of the 19th-Century America such as the tendency to diminish the female lyric subject.

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Bonilla Navarro, José Francisco. "Tendencias temáticas y discursivas de la poesía centroamericana del siglo XIX (Trends in Topics and Discourse in 19th-Century Central American Poetry)." LETRAS 2, no. 60 (February 22, 2017): 45. http://dx.doi.org/10.15359/rl.2-60.2.

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El estudio es una exploración histórica sobre algunos aspectos del desarrollo de la poesía centroamericana a lo largo del siglo XIX, como parte de un proyecto más amplio para la recuperación documental y comentada, de una importante manifestación del género lírico, escasamente tratado por la crítica. Se describe la recopilación El Parnaso centroamericano (1882), del que se hacen observaciones sobre sus criterios de selección, la temática predominante, y las tendencias estético-discursivas de los poemas recogidos: poesía panegírica, poesía patriótica, poesía amorosa, metapoesía.The study is a historical exploration of certain aspects in the development of Central American poetry during the 19th century. It was carried out as part of a larger project for the recovery and analysis of documents corresponding to a significant manifestation in the genre of poetry which has been somewhat overlooked by literary critics. A description is provided of El Parnaso centroamericano (1882), with a commentary on selection criteria, the predominant issues, and the esthetic discourse tendencies of the poems collected: panegyric poetry, patriotic poetry, love poetry, and metapoetry.

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Velilaeva, Lilia R. "AMERICAN AND SCOTTISH TOPOSES IN SCOTTISH EMIGRATIONAL POETRY OF THE 19th CENTURY USA: COMPARATIVE ANALYSIS." Bulletin of the Moscow State Regional University (Russian philology), no. 3 (2020): 79–84. http://dx.doi.org/10.18384/2310-7278-2020-3-79-84.

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Budrewicz, Aleksandra. "„Poezje polsko-amerykańskie” Pawła Gawrzyjelskiego (1882)." Prace Literackie 61 (February 15, 2023): 67–82. http://dx.doi.org/10.19195/0079-4767.61.5.

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The article is devoted to the literary achievement of Paweł Gawrzyjelski (1844?–1889), the author of a volume of poetry Odgłos z za morza. Poezye polsko-amerykańskie [Sounds from overseas. Polish-American poems] (Chicago 1882). This collection discusses some questions related to psychological and ethical problems of the Polish people in the USA in the 19th century. The content of the volume is presented in the context of other poetry published in “Gazeta Polska w Chicago” [Polish Daily in Chicago] between 1870 and 1890 (this is where Gawrzyjelski’s work was published for the ﬁrst time). “Gazeta” emphasized the importance of Polish history and hopes for regaining independence. The Polish diaspora was expected to support this cause. Gawrzyjelski’s poetry stands out as he depicted a situation of an expat who will never go back to his homeland. He found it diﬃcult to settle down in the USA; he expressed longing for Poland and could not accept the materialistic approach to life prevalent among Americans in his time. Gawrzyjelski’s pessimism and neurasthenia have likely contributed to his suicide.

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GÖKGÖZ, Turgay. "LITERATURE AND CULTURAL ENVIRONMENT IN BEYRUT IN THE 19TH CENTURY." RIMAK International Journal of Humanities and Social Sciences 3, no. 1 (January 1, 2021): 297–310. http://dx.doi.org/10.47832/2717-8293.1-3.23.

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Throughout history, Beirut has been the habitat of different religions and nations. The people of various nations are made up of Christians and Muslims. Today, it is seen that languages such as Arabic, French and English are among the most spoken languages in Lebanon, where Beirut is located. Looking at Beirut in the 19th century, it was seen that colonial powers such as Britain and France were a conflict area, and at the same time it was one of the centers of Arab nationalism thought against the Ottoman Empire. During the occupation of Mehmet Ali Pasha, missionary schools were allowed to open, as well as cities such as Zahle, Damascus and Aleppo, Jesuit schools were opened in Beirut. With the opening of American Protestant schools, the influence of the relevant schools in the emergence and development of the idea of Arab nationalism is inevitable. Especially in Beirut, it would be appropriate to state that the aim of using languages such as French and English instead of Arabic education in missionary schools is to instill Western culture and to attract students to Christianity. The students of the Syrian Protestant College, who constituted the original of the American University of Beirut, worked against the Ottoman Empire within the society they established and aimed to establish an independent secular Arab state. Beirut comes to the fore especially in areas such as poetry and theater before the “Nahda” movement that started in Egypt during the reign of Kavalalı Mehmet Ali Pasha with Napoleon's invasion of Egypt. The advances that paved the way for the development of modern literature in Beirut before Egypt will find a place in the field of literature later. In this study, it is aimed to present information on literary and cultural activities that took place in Beirut and emphasize the importance of Beirut in modern Arabic literature in the 19th century.

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GÖKGÖZ, Turgay. "LITERATURE AND CULTURAL ENVIRONMENT IN BEYRUT IN THE 19TH CENTURY." RIMAK International Journal of Humanities and Social Sciences 3, no. 1 (January 1, 2021): 297–310. http://dx.doi.org/10.47832/2717-8293.1-3.23.

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Throughout history, Beirut has been the habitat of different religions and nations. The people of various nations are made up of Christians and Muslims. Today, it is seen that languages such as Arabic, French and English are among the most spoken languages in Lebanon, where Beirut is located. Looking at Beirut in the 19th century, it was seen that colonial powers such as Britain and France were a conflict area, and at the same time it was one of the centers of Arab nationalism thought against the Ottoman Empire. During the occupation of Mehmet Ali Pasha, missionary schools were allowed to open, as well as cities such as Zahle, Damascus and Aleppo, Jesuit schools were opened in Beirut. With the opening of American Protestant schools, the influence of the relevant schools in the emergence and development of the idea of Arab nationalism is inevitable. Especially in Beirut, it would be appropriate to state that the aim of using languages such as French and English instead of Arabic education in missionary schools is to instill Western culture and to attract students to Christianity. The students of the Syrian Protestant College, who constituted the original of the American University of Beirut, worked against the Ottoman Empire within the society they established and aimed to establish an independent secular Arab state. Beirut comes to the fore especially in areas such as poetry and theater before the “Nahda” movement that started in Egypt during the reign of Kavalalı Mehmet Ali Pasha with Napoleon's invasion of Egypt. The advances that paved the way for the development of modern literature in Beirut before Egypt will find a place in the field of literature later. In this study, it is aimed to present information on literary and cultural activities that took place in Beirut and emphasize the importance of Beirut in modern Arabic literature in the 19th century.

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Arianto, Tomi. "NATIONAL ROMANTICISM IN WALT WHITMAN POEMS." Lire Journal (Journal of Linguistics and Literature) 2, no. 1 (August 25, 2018): 14–20. http://dx.doi.org/10.33019/lire.v2i1.18.

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Romanticism is often misunderstood as something genuine love and merely about romance. In fact, romanticism is an understanding of great ideas that also be delivered great ideas. The development of Romanticism delivered a new orientation that called National Romanticism by maintaining the freedom of individual, sovereignty, and independent of human rights. This study took data from three Walt Whitman poems; Patriotic, War Democracy, and Poem of America. Researcher was using the concept of interpretation to explore the meaning of poetry and the influence of romanticism in Whitman poetry. Researchers use Isaiah's theory in his book “the root of romanticism” to explore the influence of the romanticism idea on Whitman's poems. From the three samples of poetry, it is found that romanticism is very influential in Whitman poetry, especially the idea of romantic nationalism. Patriotic themes, nationalities and egalitarian concepts are reflected in Whitman's collection of "Leaves of grass" poems. Patriotic themes and nationalities are seen from the struggle for the right of individual freedom in opposing slavery and aristocratic government. The egalitarian concept is seen from the struggle to promote equality, as well as the democracy system that promotes people's sovereignty. The role of the idea of romanticism has evolved in American territory because it shares the same pattern and state of affairs as revolutions against noble, social, and political norms and rationalization of nature. Thus, the representation of romantic ideas originating from Western Europe of the 18th century has penetrated into the 19th century America which is reflected in the works that carried Whitman.

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Franceschelli, Giorgio, and Mirco Musolesi. "DeepCreativity: measuring creativity with deep learning techniques." Intelligenza Artificiale 16, no. 2 (December 27, 2022): 151–63. http://dx.doi.org/10.3233/ia-220136.

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Measuring machine creativity is one of the most fascinating challenges in Artificial Intelligence. This paper explores the possibility of using generative learning techniques for automatic assessment of creativity. The proposed solution does not involve human judgement, it is modular and of general applicability. We introduce a new measure, namely DeepCreativity, based on Margaret Boden’s definition of creativity as composed by value, novelty and surprise. We evaluate our methodology (and related measure) considering a case study, i.e., the generation of 19th century American poetry, showing its effectiveness and expressiveness.

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Martin, Michael S. "The Lost Acadians and the Louisiana Homeland: 19th-Century American Poetry and Prose Portrayals of Exile." CEA Critic 81, no. 3 (2019): 254–58. http://dx.doi.org/10.1353/cea.2019.0032.

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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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Li, Na. "A Stylistic Analysis into the Art of Deviation as Stylistic Features of Dickinson’s Poem “I Heard a Fly Buzz -When I Died”." Journal of Education and Educational Research 5, no. 1 (September 14, 2023): 28–32. http://dx.doi.org/10.54097/jeer.v5i1.11555.

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Emily Dickinson is one of the most outstanding and influential American poets of the 19th century. Her poem “I Heard a Fly Buzz -When I Died” is told from a perspective of narrator who is near her death. As a typical modernist poet, Dickinson’s poems have prominent modernist characteristics. Her poetry language deviates from the norm, not limited to the language norms, forming a unique foregrounding effect from different levels such as phonetic level (the repetition of diphthong, flow, nasal, and iambic tetrameter and iambic trimeter), graphological level (the frequent use of capital words and dashes), rhetorical level (enjambment, contrast, synesthesia, oxymoron), semantic level (lexical meaning transference) and grammatical level (juxtaposition and ellipsis). Exploring the stylistic characteristics of Dickinson’s poetry based on the theory of deviation from the functional stylistics is helpful to excavating the implicated theme meaning and unique aesthetic value of Dickinson’s poetry.

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Trombold, John. "Américo Paredes's Development of a Border Outlaw." Prospects 24 (October 1999): 249–59. http://dx.doi.org/10.1017/s0361233300000363.

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In their considerations of Chicanola border poetry and narrative, Gloria Anzaldúa, Guillermo Gómez-Peña, and José David Saldívar have suggested that the cultural condition of the border writer addresses central concerns of contemporary American culture and what one can regard — as I try to do here — as its aspiring cultural outlaws. In the context of their postmodern approaches to culture the notion of the American frontier outlaw has a rather archaic ring, for such an identity recalls 19th–century constructions of self and an underlying belief in individual agency. Even in the 1930s the figure of the folkloric Tejano rebel existed in a similar historical halfway house, one in which the idea of the Mexican outlaw is both utterly anachronistic and politically relevant. Nonetheless, the traditional heroic outlaw of Tejano balladry — corridos — still has the power to signify a legacy of opposition to Anglo power, and the themes of such balladry persist today in the form of legal conflict over unresolved land claims (Verhovek), as if yesterday's outlaw has materialized from legend and taken form as lawful claimant. Thus it is valuable to see how the concerns of contemporary theory can be related to antiquated legends and to note any intermediary texts located in a moment between the late 20th-century present and the mid-19th-century past. Arguably, Américo Paredes's 1930s novel George Washington Gomez prefigures the newly lawful claims of those heir to the mythos of legendary outlaws and at the same time prefigures postmodern border theory. The novel underscores the divided character of a culture inheriting a folkloric tradition in a newly modern American context and elaborates on themes pertinent to a postmodern one.

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Vo, Nhon Van. "TRANSLATED LITERATURE IN COCHINCHINA IN THE LATE 19th CENTURY AND IN THE EARLY 20th CENTURY." Science and Technology Development Journal 13, no. 1 (March 30, 2010): 5–12. http://dx.doi.org/10.32508/stdj.v13i1.2099.

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Being colonized by France, Cocochina (the South of Vietnam) was the region where Western literature was introduced into earlier than the North. Truong Minh Ky was considered the first translator of Western literature in Vietnam. His earliest works of translation appeared in 1884. By the early 20th century, introduced to Vietnamese readers were Western literary works not only of French origin but also of British, American and Russian origins; not only poetry, prose but also drama. In the late 19th century, many writers such as Truong Vinh Ky, Huynh Tinh Cua were interested in Chinese literature. In the first decade of the 20th century, a wide variety of Chinese novels were translated into Vietnamese, forming a strong movement of translating "truyen Tau” (Chinese fictions). The remarkable characteristics of the translation of Western literature in Cochinchina were as follows - The newspapers and magazines in “Quoc Ngu” (Vietnamese language written in Latin characters) where the first works of translation were published played very important role. - The translators were greatly diverse, coming from different social and cultural backgrounds. - More translation was made on prose. Novels of martial arts, historical stories, novels of heroic deeds attracted the attention of the translators and the publishers. Therefore, they were translated much more than romance novels were, because of their compatibility with popular audience. - By translating the works of Western literature, the writers tried to express new concepts of humanism, such as women rights, or gender issues. Translated literature in Cocochina in the late 19th and early 20th centuries reflects a paradox: Western influences started to leave their marks but the Chinese influence was still strongly engraved. However, this was a remarkable step in the journey of modernization of national literature. Through these early translated works, new literary genres were introduced and Vietnamese readers gradually became familiar with them. Translation experiences were the first steps for Cocochina writers to achieve thorough understanding, to learn Western writing techniques and styles, which helped them become the pioneers of new literature in Vietnam.

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Zuo, Jiaxin. "A Gendered Analysis of Emily Dickinson’s Poetry and her Feminine Consciousness - Taking They shut me up in Prose - as an Example." Journal of Education, Humanities and Social Sciences 21 (November 15, 2023): 117–21. http://dx.doi.org/10.54097/ehss.v21i.13172.

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Emily Dickinson was one of the greatest female poets in the history of Western literature and a pioneer of modernist poetry. Her reclusive life was considered eccentric at her time. Her poetry is unique in style and expression, and she wrote about women’s desire for freedom and independence, as well as her ambition of breaking the restrictions for women in a patriarchal society. She believed that poetry was a superior literary form compared to prose and that women could also express themselves through poetry. This essay focuses on the feminine consciousness expressed in Emily Dickinson’s poetry. By analyzing her poem, They shut me up in Prose - from a gendered or feminist perspective, this essay discusses the relationship between Emily Dickinson’s female identity and her career as a poet: Emily Dickinson’s feminist thought expressed in her poetry was influenced by the women’s rights movement in the 19th century America, as well as her own life and education experience, and poetry was her way to rebel against the patriarchal literary tradition.

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Nuo Xu. "Application of Foreignization Strategy in Chinese Translation of Emily Dickinson's Poetry: Taking Zhou Jianxin's Translation Selected Poems of Emily Dickinson: 601-900 as an Example." International Journal of Linguistics, Literature and Translation 5, no. 5 (May 13, 2022): 142–48. http://dx.doi.org/10.32996/ijllt.2022.5.5.18.

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Poetry is the perfect combination of form and content. Therefore, poetry translation should faithfully translate the original form and content. In other words, foreignization could be the best translation strategy for poetry translation, especially for those poems with distinctive formal characteristics, such as the poems of Emily Dickinson, a 19th-century American poetess. Currently, there have been 17 Chinese translations of Dickinson's poetry published in China, with few of them using a foreignization strategy; most of these translations fail to faithfully reproduce the original flavor of Dickinson's poetry. This study takes the only version of the current 17 translations that adopts the foreignization strategy, Zhou Jianxin's translated book, Selected Poems of Emily Dickinson: 601-900, as a research object to investigate Zhou's translation of poetic form and vocabulary through data statistics and textual analysis. It is found that Zhou has basically reproduced original punctuation marks and lexical connotations and achieved equivalence of lexical function and meaning in lexical translation. Zhou's translation shows no traces of translation. That is, it reads natural and fluent. It retains original thought-provoking content and form and is a successful example of adopting a foreignization strategy to translate Dickinson's poems into Chinese, which justifies that the application of foreignization strategy in the Chinese translation of Dickinson's poetry is not only necessary but also feasible, which is the purpose of this study. It is expected that this study should encourage more Chinese translators to apply the foreignization strategy in translating Dickinson's poetry in the future so as to further enhance the quality of Chinese translation of Dickinson's poetry and present a truer and more authentic image of Dickinson's poetry in the Chinese world.

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Talivee, Elle-Mari. "The Beginning of Estonian City Writing – a Bird’s-Eye Overview." Interlitteraria 16, no. 2 (December 31, 2011): 464–82. http://dx.doi.org/10.12697/il.2011.16.2.6.

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“The city is a state of mind,” observed the American urban sociologist Robert Ezra Park (Bennett et al. 2008: 35). The mapper of several literary cities, the Nobel Prize winner Orhan Pamuk, concludes in his memoir about his home town Istanbul that, instead of the southern sun, it is the warmth of people that glows around this city. Nowadays Estonia is mainly characterized as an urbanized country. Although the city was for some authors a happy space as early as in the 19th century, beginning with C. R. Jakobson, it was generally common practice to disapprove of the city and city life in 19th century Estonian poetry and this lasted for quite a long time, until the 1920s (Kepp 2003: 378). How was the city portrayed in prose? This article concentrates on the beginning of city writing in Estonian literature: the transition from village stories to early urban prose. The first known original Estonian literary work was a poem, a lamentation titled “Oh, ma vaene Tarto liin!” (Oh Me, the Poor Town of Tartu!), dedicated to the town of Tartu, which had been ravaged in the Nordic War. The sacristan from the Puhja parish church, named Käsu Hans, wrote it in 1708, probably also inspired by a Biblical parallel, the destruction of Jerusalem. However, it was almost two hundred years later that the first equivalent efforts in prose occurred, during the original flourishing of Estonian literature of the National Awakening, in the middle of the nineteenth century.

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BAKHTADZE, Irina. "Global Challenges of Earth Protection and Philosophic Foundation of Cherokee Indian Religion: the 19th Century American Transcendentalism and Georgian “Gialove” in Poetry." Journal in Humanities 6, no. 2 (February 5, 2018): 7–11. http://dx.doi.org/10.31578/hum.v6i2.354.

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Environmental issues now present a greater challenge for the global society than everand demand better cooperation among nations around the world to save the planet andhumans from inevitable disaster which may be caused by environmental degradation.Air and water pollution, depletion of soil, loss of biodiversity, extinction of many speciesare the result of inhuman and irrational attitudes towards the earth and the gifts of nature.Civilization means more people demanding higher standards of living which hasdirect disastrous impacts on world ecosystems because it stimulates exploitation ofrenewable resources, such as fresh water, forests, and fertile topsoil.This article ecological problems caused by the brutal consumption of natural resourcesand the attempt of international community to protect the earth; also it argues that manyancient civilizations, and among them aboriginal Cherokee people, worshiped universalspirit of nature and tried to maintain balance with nature. Based on the analysis offamous essay Nature by the 19th century American essayist and poet Ralph WaldoEmerson and the short stories by Georgian poet and writer Vazha Pshavela, the articlereveals the authors’ philosophy of nature interpreted as a Universal being.The central idea of the paper is that the most important for mankind is to restore “wholeness”with nature and save it from the flaws and distractions imposed by “civilized society”in the post-industrial era. “Gialove” - is an Earth-affection philosophy, which wasbrilliantly demonstrated in Vazha’s poetry and stories.

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Sharma, Manisha. "COLOURIMAGERY IN THE HAIKU POEMS OF IMAGISTS POETS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3541.

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Imagism was a movement in early 20th century Anglo-American poetry that favoured precision of imagery and clear, sharp language. Imagists stressed on the direct treatment of the subject matter and strictly adhered to the rule that even a single word was not used unnecessarily. Imagists used the exact word instead of decorative words and rejected most 19th century poetry as cloudy verbosity. Imagist poets were influenced by Japanese Haiku, poems of 17 syllables which usually present only two juxtaposed images. Ezra Pound has made a conscious study of the Japanese Haiku. According to Pound, Japanese make a wonderful use of Haiku where they usually use a single image. A haiku is a haiku because all the images it conveys occur simultaneously in a person's present perceptions of the world. Ezra Pound is one the major exponents of imagist school who gave systematic theory of modernism. Ezra Pound's In a Station of the Metro is regarded as a fine specimen of Haiku. Pound recalls that once he stepped out of a "metro", train at La Concorde, and saw suddenly a beautiful face, and then another and another, and then a beautiful child's face, and then another beautiful woman. Throughout the day, Pound attempted to find words as worthy and as lovely as that sudden emotion. To his mind came an equation which was not in speech but in little sploches of colour. This feeling was the beginning of a language in colourfor Pound. Pound further elaborates that to express this kind of emotion he might find a new school of painting that would speak only by arrangements in colours. To substantiate his arguments, Pound expounds his view in Vorticism.

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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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Kizyma, Yuliia. "The sacred aspect of the image of the child in the early 20th century Polish and Western Ukrainian painting: socio-historical context and local specifics." Text and Image: Essential Problems in Art History, no. 1 (2021): 64–82. http://dx.doi.org/10.17721/2519-4801.2021.1.04.

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he late 19th and early 20th centuries marked significant changes in the social perception of children and childhood in Europe and the US. The phenomenon was vividly reflected in works of art, including painting. Images of children and childhood acquired new positive connotations. A rather ambiguous notion of “innocence” became one of the most important characteristics of childhood. The category was associated with children’s ability to receive more profound and intense religious experiences in comparison to those of adults. Poetry, philosophy, and art of that time emphasized this aspect of idealised childhood. In this research, we examine and compare works of easel and monumental painting on religious subjects by American and Western European as well as Polish and Ukrainian artists which depict children and childhood. We address both works intended for sacred spaces and secular paintings containing symbols and allusions borrowed from Christian imagery. The article looks into the genesis of the sacralised image of children and childhood in Western cultures, its specific features and ways of its representation in painting, including local traditions. The study focuses on the portrayal of peasant children in paintings by Polish and Ukrainian artists (Jacek Malczewski, Kazimierz Sichulski, Wlastimil Hofman, Oleksa Novakivskyi, Yulian Butsmaniuk) on religious subjects. The sacralisation of village children in Central and Eastern European art constitutes a peculiar artistic phenomenon closely associated with the social structure as well as political situation in the region. In the course of the research we employed a range of methods—formal, iconographical, iconological analysis, content analysis and semiological analysis.

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Ibraheeh Dawood(Ph.D.), Lecturer: Imad, and Lecturer: Omran Musa Mohammed. "The Emphatic Imagery: A Study in Dickinson's Narrative of Time, Life and Death." Journal of Education College Wasit University 2, no. 11 (December 2, 2021): 2136–64. http://dx.doi.org/10.31185/eduj.vol2.iss11.2646.

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Emily Dickinson is of those woman poets who in their time said something for few or no listeners till it was too late to rediscover what she actually meant. The early transcendentalists of 19th century America eclipsed her significance for a while. In this, she has to accept the lot of a woman trying to be an artist in the midst of a masculine-oriented mainstream culture. However, Dickinson is so prolific a writer that a reader cannot help stopping at her shelves to explore the meanings she had left in between the lines of her poems. Like other poets and thinkers of her time, Dickinson tried her best to draw a philosophical narrative of her own. That was a universal narrative rather than a mere personal complain or discomfort. In addition to her particular understanding of the questions of time, life and death, she also excelled in revealing a linguistic skill that only Wallace Stevens later perfected in a much critical way. As she grew older and abler in her artistic experience, her poetry grew much more mystic, religious and philosophical too. Behind the simplicity of the utterance and the clarity of the image, she wrapped her words with unfathomable meaning that frequently requires a critical taste to arrive at its significance; a depth of meaning and a wide array of symbolism.

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Arndt, Martin. "The German Poet Stefan George and Pre-National Socialism in Germany." Middle East Research Journal of Humanities and Social Sciences 3, no. 03 (September 4, 2023): 23–31. http://dx.doi.org/10.36348/merjhss.2023.v03i03.001.

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Dr. Middle East Research Journal of Humanities and Social Sciences; -. DOI: Abstract|Download PDF As a comprehensive account of the European and American reception of George’s works and those of the appr. 40 members of his circle is - after the translation of all his poems in 1949 The Works of Stefan George by Olga Marx and Ernst Morwitz - yet to be written, the following article is an attempt to introduce George and his followers to the English-speaking world. It focuses on some exemplary, representative persons from a cultural and political point of view. As the male-bonded circle was conceived and perceived by George and his disciples as an aesthetic state within the state and as a quasi-religious sect, born of the opposition to trends of current society around the turn of the 19th/20th century, its antiestablishmentarian view had a politically significant influence on pre-Nazi world, reaching its zenith during the Weimar Republic, but even longer up to the recent past of Germany [ ]. George’s reaction to Hitler’s ascension to power has given rise to various and contradictory interpretations, and the question if his poetry was politically guilty or if is pure and timeless, decadent favouring ‘l’art pour l’art, has not yet been conclusively interpreted. As the circle was not a monolithic group, its influence was highly ambivalent. In 1924 the call was made that there is a demand for a strong man, feeling tired and making do with sergeants instead of leaders (“Heute, da das Bedürfnis nach einem starken Mann laut wird…, da man der Mäkler und Schwätzer müd sich mit Feldwebeln begnügt statt der Führer”) - the 1st sentence in Friedrich Gundolf’s book on the Roman statesman and general Julius Caesar, the most heroic man, as Gundolf said: The book appeared in the year when Adolf Hitler was tried for his Beer Hall Putsch. What does the call for seriousness, dignity and awe (“für ernst, würde und ehrfurcht” [ ]) and the fight against shallowness (“oberflächen-tendenzen”) voiced by Friedrich Wolters and Friedrich Gundolf, the most widely read scholar of German philology at the time, in 1910 mean? For Gundolf as for others George was the mixture of strong will and sensitivity, of hard deed and tender dream (“unerbitterlicher Wille und regsame Zartheit”, “harte Tat und zarten Traum”), and the transformative power of poetry to purify the German soul and to create new beings (“menschenbildende Weltkraft”/man-creating worldpower), thus becoming like Goethe before a shaper of Germans (“Gestalter der Deutschen”). Some of George’s disciples hoped that the Third Reich was or would become the realization of George’s “Neues Reich,” joined the National-Socialist Party or sympathized with the Nazi movement, some only initially, whereas others opposed the regime, and went into exile (e. g. Karl Wolfskehl (b. 1869, Darmstadt, Germany – d. 1948, Auckland, New Zealand) or saw themselves as part of the innere Emigration (Rieckmann). The concept of a secret Germany (“geheimes Deutschland”) played a decisive role that the circle was controversial about.

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Tatham, David, Albert Boime, Elizabeth Johns, and John Wilmerding. "19th-Century American Painting." Art Journal 51, no. 4 (1992): 95. http://dx.doi.org/10.2307/777290.

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Baym, Nina, A. Robert Lee, Agnieszka Salska, Barton Levi St Armand, Emily Dickinson, and Thomas H. Johnson. "Nineteenth-Century American Poetry." Modern Language Review 83, no. 3 (July 1988): 694. http://dx.doi.org/10.2307/3731324.

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Kurbanova, Madina Rakhmat kizi. "CONCEPTUALIZING «MOTHERLAND» IN 19TH CENTURY RUSSIAN POETRY." American Journal of Interdisciplinary Innovations and Research 6, no. 2 (February 1, 2024): 15–20. http://dx.doi.org/10.37547/tajiir/volume06issue02-03.

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The article explores the multifaceted concept of «Motherland» in 19th century Russian poetry. It delves into how this concept is interwoven with the era’s socio-political, cultural discourses, and national identity, through a comprehensive literature review, theoretical framework, and mixed-methods approach. The study examines poets like Pushkin, Lermontov, Tyutchev, and Nekrasov, highlighting their diverse thematic representations of Motherland, from reverence to critique. It underscores poetry’s role in shaping Russian national consciousness and cultural memory, offering new insights into the complex dynamics of identity formation and the symbolic geography of Russia.

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Sommer, Tim. "Wordsworth’s 19th Century American Critics." Wordsworth Circle 48, no. 3 (June 2017): 178–83. http://dx.doi.org/10.1086/twc48030178.

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Fayzullina, Nargiza D. "Alloyosis in Russian poetry of the 19th century." Philological Sciences Scientific Essays of Higher Education, no. 4 (2024): 9–12. http://dx.doi.org/10.20339/phs.4-24.009.

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Maver, Igor. "Slovenian 19TH Century literary responses to the Poetry of Lord Byron Byronism on the the Slovene Territory in the 19th century." Futhark. Revista de Investigación y Cultura, no. 6 (2011): 193–203. http://dx.doi.org/10.12795/futhark.2011.i06.09.

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The article examines the influence of lord Byron's poetry through the translations into the Slovenian language in the 19th century. Byron is analyzed through the translations and cultural mediation of the poets dr. France Prešeren, Jovan Vesel Koseski and Josip Stritar, who all, particularly Prešeren, contributed to the development of the Slovenian Romantic Revival movement and Slovenian literature in its own right within the Habsburg and later the Austro-Hungarian monarchy. Lord Byron's poetry enabled Slovenian poets and translators to articulate their own national/political identification within the multinational empire.

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Shin Kyung-Sook. "Poetry collection of the 19th century Seoul Woodae, Gagokwonryu." 고전문학연구 ll, no. 35 (June 2009): 1–32. http://dx.doi.org/10.17838/korcla.2009..35.001.

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Alhomoud, Ghassan Nawaf Jaber. "study of Indian feminist poetry from 19th century to the present." Linguistics and Culture Review 5, S1 (October 8, 2021): 1218–23. http://dx.doi.org/10.21744/lingcure.v5ns1.1507.

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Language is a medium to express the emotions. Writers journey via the sector of letters to give the passing a long time with hidden truth via the world of literature. This paper specializes in the illustration of Indian women in nineteenth, and twenty-first century Indian poetry. Within the context of poems reviewed Feminist principle paperwork the framework for analysis and interpretation. Standing function of Indian girls differ in Extraordinary technology In Indian poetry, 19th century poets recreated a photograph of weighted down Indian women. Analysis indicates that the protagonist in twenty-first century Indian poetry is lady with freelance thoughts. Male dominated society continually suppressed the identification of girls. However, inside the present kingdom of affairs lady began raise her voice for her identity. As time passes identification of girl’s adjustments from futility to fruitfulness. In this paper we will analysis the Indian feminist poetry from 1900 to present date.

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Bush, Sargent, Harrison T. Meserole, and Peter White. "American Poetry of the Seventeenth Century." Modern Language Review 83, no. 4 (October 1988): 957. http://dx.doi.org/10.2307/3730925.

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Zagarell, Sandra A., Susan K. Harris, Barbara Bardes, and Suzanne Gossett. "19th-Century American Women's Novels: Interpretive Strategies." Tulsa Studies in Women's Literature 10, no. 2 (1991): 300. http://dx.doi.org/10.2307/464022.

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Goldberg, Marcia. "Textured Panels in 19th-Century American Painting." Journal of the American Institute for Conservation 32, no. 1 (1993): 33. http://dx.doi.org/10.2307/3179650.

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Peel, Ellen, and Susan K. Harris. "19th-Century American Women's Novels: Interpretative Strategies." American Literature 63, no. 4 (December 1991): 747. http://dx.doi.org/10.2307/2926886.

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Ghuman, Nalini. "19th- and 20th-Century British and American." Musical Times 136, no. 1826 (April 1995): 196. http://dx.doi.org/10.2307/1004177.

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Coultrap-McQuin, Susan, and Susan K. Harris. "19th-Century American Women's Novels: Interpretative Strategies." Journal of American History 78, no. 2 (September 1991): 661. http://dx.doi.org/10.2307/2079580.

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Goldberg, Marcia. "Textured Panels in 19th-Century American Painting." Journal of the American Institute for Conservation 32, no. 1 (January 1993): 33–42. http://dx.doi.org/10.1179/019713693806066492.

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Ochilov, O. "CHINESE NEW POETRY AND BUDDHISM." Builders Of The Future 02, no. 02 (May 1, 2022): 277–81. http://dx.doi.org/10.37547/builders-v2-i2-42.

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The article is about the influence of Buddhism on Chinese literature, especially poetry, the uniqueness of the verses in Buddhist scriptures, their emergence as a new genre, the peculiarities of Zen poetry, which began to spread in the late and early Sung dynasties as well as about the state of poetry in the late 19th century, which promoted Buddhist ideas and culture.

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Thacker, Robert, and Steven Olson. "The Prairie in Nineteenth-Century American Poetry." American Literature 67, no. 2 (June 1995): 387. http://dx.doi.org/10.2307/2927798.

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Irwin, Mark. "The Image Confined: Twentieth-Century American Poetry." World Literature Today 59, no. 2 (1985): 220. http://dx.doi.org/10.2307/40141457.

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Carlson, Larry A. "Review: American Poetry of the Seventeenth Century." Christianity & Literature 36, no. 1 (December 1986): 30–31. http://dx.doi.org/10.1177/014833318603600111.

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Cosoveanu, Mihai. "Teaching Culture through 20th Century American Poetry." Procedia - Social and Behavioral Sciences 70 (January 2013): 1204–9. http://dx.doi.org/10.1016/j.sbspro.2013.01.178.

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Journal articles on the topic 'American poetry – 19th century'

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