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Molodiakov, Vasilii E. "“The American Poet is Always a Seeker after God, but He does not Always Find God”: George Sylvester Viereck’s Lecture “America as a Land of Poets” (1911)." Literature of the Americas, no. 12 (2022): 213–35. http://dx.doi.org/10.22455/2541-7894-2022-12-213-235.
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The beginning of the American Poetic Renaissance is considered to be 1912: the Imagists, Poetry magazine, the new generation of poets — Ezra Pound, T.S. Eliot, Edna St. Vincent Millay, etc. This phenomenon keeps attracting a lot of attention of literary critics, meanwhile the previous two decades of American poetry fell out of sight of both readers and scholars. However it would be wrong to assume that there were no noteworthy poets and poems in America after Whitman’s death and before the debuts of Pound and Eliot. How did the American poets themselves evaluate “the current moment”? George Viereck’s lecture “America as a Land of Poets” delivered in 1911 at the University of Berlin can give an idea. George Sylvester Viereck (1884–1962), an outstanding poet, critic and editor, speaking of the “undiscovered, esoteric America, where religion and poetry dwell,” divided American poets into four groups. In the first one there are Whitman's heirs, nativists and democrats, singers of labor and comradeship, like Horace Traubel and Edwin Markham. Next, there are heirs of Poe, aristocrats and esthetes, masters of style, like George Santayana and William Vaughn Moody. The third group unites heirs of Longfellow, traditional and conservative authors, like Henry Van Dyke and Richard Watson Gilder. Finally, there are “lyrical rebels,” combining the legacy of Poe and Whitman and that of Swinburne and Baudelaire. Vireck included himself and the majority of young poets from the anthology The Younger Choir (1910) to the fourth group. This paper includes the full Russian translation of the lecture in Viereck’s English presentation.
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Tantowi, Muhamad, and Tadjuddin Nur. "STRUCTURALISM APPROACH BASED ANALYSIS." Social Perspective Journal 1, no. 3 (April 18, 2022): 177–95. http://dx.doi.org/10.53947/tspj.v1i3.112.
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The research is aimed to find how to read poems structurally. In this paper, the writer studied about Structuralism Approach Based Analysis of American Poems. During this research, the writer collected the data from American poems and chose three poets: Walt Whitman, Emily Dickinson, and Robert Frost, as unit analysis. The writer reads the poetry of those three poets, looks up every sentence to sentences, and analyzes the poems using the structuralism approach. The result of the research found that reading a poem as a whole unit is a must. This study was expected to help the readers of poems understand how to read the poems and analyze the poems comprehensively.
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Savage, Elizabeth. "Do Poems about Guns Make Guns Poetic?" Poetics Today 45, no. 1 (March 1, 2024): 45–78. http://dx.doi.org/10.1215/03335372-10938605.
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Abstract Poems by Dean Rader, Montana Ray, Danez Smith, Brian Turner, and Elizabeth Willis register a perplexing trend in American poetry: the use of gun and bullet tropes in poems indirectly or not at all about guns. Many of the poets employing these tropes publicly oppose gun violence and promote poetry as a refuge from it, yet their poetry, paradoxically, affirms guns’ literary power. The five poets selected for this study represent different styles emitting from diverse histories, ages, and literary backgrounds. Their poems likewise branch across a range of contexts and levels of abstraction. Studied together, their poetry exposes the centrality of guns not only to US America's collective self-image as a social body and national power but also to the American literary imagination. In light of this apparent contradiction, this essay considers what the pervasiveness of gun and bullet tropes suggests about the efficacy of poetry as enemy, accomplice, or rival of guns.
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Abushihab, Ibrahim Mohammad, Enas Sami Awad, and Esraa Ibrahim Abushihab. "Nostalgia and Alienation in the Poetry of Arab-American Mahjar Poets (Emigrant Poets): Literary Criticism to Stylistics." Theory and Practice in Language Studies 11, no. 9 (September 1, 2021): 1101–8. http://dx.doi.org/10.17507/tpls.1109.17.
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Nostalgia and Alienation are defined as the feeling that one has when he finds himself alone without connection with the people around him. He considers himself as a stranger in the society where he lives. This is due to leaving the people and homelands. This is what happened to Arab- American poets, (Emigrant poets) who leave their homelands and people. The current paper presents Arab- American poets’ longing, deep love, nostalgia and feeling of homesickness for their beloved countries in East. It also shows their adherence and alienation to their homelands by remembering the years and times they lived there. It emphasizes literary criticism of describing, analyzing and evaluating some of Arab- American poems.
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Green, Rose Basile, and Ferdinando Alfonsi. "Poeti Italo-Americani, Italo-American Poets. Antologia Bilingue, A Bilingual Anthology." Italica 63, no. 4 (1986): 395. http://dx.doi.org/10.2307/478698.
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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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Stanciu, Christina. "Strangers in America: Yiddish Poetry at the Turn of the Twentieth Century and the Demands of Americanization." College English 76, no. 1 (September 1, 2013): 59–83. http://dx.doi.org/10.58680/ce201324196.
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Recent translations of American Yiddish poetry into English have made an important chapter in American culture accessible both to the English scholar and to the literature student. Bringing together the work of two important literary groups of predominantly male poets with the work of one of the best-known female poets in Yiddish—whose aesthetic concerns overlapped with those of Euro-American modernism—I argue that the linguistic and aesthetic choices of Yiddish poetry in America not only bridge the distance between two geographies (the Old and New Worlds), but also forge a cultural scene for what I call immigrant geographies of being and belonging. Although the use of Yiddish limited the poems’ audience when they were published and, therefore, deferred aesthetic recognition of this under-studied body of poetry, I argue that the poets’ choice to write in Yiddish ultimately rendered a simultaneous desire to become American (in subject matter as well as in the adaptation of Yiddish verse to modern prosodic and aesthetic conventions) and to resist the pressure of the melting pot precisely by writing in a language inaccessible to the larger reading public. In this act of dissimilation, Yiddish poetry—like most writing in national languages published in the United States either by the immigrant or the mainstream press—poses challenges for the literary and cultural critic and teacher.
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Ahmed, Zina Tariq, and Arwa Hussein Mohammed. "CODE MIXING IN CONTEMPORARY ARAB-AMERICAN POETRY." JOURNAL OF LANGUAGE STUDIES 8, no. 6 (June 30, 2024): 103–13. http://dx.doi.org/10.25130/lang.8.6.6.
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The paper argues that code mixing which is a key concept of sociolinguistics is highly implemented in contemporary Arab-American poetry as a mechanism of representing identity. It focuses on the innovative use of original codes within the dominant one and examining the poetic expressions that produce mixing in the poetry of contemporary poets with dual identities namely, Suhier Hammad, Safia Elhillo, and Ziad Shlah. This qualitative paper uses textual and analytical methods and is based on concepts such as heteroglossia and hybrid identity. It tackles identity through analysis of selected poems in the collections entitled as Breaking Poems (2008), The January Children (2022) and Taqsim (2006). It contends that, despite the diverse backgrounds and poetic styles such as rap, narrative, and metaphor besides, the poets achieve the similar target which is the negotiation of identities in order to accept the difference and integration with other cultures.
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Su, Yujie. "Dark Energy in Robert Frost’s Poems." Theory and Practice in Language Studies 6, no. 7 (July 1, 2016): 1372. http://dx.doi.org/10.17507/tpls.0607.06.
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Robert Frost is regarded as one of the most distinguished American poets in the twentieth century. His work usually realistically describes the rural life in New England in the early twentieth century and conveys complex social and philosophical themes. But his personal life was plagued with grief and loss, which is also reflected in his poems, and the dark energy distinguishes Robert Frost’s poems, frequently conveyed in the use of lexical words like dark and its derivatives or synonyms, woods, snow, night, and so on. The present study starts with the survey of the lexical representations of dark energy used in Robert Frost’s poems, which are collected in The Oxford Book of American Poetry, and the other poems listed on the website which are not collected in the book but written by Robert Frost[1], aiming to gain more understanding of the great poet’s contemplation involving human and nature.
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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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Hama, Bakhtiar S. "Imagism and Imagery in the Selected Poems of Major Imagist Poets." Koya University Journal of Humanities and Social Sciences 3, no. 1 (June 22, 2020): 88–93. http://dx.doi.org/10.14500/kujhss.v3n1y2020.pp88-93.
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This paper explores imagism and studies the intrinsic literary features of some poems to show how the authors combine all the elements such as style, sentence structure, figures of speech and poetic diction to paint concrete and abstract images in the mind of the readers. Imagism was an early 20th century literary movement and a reaction against the Romantic and Victorian mainstreams. Imagism is known as an Anglo-American literary movement since it borrows from the English and American verse style of modern poetry. The leaders of the movement set some rules for writing imagist poems. The authors of the group believed that poets are like painters; what the painters can do with brush and dye, poets can do it with language i.e. painting pictures with words. The poems are descriptive; the poets capture the images they experience with one or more of the five senses. They believed that readers could see the realities from their eyes because the texts are like a painting. In this paper, six poems by six prominent leaders of the movement will be scrutinized according to the main principles of the formalistic approach which is the interpretation and analysis of the literary devices pertained to the concrete and abstract images drawn by the poets. The poems are: In a Station of the Metro by Ezra Pound, Autumn by T. E. Hulme, November by Amy Lowell, Oread by Hilda Doolittle (H.D.), and Bombardment by Richard Aldington
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Sharma, Pradip. "Poetic Politics in the Confessional Poetry of Lowell and Plath." Literary Studies 35, no. 01 (March 9, 2022): 89–97. http://dx.doi.org/10.3126/litstud.v35i01.43683.
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This paper critically examines the cultural shifts the confessional poets mainly Robert Lowell and Sylvia Plath brought in post war American poetry. Under the rubric of postwar isolation ongoing developmental practices induced by Fordist culture whatever psychic disturbances the contemporary generations encountered, are reflected in Lowell and Plath’s poetry. Unlike St. Augustine’s sacramental confession, confessional poetry primarily aims at autobiographical self-exploration in essence. Yet, the confessional poetry departs from the life writing with its sharp delving into the poet’s life. The kernel point of this paper is to discuss the way the poets debunk the boundary between private and public domain and the way they prefer to write on socially stigmatized issues like alcoholism, mental illness, adultery, suicidal thought, and depression. By exploring these issues, I argue that confessional poetry penetrates into the poetics of politics under postmodernism which blurs the border line of raw and cooked, decent and profane matters. While examining the selected poems of Lowell and Plath, the cathartic motto of the poets has been highly focused when they express their troubled experiences which were indecent in the past.
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Erokhin, Alexander. "Cold War literary modernists in a dialogue under oppression." Translation and Interpreting Studies 15, no. 3 (September 16, 2020): 380–98. http://dx.doi.org/10.1075/tis.20075.ero.
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Abstract The article deals with selected aspects of the cultural appropriation of post-Stalinist Soviet poetry by Anglo-American poets and translators. The article focuses on Yevgeny Yevtushenko and Andrei Voznesensky, two eminent representatives of Russian lyric poetry of the “Thaw.” English translations of Yevtushenko’s and Voznesensky’s poems are discussed in relation to Cold War issues and imagery, such as the themes of the Second World War, the Holocaust, and the rediscovery of America. The article demonstrates that the Soviet-Russian authors and their Anglo-American translators appealed to their governments and audiences over the moral and aesthetic barriers imposed by the Cold War. The opportunity for independent, liberal, romantic, or leftist English-speaking authors to collaborate with the post-Stalinist Russian poets of the Thaw was made possible by the latters’ willingness to break the cultural isolation of the Soviet Union after Stalin’s death.
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Dudeck, Stephan. "Dialogical Relationships and the Bear in Indigenous Poetry." Sibirica 17, no. 2 (June 1, 2018): 114–20. http://dx.doi.org/10.3167/sib.2018.170208.
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The essay provides a review of a small but remarkable book on the work of two important Native American and Siberian poets, Meditations after the Bear Feast by Navarre Scott Momaday and Yuri Vella, published in 2016 by Shanti Arts in Brunswick, Maine. Their poetic dialogue revolves around the well-known role of the bear as a sociocultural keystone species in the boreal forest zone of Eurasia and North America. The essay analyzes the understanding of dialogicity as shaping the intersubjectivity of the poets emerging from human relationships with the environment. It tries to unpack the complex and prophetic bear dream in one of Vella’s poems in which he links indigenous ontologies with urgent sociopolitical problems.
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Ward, Michael T., and María A. Salgado. "Modern Spanish American Poets." Hispania 90, no. 4 (December 1, 2007): 710. http://dx.doi.org/10.2307/20063597.
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Dickie, Margaret, and Jean Gould. "Modern American Women Poets." American Literature 58, no. 1 (March 1986): 119. http://dx.doi.org/10.2307/2925951.
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Keefe, J. T., and Jean Gould. "Modern American Women Poets." World Literature Today 60, no. 1 (1986): 116. http://dx.doi.org/10.2307/40141258.
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HAIDAR, Otared. "The Arab American Poets." ARAM Periodical 21 (December 31, 2009): 345–52. http://dx.doi.org/10.2143/aram.21.0.2047099.
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Zhumabekova, N. М. "LEXICO-STYLISTIC ANALYSIS OF THE JOE HARJO`S POEM “SUN RISE”." Vestnik Bishkek Humanities University, Issue 52-53 (October 21, 2020): 11–13. http://dx.doi.org/10.35254//bhu.2021.52.1.
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The article discusses the meaning of one of the poems of the most famous and outstanding contemporary American Indian poets Joe Harjo. The main purpose of the article is to interpret the topic of freedom, love to the traditions, and discontent with the present state of being of Native Americans through lexica -stylistic devices. It is indicated that many Indian American works are devoted to description of loss, and Joe Harjo`s poems search for some resolution of the situation. Though the Native Americans suffered the loss of their rights and freedom, the author calls for revival, for continuation of the fight, for gaining what was lost. Alongside with the ideas in the poem some stylistic devices as repetition, enumeration, epithet, irony have been identified revealing the emotional influence on the readers.
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Ismael, Zaid Ibrahim, and Sabah Atallah Khalifa Ali. "Opening the Box of Suffering, Unleashing the Evils of the World’: Pandora and her Representation in Nineteenth-Century American Poetry." JOURNAL OF LANGUAGE STUDIES 3, no. 4 (September 8, 2023): 297–314. http://dx.doi.org/10.25130/jls.3.4.18.
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Nineteenth-Century American writers endeavored to establish adistinct literary tradition away from the dominant European canon,particularly after the War of Independence. They found in their newenvironment and local color a source of inspiration. Still, they alsodrew on Greek myths to comment on social issues and to frame theirworks within these legendary realities that are noted for theiruniversality and aesthetic nature. For instance, rewriting and allusionsto the myth of Pandora and her box can be found in the poemscomposed by both male and female American poets of the time. Thisresearch deals with the use of this myth in selected poems byNineteenth-Century American poets, namely Emily Dickinson’s“Hope Is the Thing with Feathers”, Henry Wadsworth Longfellow’s“The Masque of Pandora”, Samuel Phelps Leland’s “Pandora’s Box”,and Harriet Jane Hanson Robinson’s The New Pandora. It aims atinvestigating the difference in the use of this sexist myth in the writingsof these male and female poets.
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Taylor, Ellen Maureen. "Personal Geographies: Poetic Lineage of American Poets Elizabeth Coatsworth and Kate Barnes." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 2 (December 16, 2016): 111–27. http://dx.doi.org/10.4312/elope.13.2.111-127.
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This paper examines the relationship between two 20th-century American poets, Elizabeth Coatsworth and her daughter, Kate Barnes. Both women mined their physical and personal geographies to create their work; both labored in the shadows of domineering literary husbands. Elizabeth’s early poetry is economical in language, following literary conventions shaped by Eastern poets and Imagists of her era. Kate’s work echoes her mother’s painterly eye, yet is informed by the feminist poetry of her generation. Their dynamic relationship as mother and daughter, both struggling with service to the prevailing Western patriarchy, duties of domestication and docility, also inform their writing. This paper draws from Coatsworth’s poems, essays, and memoir, and Barnes’ poems, interviews, and epistolary archives, which shed light on her relationship with her renowned mother.
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Taha, Aseel Abdulateef. "Arab-American Diaspora and the “Third Space”: A Study of Selected Poems by Sam Hamod." English Language and Literature Studies 8, no. 2 (May 14, 2018): 29. http://dx.doi.org/10.5539/ells.v8n2p29.
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Arab-Americans are an essential part of the multi-ethnic scene in the United States of America. They are increasingly making their voices louder. However, the process of Americanization has shaped Arab-American experience and literature both directly and indirectly. The early immigrants faced the pressures of assimilation into the American society, while also trying to preserve their Arab identity in the American-born generation. Cultural issues that are related to the immigrants’ experience, like biculturalism, bilingualism and dualism, are vitally depicted in Arab-American poetry. The American-born poets of Arab descent find in poetry a way through which they could express the dilemma of the Arab diaspora. Sam Hamod is one of the contemporary Lebanese-American literary figures whose works reflect the cultural conflicts from which the immigrants and their descendants suffer. Many of his poems deal with the concept of the “Third Space,” presented by the post-colonial theorist Homi K. Bhabha. It is a hybrid space in which the hyphenated individuals are stuck. In the multicultural and multiracial environment of the United States, the immigrants’ offspring occupy this in-between position where diverse cultures meet and clash in an endless process of identity splitting.
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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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Hoeynck, Joshua S. ""A Dialectic of Contrasts": Robert Duncan and Denise Levertov’s Ecological Writing." Process Studies 38, no. 2 (October 1, 2009): 228–52. http://dx.doi.org/10.2307/44798488.
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Abstract "A Dialectic of Contrasts" details how the mid-twentieth century American poets Robert Duncan and Denise Levertov employed their understanding of Whitehead’s notion of "contrast" to imagine poems closely linked to ecology and cosmology. Exploring the references to Whitehead’s heterogeneous dialectic of contrasts in the Duncan/Levertov correspondence, the article displays the forcible role Whitehead’s thought played in directing the two poets to a linguistic-organic poetics invested in nonhuman agency.
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Jasim, Mustafa Amjed, and Soukaina Hameed Kamal Addin. "NATIVE AMERICAN SPIRITUALITY AND NATURAL LANDSCAPE IN N. SCOTT MOMADAY'S POETRY." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 7, no. 2 (December 29, 2023): 292–304. http://dx.doi.org/10.30743/ll.v7i2.7464.
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Native Americans are the first people to reside in the United States of America, specifically the northern part of it. One of the famous Native American poets is Scott Momaday. Momaday is a Kiowa Native American poet, storywriter, and novelist. The purpose of this research is to explain traditions, and the significance of natural landscape in Scott Momaday's poetry, focused on words, images and metaphors by means of descriptive qualitative method. The researchers endeavor to apply a concept of Shamanism in Momaday's poetry. Shamanism is an ancient healing tradition, and a way of life. It is a way to connect with nature and all the creations. Every plant for native Americans symbolizes a certain thing, cherries symbolize mercy, and they can heal wounds by the ointment. The data are taken from the poems related to nature and tradition as in The Earth, Eagle Feather Fan, The Delight Song of Tsoai-Talee, and Angle of Geese. The results show that natural landscape and traditions are linked to spirituality. For Native Americans, there is no difference between animate and inanimate objects; everything in this life has a soul.
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Ulanov, Alexander M. "Russian and American Poetry: Towards New Language Abilities." Literature of the Americas, no. 16 (2024): 425–33. http://dx.doi.org/10.22455/2541-7894-2024-16-425-433.
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The book by Vladimir Feshchenko, a Russian researcher of the language of poetry and a publisher of avant-garde literature, is devoted to Russian and American poetry of the language experiment in the 20th and early 21st century. Using examples from Andrei Bely, Russian futurists, Alexander Vvedensky, Ezra Pound, Gertrude Stein, E.E. Cummings to the American poets of “language writing” and modern Russian-speaking young poets, the similarity of the philosophical and linguistic foundations of the language experiment, the convergence and differences of literatures, the personal interaction of authors from both countries are considered in the book. The analysis of a number of American and Russian poems from the point of view of the language of poetry is given. V. Feshchenko's book is of interest to researchers of Russian and American poetry, the avant-garde, the language of poetry, and the interaction of literatures.
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Sadaf and Dr. Sahar Rahman. "Representing Dissent through Poetry: A Study of Select Poems of Maya Angelou." Creative Launcher 8, no. 3 (June 30, 2023): 84–90. http://dx.doi.org/10.53032/tcl.2023.8.3.10.
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Literature in general and protest poetry in particular have been vocal about human condition and problems. This article examines Maya Angelou’s representation of dissent in selected poems, using the historical and socio-political context of her life as a lens. It analyses how Angelou’s work, including “Still I Rise,” “Caged Bird,” “Phenomenal Woman,” and some others, articulates resistance against racial, gender, and social inequalities. Through her powerful metaphors, repetitive phrases, and vivid imagery, Angelou defied societal norms and called for change. The study concludes by emphasizing Angelou’s enduring impact and legacy, not just in literature, but also in shaping civil rights discourse and inspiring social change. Her poetry exemplifies how art can be a potent instrument of protest. The article employs language for ‘writing back’, questioning norms, resisting atrocities and creating scope for change. Protest poetry, which is deeply embedded in American history, remains a prominent part of English literary corpus, contributing greatly to African American literature. The category of African American protest poetry is large owing to the huge expanse of time during which it has been written and also because of the great number of poets who have contributed to this form of writing. As a result, African American protest poetry is divided into three sub-categories– the first deals with protest during slavery, the second during segregation and Jim Crow Laws and the third after political obstacles to equality were presumably removed. This paper aims to deliberate on the following questions— what are the prominent themes of African American protest poetry? How have the African American poets used this genre of literature variously during different historical epochs? How are the concerns of female poets different from their male counterparts? What role has protest poetry played in political movements against inequality, social injustice, oppression, segregation etc.? The present paper aims to engage with this seemingly broad area of literature from the feminist and racial perspectives. The paper intends to deal with few important African American protest poets from foundational poets to the contemporary ones.
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Kilcup, Karen L. "Feeling American in the Poetic Republic." Nineteenth-Century Literature 70, no. 3 (December 1, 2015): 299–335. http://dx.doi.org/10.1525/ncl.2015.70.3.299.
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Karen L. Kilcup, “Feeling American in the Poetic Republic” (pp. 299–335) Recent scholarship concerning nineteenth-century American poetry has challenged petrified attitudes that depict it as almost exclusively sentimental, unoriginal, and meritless. Yet, absent a historicized conceptual framework for assessing the considerable achievements of these poets, we still undervalue and oversimplify their work. Poetry reviews published between 1820 and 1840 show how properly calibrated emotion shaped readers’ tastes and identities, individual and national, in what I call the poetic republic: a country in which nearly everyone read, wrote, or heard verse. Critics’ appraisals intimate their anxious investment in creating authentic American poetry. Given British contentions that Americans were uncivilized, this anxiety coalesced around several related questions: How should writers approach the subject of Indians? What affective stances should poets assume? Was sentimental discourse, especially on Native Americans, inherently “savage”? This essay illuminates the period’s genre norms, concurrently questioning two current critical conventions. Demonstrating how poetry—including its producers and its publics—participated energetically in American nation-building, the essay complicates Benedict Anderson’s assumption that newspapers and novels singularly shaped national self-concepts. It also establishes how sentimentalism was attacked much earlier than today’s scholarship asserts. Simultaneously accommodating and disciplining wilderness (whether formulated as untamed nature and its wild inhabitants, or as uncontrolled, feminized sentimentality), reviewers collectively endorsed dispassionate, elevated nature poetry—often inhabited by Native Americans—as prototypically American, while they disparaged affective excess that they typically gendered as feminine. These verse norms strongly impacted the reception and reputations of the period’s two principal poets, William Cullen Bryant and Lydia Sigourney.
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Coles, Katharine. "Is the American Sonnet Black?" Axon: Creative Explorations 13, no. 2 (February 21, 2024): 160–77. http://dx.doi.org/10.54375/001/4pkk68wz6k.
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“Is the American Sonnet Black” traces the history of Black poetry in the United States from the 18th Century forward, beginning with Phillis Wheatly and ending with Terrance Hayes. It makes the case that work by Black poets has been not only present but essential to the development of American poetry and our understanding of how all poets must work to position themselves simultaneously as outsiders and as insiders to their tradition. In the cases of those poets whose bodies (by virtue of gender and/or race) mark them visibly and culturally as “outsiders,” this positioning is more difficult and complex in a way that may lead to creative breakthroughs in how those poets use form to navigate the content specific to their experience.
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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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Lihong, Zhu, and Wang Feng. "The Zen Relationship between Chinese Poetry and American Poetry." International Journal of Multicultural and Multireligious Understanding 6, no. 4 (August 13, 2019): 92. http://dx.doi.org/10.18415/ijmmu.v6i4.952.
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Zen has become especially popular after 1950 and the Zen craze of East Asia not only has become a kind of belief but also a way of life in America. Many American writers introduce, advocate, and concentrate on their Zen, and even go to the East to learn Zen. They applied the ideology, content and allusions of Chinese Zen to their works, so they have a close relationship with Chinese Zen. This article aims to analyze the poems of Kenneth Rexroth, Anthony Piccione, Gary Snyder and James P. Lenfesty to explore the mysterious relationship between Chinese and American poetry. These poets imitate the quiet beauty, wild freedom or orthodox of Zen poetry. Furthermore, each of them forms their own writing characteristics, thus creating a new realm of American poetry.
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Vitiello, Justin, and Ferdinando P. Alfonsi. "Dictionary of Italian-American Poets." Italica 68, no. 1 (1991): 60. http://dx.doi.org/10.2307/479432.
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Scharnhorst, Gary. "American Poets in German Translation." Translation Review 20, no. 1 (September 1986): 21. http://dx.doi.org/10.1080/07374836.1986.10523380.
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Cesereanu, Ruxandra. "From "Letter to American Poets"." American Book Review 28, no. 5 (2007): 15. http://dx.doi.org/10.1353/abr.2007.0123.
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INGLESE, FRANCESCA. "“Watch Out For The Sharks”: Gender, Technology, and Commerce in the American Song-Poem Industry." Journal of the Society for American Music 7, no. 3 (July 30, 2013): 295–315. http://dx.doi.org/10.1017/s1752196313000230.
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AbstractSince the early 1900s, song-poem entrepreneurs, often referred to as “song sharks,” have fueled a diffuse and largely hidden American industry that produces music to accompany the poems and lyrics of amateur writers. These entrepreneurs have long been demonized in the popular media for preying on the naiveté of their clientele. Yet despite charges of exploitation, this musical equivalent of the vanity press has survived for over a century. Although the vast majority of song-poets and their song-poems have remained in obscurity, in the 1990s, song-poems developed a cult following among record collectors; as “anonymous collaborations,” these recordings highlighted tensions between poignant personal expression and impersonal commercial rendering that appealed to listeners with a penchant for the obscure. This article draws on advertisements, sheet music, media coverage, and personal interviews to piece together a history of the song-poem industry, with particular focus on the gendered dimensions of the practice, the role of technology in the production process, and the multiplicity of meanings embedded in song-poems for both song-poets and collectors.
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Spaide, Christopher. "Sidewise Looks: Asian American Poets Revisit Wallace Stevens." ELH 91, no. 2 (June 2024): 565–97. http://dx.doi.org/10.1353/elh.2024.a929159.
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Abstract: While common knowledge on Wallace Stevens suggests that he influenced only one Asian American poet (his friend, the scholar Peter H. Lee), a fuller investigation into Stevens's legacy reveals that he very well may be the Anglophone modernist with the most widespread and enduring influence on the past eighty years of Asian American poetics. In this essay's first half, I retell the history of Stevens's reception by Asian American poets, distinguishing it from his reception by Black poets (on the one hand) and from Asian American poets' responses to modernist orientalism (on the other). In the essay's second half, I offer a flexible argument about the indispensability of Stevensian abstraction to two of the most celebrated poets of their generation, Arthur Sze and Vijay Seshadri.
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Murillo, Edwin. "Existencial Poetics in the 19th Century Latin America." Revista de Filología y Lingüística de la Universidad de Costa Rica 45, no. 1 (March 21, 2019): 115–32. http://dx.doi.org/10.15517/rfl.v45i1.36674.
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Typically, the origin story of Existentialism has depicted Latin America’s contributions as subsequent and tributary to its European counterpart. Nevertheless, a select few critics have approached this history in Hispanic America from a chronologically inclusive perspective, by calling attention to an Existential Poetics in modernismo. This article expands the borders of Existential Poetics to fashion a Latin American literary imaginary. Given the work already done on Rubén Darío and José Martí, both of whom have been studied independently, my analysis will be collective, favoring philopoetic works by Manuel Gutiérrez Nájera, Julián del Casal, José Asunción Silva, and João Cruz e Sousa. The purpose of examining Hispanic-American poets in conjunction with a Brazilian is to accentuate the Pan-American quality of this Existentialism avant la lettre. As I will discuss, all these poems deal with a crisis of irrelevance and overtly question being in the world, classic motifs of Existentialism. Together, these poems allow for the synchronized inclusion of Latin American voices to the universal history of Existentialism, an approached not explicitly carried out by most philosophical and literary historiographers.
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Hartsell-Gundy, Arianne A. "Book Review: American Poets and Poetry: From the Colonial Era to the Present." Reference & User Services Quarterly 55, no. 1 (September 25, 2015): 72. http://dx.doi.org/10.5860/rusq.55n1.72a.
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In many ways American Poets and Poetry: From the Colonial Era to the Present is a condensed version of The Greenwood Encyclopedia of American Poets and Poetry (Greenwood, 2006). They have the same editors, many of the same contributors, and there is overlap in the poets and topics covered. The earlier encyclopedia was five volumes and much more comprehensive, but this new work does cover some contemporary poets not found in the previous work, such as Natasha Trethewey, and has more recent information about some of the still living poets.
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Nsiri, Imed. "Narrating the Self: The Amalgamation of the Personal and the Impersonal in Eliot’s and Adonis’ Poetry." Advances in Language and Literary Studies 9, no. 2 (April 30, 2018): 104. http://dx.doi.org/10.7575/aiac.alls.v.9n.2p.104.
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This article demonstrates how the self—reference to personal stories—infiltrates some, if not most, of the poems by two renowned modernist poets and literary critics: the American/Englishman T. S. Eliot and the Syrian/Lebanese ʿAlī Aḥmad Saʿīd, popularly known as Adūnīs or Adonis. The article compares the two poets’ depictions of the personal and the impersonal in poetry, and it reaffirms the great influence that Eliot’s poetry has on Adūnīs and other Arab modernist poets. While Eliot’s criticism discourages any biographical reading of his poetry, Adūnīs holds a different view by openly acknowledging the inclusion or existence of the personal in his poetry. Adūnīs’ poetry, in particular, stresses the link between texts and historical figures in the realm of literature.
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Peric, Djordje. "Forgotten translations of American poets from the pen of Isidora Sekulic." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 89 (2023): 151–59. http://dx.doi.org/10.2298/pkjif2389151p.
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Urged by writer Marko Ristic, the renowned Serbian author and the first woman in the Serbian Academy of Sciences and Arts, Isidora Sekulic (1877-1958) translated five poems by five American poets for Mr Ristic?s journal ?Putevi? (?Roads?), published in Belgrade in 1924. Mr Ristic selected two of them to be published in the journal, while the rest were found in Mr Ristic?s estate, unpublished to this day. The author of this paper presented in this paper the three Ms Sekulic? translations (of poems written by N. V. Lindsay, R. Frost, and W. De la Mare) from Mr Ristic?s archive.
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Probstein, Ian. "European and Russian Literature and the Poets of the Second American Avant-Guard / The New York School." Literature of the Americas, no. 12 (2022): 51–65. http://dx.doi.org/10.22455/2541-7894-2022-12-51-65.
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The article explores the influence of European and Russian Literature on the poets of the Second American Avant-Gard and The New York School, as was coined by John Myers, the artistic director of the Tibor de Nagy Gallery, as David Lehman stated in The Last Avant- Garde. The Making of New York School of Poets [Lehman 1999: 24–25]. The paper mainly focuses on the work of the first generation of the New York School: John Ashbery (1927–2017), Frank O’Hara (1926–1966), Kenneth Koch (1925–2002), and James Schuyler (1923–1991), who edited the first and the last issues of the literary magazine Locus Solus, published by the “quartet” of the aforementioned poets. Their poetry was marked by unexpected comparisons and juxtapositions, collages and pseudotranslations. At first, they drew heavily on Apollinaire, cubists, surrealists, but each of the original four developed his unique style. Alongside Apollinaire and French Surrealists, the works of Mayakovsky and Pasternak were central to the New York School poets. For example, the very title of Ashbery’s book Some Trees was an allusion to Boris Pasternak’s 1922 manifesto “Some Statements,” which was (mis)translated into English as “Some Trees.” In Frank O’Hara’s poems there are allusions not only to his beloved Mayakovsky but, most importantly, to Rachmaninoff and other composers. O’Hara developed syncretic and synthetic poetry, combining sound, color, music, and painting, as in his poem “On Rachmaninoff’s Birthday.” In Kenneth Koch’s poems there are allusions to Victor Shklovsky’s Third Factory and in Koch’s later long poem Possible World (2002), we can trace both Mayakovsky’s and Khlebnikov’s influence.
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Abdulrahman, Salih Abdullah. "The Cultural confrontation in Sonia Sanchez’s Rap Poetry." Journal of Tikrit University for Humanities 29, no. 3, 1 (March 25, 2022): 1–15. http://dx.doi.org/10.25130/jtuh.29.3.1.2022.22.
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This paper studies the rap poetry of Sonia Sanchez as an example of the literature of protest which prevailed throughout the 1960s and „70s of the twentieth century, especially the poetry of the Black Arts Movement. During the 1960s a group of Black poets started to compose poems that can best be described as anti-white poems which aimed at rejecting the hegemonic white culture and its oppressions over the Blacks. They rejected the American culture in favour of a Black one that would formulate a Black consciousness which would be the touchstone of the cultural resistance and would, the poets wished, initiate a revolution against the white Americans‟ violence and unfair practices towards the African-Americans.Sonia Sanchez was an active member of the Black Arts Movement which was established in the 1960s and called for a violent revolution against the white Americans, especially after the assassination of Malcolm X and Martin Luther King. This movement called for Black aesthetic which highlighted a literature that reflects and explores the Black culture and traditions and speaks to the Blacks‟ issues and concerns. Therefore, their poems were politically oriented as they addressed the lives and ambitions of the Black people and started using the Black speech in their poetry. Their poetry, then, is given a Black identity which is considered as the essence of the Black Aesthetic Movement
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Basak, Rhitama. "Transgressing Liminality: Exploring the Latin American urban Self through Resistance and Remembrance in 21st century Americas." International Journal of English and Comparative Literary Studies 3, no. 3 (July 2, 2022): 29–42. http://dx.doi.org/10.47631/ijecls.v3i3.515.
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The paper explores the quest for identity through reception, resistance, and remembrance, as expressed in the langscape of 21st century Latin American poets. The paper also addresses the points of contact between the Latin American Self and the cultural Other(s) within the urban space, re-visiting the changing dynamics of the Self -Other, the Global-local, centre-margin, and so on. The oeuvres of contemporary Latin American poet Monica de la Torre and Indigenous womxn poets L. M. Silko and Joy Harjo is re-visited. The interface between the newly formed Latin America and the colonial Other is examined to trace the trajectory of oppression where the economically superior ‘centre’ continues to violate the cultural Other – the ‘margin’ – a threshold marked by a “no-exit” situation of socio-economic and cultural Otherness. The question of Indigenous identity in 21st century metropolis of the Americas is studied through the reading of selected works, narrating the complexities of identity-claim within the cityscape, and exploring transgression of the liminal space of “forced forgetting” where remembrance of one’s Self (individual and/or communal) is transformed into an act of resistance.
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Carbajosa, Natalia. "The Waste Land in Spanish a Hundred Years Later: The Case of Claudio Rodríguez." Revista Canaria de Estudios Ingleses, no. 85 (2022): 211–26. http://dx.doi.org/10.25145/j.recaesin.2022.85.14.
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"This article explores Claudio Rodríguez’s approach to Eliot’s poetry through his unpublished translation of The Waste Land. It also considers Rodríguez’s translation work within the wider context of Eliot’s influence on Spanish poets during the twentieth century, an influence deriving largely from the repeated translations of The Waste Land. Unlike other renowned Spanish poets from the 1950s, my study tackles the significance of Rodríguez’s contribution to the translations of Eliot into Spanish by focusing on his initial reluctance to undertake the task and on the conceptual divergence he felt vis a vis the Anglo-American poet’s poetic principles."
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Byrne, Deirdre. "NEW MYTHS, NEW SCRIPTS: REVISIONIST MYTHOPOESIS IN CONTEMPORARY SOUTH AFRICAN WOMEN’S POETRY." Gender Questions 2, no. 1 (September 21, 2016): 52–66. http://dx.doi.org/10.25159/2412-8457/1564.
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Considerable theoretical and critical work has been done on the way British and American women poets re-vision (Rich 1976) male-centred myth. Some South African women poets have also used similar strategies. My article identifies a gap in the academy’s reading of a significant, but somewhat neglected, body of poetry and begins to address this lack of scholarship. I argue that South African women poets use their art to re-vision some of the central constructs of patriarchal mythology, including the association of women with the body and the irrational, and men with the mind and logic. These poems function on two levels: They demonstrate that the constructs they subvert are artificial; and they create new and empowering narratives for women in order to contribute to the reimagining of gender relations.
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Kallimani, Dr Madhushri. "Stopping by Woods on a Snowy Evening' by Robert Frost and 'Because I could not Stop for Death' by Emily Dickinson: A Comparative Study." SMART MOVES JOURNAL IJELLH 8, no. 4 (April 28, 2020): 127. http://dx.doi.org/10.24113/ijellh.v8i4.10529.
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The study of literature is obviously the study of life and death. Literature deals with several nuances of life, death and the philosophies connected. Literature mirrors life and that is how we can realize what life is in a very meaningful way. In literature most of the poetry enlightens the readers through such meanings. This paper focuses on two eminent poets of American literature, i.e. Robert Frost and Emily Dickinson, whose poetry mainly deals with life and death. Both the poets are known for their idiosyncrasies depicting their own style and content. Their poems are philosophical in nature, visualizing nature, relationship, divinity and spirituality. Both the poets were close to nature and spent their lives amidst the beauties of nature. Their poetry is simplistic and honest expressing the daily activities of life.
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Walker, Sam. ""[S]ongs of allusion": Sterling Brown, Harryette Mullen, and the Roots of Poetic Recycling." Journal of Modern Literature 47, no. 1 (September 2023): 118–35. http://dx.doi.org/10.2979/jml.00007.
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Abstract: While recent works by well-known critics and poets such as Marjorie Perloff, Craig Dworkin, and Kenneth Goldsmith have persuasively positioned poetic recycling and "unoriginal genius" as central to the development of modern and contemporary poetry, these writings generally overlook the ways in which vernacular forms, particularly the ballad and the blues, have provided a potent model for poetic recycling and intertextual play for poets in the twentieth century. African American poetry has been particularly attuned to the experimental possibilities of vernacular forms, and the poems of Sterling Brown and Harryette Mullen show how the roots of "unoriginal genius" might be seen to lie in hoary oral traditions. These poets suggest a different origin story for modernist citationality and provide a model for lyric expression embedded in collective poetic making.
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Abuhammam, Emad A., Zaid M. Al-dabbagh, Abdullah M. Ibrahim, and Ismail S. Almazaidah. "The Portrayal of Spring in English and Arabic Poetry: A Comparative Stylistic Study of Selected Poems." Journal of Language Teaching and Research 15, no. 2 (March 1, 2024): 355–63. http://dx.doi.org/10.17507/jltr.1502.04.
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This comparative study highlights many romantic affinities in some poems by modern and classic English and Arabic poets. These romantic poets represent spring similarly as a source of pleasure, peace, and comfort. They see spring as their place of sharing compassion, love, and happiness. The study is mainly based on the Parallelism theory of the American School of Comparative Literature which focuses on the parallel themes, linguistic devices, and images of different authors whose social, historical, traditional, and linguistic aspects are different (Bressler, 2011, p. 42). It also adopts the New Criticism’s methodology of analyzing poetic metaphors, symbols, structures, and similes. Their romantic compositions connect spring spiritually, aesthetically, and invisibly with these poets’ souls. They glorify and adopt spring and its influence on them as a symbol of pleasure and comfort.
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Lane, Eric. "“My body is its image, here”: Diasporic Identity and the Deconstruction of Binary Division in 21st Century Asian American Poetry." Oregon Undergraduate Research Journal 20, no. 2 (November 16, 2022): 155–63. http://dx.doi.org/10.5399/uo/ourj/20.2.11.
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This paper examines the poems of Franny Choi and Victoria Chang within the context of Asian American poetry, poetics, and criticism. It demonstrates how Choi and Chang’s work engage in a destabilization of binaries in order to rewrite and re-construct Asian American identity. A close reading of Choi’s “Chatroulette” from her collection, Soft Science, and Chang’s “Home” from her collection, Obit, reveals disruptions of five binary divisions, broadly identified as “high” poetic form and “low” poetic form, Eastern and Western, English and non-English, embodiment and disembodiment, and past and present. This paper argues that the deconstructions of these five binaries represent a search for belonging in the context of Asian American identity, as it is an identity that itself transverses the boundaries of “Asian” and “American.” This is supported by scholars of Asian American literature such as Michael Leong, Brigitte Wallinger-Schorn, and Zhou Xiaojing, who investigate how Asian American poets navigate alterity and cultural hybridity through innovation. It concludes by examining questions of home and belonging, theorizing that, for Asian American poets, reinventing language in a way that transgresses binaries and dichotomies allows for the construction of a new “home” that accepts the indeterminacies of identity, life, and death rather than resisting them.
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Khalif Al-naeemi, Zeena Younis, and Faisal Abdul-Wahhab Hayder Al-Doori. "September 11 as a Terrorist Atack in Lawrence Ferlinghetti's "History of the Airplane"." JOURNAL OF LANGUAGE STUDIES 5, no. 1 (January 23, 2022): 15–26. http://dx.doi.org/10.25130/jls.5.1.2.
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The September 11 attacks, also called the 9/11 attacks, the series of plane hijackings and suicide attacks perpetrated in 2001 by 19 militants connected with the Islamic extremist organizations Al-Qaeda against goals in the United States, are the deadliest terrorist attacks and an extraordinary event on American soil. The attacks on New York City and Washington, D.C. caused widespread death and destruction and sparked a massive United States counter-terrorism efforts. This study aims to explore the main trend of contemporary American poetry that deals with the topic of the September 11 attacks and to show the impact of September 11, 2001, on contemporary American poets. Many contemporary American poets in the period following the attack on the Twin Towers were influenced by the September 11 attacks. Many of the American poets consider the September 11 attacks a terrorist attack, and these poets are the ones who believe in the theory of terrorism, and Lawrence Ferlinghetti is one of them.