Journal articles: 'American Sonnets'

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BROMWICH, DAVID. "AMERICAN SONNETS." Yale Review 93, no. 2 (April 2005): 26–41. http://dx.doi.org/10.1111/j.0044-0124.2005.00902.x.

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Volkovynskyi, Oleksandr, and Serhiy Hnatenko. "Use of “Erase” Technique in Young American Poetry of the Early 21st Century: Architectonic and Structural Transformation of the Sonnet Canon." Pitannâ lìteraturoznavstva, no. 107 (June 30, 2023): 30–42. http://dx.doi.org/10.31861/pytlit2023.107.030.

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“Erasure” technique has gained particular popularity in young American poetry of the early 21st century. Its use entails partial deletion or discoloration of the earlier text by a famous writer. Only fragments of the precedent text remain, used to subsequently shape a different architectonic and semantic structure. Shakespeare’s sonnets are an attractive object for “erasure”. They are the primary source for “innovations” by the poet and artist Jen Bervin in her book “Nets” (2003), the title of which is “erased” from the very word “sonnets” – “nets”. From partially discolored but readable Shakespeare’s text Bervin handpicks the words, extremely important to generate her new meaning. Architectonically, these words remain in the same places as in Shakespeare’s sonnets. Thus, the canonical sonnet form serves only as a background for laconic modernized expression. By means of “erasure” Bervin bares the Shakespeare’s sonnets’ deep semantic “grid”, actualizing various intertextual nuances. The poetic invariant opens up for new interpretations. Moreover, “erasure” technique has a purely technical component, hence the canonical form of the sonnet is subjected to certain filtering. The author of the new text produces numerous contemporary meanings. Therefore, “erasure” technique becomes an effective means of actualizing precedent texts. Modern reader oftentimes has already lost interest in them, but thanks to the postmodern experiment, expressive and sometimes brilliant new creations appear in the form of text fragments. Gamification, inherent to “erasure”, renews communicative processes, involving the classical author, their text, the experimental author, and their new work, as well as the recipient, also able to find new options for constructing utterances.

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Yakovenko, Iryna. "African American history in Natasha Trethewey’s “Native Guard”." Synopsis: Text Context Media 27, no. 4 (December 25, 2021): 224–30. http://dx.doi.org/10.28925/2311-259x.2021.4.4.

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The article presents interpretations of the poetry collection “Native Guard” of the American writer Natasha Trethewey — the Pulitzer Prize winner (2007), and Poet Laureate (2012–2014). Through the lens of African American and Critical Race studies, Trethewey’s “Native Guard” is analyzed as the artistic Civil War reconstruction which writes the Louisiana Native Guard regiments into national history. Utilizing the wide range of poetic forms in the collections “Domestic Work” (2000), “Bellocq’s Ophelia” (2002), “Thrall” (2012), — ekphrastic poetry, verse-novellas, epistolary poems, rhymed and free verse sonnets, dramatic monologues, in “Native Guard” (2006) Natasha Trethewey experiments with the classical genres of villanelle (“Scenes from a Documentary History of Mississippi”), ghazal (“Miscegenation”), pantoum (“Incident”), elegy (“Elegy for the Native Guard”), linear palindrome (“Myth”), pastoral (“Pastoral”), sonnet (the ten poems of the crown sonnet sequence “Native Guard”). Following the African American modernist literary canon, Trethewey transforms the traditional forms, infusing blues into sonnets (“Graveyard Blues”), and experimenting with into blank verse sonnets (“What the Body Can Tell”). In the first part of “Native Guard”, the poet pays homage to her African American mother who was married to a white man in the 1960s when interracial marriage was illegal. The book demonstrates the intersections of private memories of Trethewey’s mother, her childhood and personal encounters with the racial oppression in the American South, and the “poeticized” episodes from the Civil War history presented from the perspective of the freed slave and the soldier of the Native Guard, Nathan Daniels. The core poems devoted to the 1st, 2nd and 3rd Louisiana regiments in the Union Army formed in 1862, are the crown sonnet sequence which variably combine the formal features of the European classical sonnet and the African American blues poetics. The ten poems are composed as unrhymed journal entries, dated from 1862 to 1865, and they foreground the reflections of the African American warrior on historical episodes of the Civil War focusing on the Native Guard’s involvement in the military duty. In formal aspects, Trethewey achieves the effect of continuity by “binding” together each sonnet and repeating the final line of the poem at the beginning of the following one in the sequence. Though, the “Native Guard” crown sonnet sequence does not fully comply with the rigid structure of the classical European form, Trethewey’s poetic narrative aims at restoring the role of the African American soldiers in the Civil War and commemorating the Native Guard. The final part of the collection synthesizes the two strains – the personal and the historical, accentuating the racial issues in the American South. Through the experience of a biracial Southerner, and via the polemics with the Fugitives, in her poems Natasha Trethewey displays that the Civil Rights Act has not eliminated racial inequality and racism. Trethewey’s extensive experimentation with literary forms and style opens up the prospects for further investigation of the writer’s artistic methods in her poetry collections, autobiographical prose, and nonfiction.

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Вороневская, Н. В. "On the Typology of Translations of R. M. Rilke's Poetry into English." Иностранные языки в высшей школе, no. 4(55) (March 5, 2021): 23–30. http://dx.doi.org/10.37724/rsu.2020.55.4.003.

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В статье рассматриваются разновременные переводы XXI сонета первой части «Сонетов к Орфею» Р. М. Рильке, выполненные британскими и американскими переводчиками. Изучение типологии поэтического перевода на примере лирического цикла Рильке основывается на классификации поэтического перевода, разработанной Р. Р. Чайковским. Проанализированные в статье переводы XXI сонета первой части в интерпретациях американских переводчиков Р. Блая и Л. Норриса (в соавторстве с А. Килом) представлены прозаическим и адекватным переводами соответственно. Британский поэт и переводчик Д. Патерсон использует сонеты Рильке как основу для создания поэтической версии оригинала, навеянной мотивами переводимого произведения. Сравнение трех переводов XXI сонета позволяет сделать выбор в пользу адекватного перевода Л. Норриса и А. Кила, в котором воссозданы не только образы оригинала, но и его уникальная поэтическая форма. В прозаической интерпретации сонета Р. Блая не учтены ни жанровые характеристики сонета, ни индивидуально-авторский стиль Рильке. The article deals with the different-time translations of the XXI sonnet of the first part of “Sonnets to Orpheus” by R. M. Rilke made by British and American translators. The study of the typology of poetic translation with examples drawn fromRilke’s lyric cycle is based on the classification of poetic translation developed by R. R. Tchaikovsky. The analyzed translations of the XXI sonnet of the first part in the interpretations of the American translators R. Bly and L. Norris (co-authored with A. Keel) are presented by prosaic and adequate translations, respectively. Inspired by Rilke’s original, the British poet and translator D. Paterson uses Rilke’s sonnets as a basis for creating his poetic version (i. e. interpretation based on the original) of the German sonnets. Comparing three English translations of the XXI sonnet allows us to make a choice in favor of the adequate translation made by L. Norris and A. Keel, in which not only the images of the original but also its unique poetic form are thoroughly recreated. In the prosaic interpretation of R. Bly’s sonnet, neither the genre characteristics of the original sonnet nor Rilke’s individual style are taken into account.

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E. M. Deniz Newlin, Donna Louisa. "The Sonnet Tradition and Claude McKay." English Journal 99, no. 1 (September 1, 2009): 99–105. http://dx.doi.org/10.58680/ej20097717.

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Voronevskaya, Natalia V. "ON ENGLISH TRANSLATIONS OF R. M. RILKE’S POETIC LANGUAGE." Вестник Пермского университета. Российская и зарубежная филология 13, no. 2 (2021): 89–96. http://dx.doi.org/10.17072/2073-6681-2021-2-89-96.

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This study aims to assess the adequacy of the form of German sonnets when reproduced in English translations. The focus is on interrogative sentences, which, together with the sonnet in the form of a macro-sentence, the shortened verse and enjambment, are the characteristics of the innovative features of Sonnets to Orpheus by R. M. Rilke. The lyrical cycle Sonnets to Orpheus is among the most translated into world languages of Rilke’s poetry works, as well as Duino Elegies. Both professional and amateur poets and translators have been competing to put the Austrian writer’s best poems into English. Here we examine more than twenty English translations of the Sonnets into English, made from 1936 to 2008. The importance of the comparative linguistic-stylistic study of the original and its translations is determined by the continuing interest in Rilke’s works in English-speaking countries and the necessity to understand the principles of reconstructing the features of Rilke’s poetics using the English language. The system of methods used in this work includes: historical and philological analysis, comparative linguistic and stylistic description, as well as comparative analysis of the original and translation in the form that was developed in the works of V. Bryusov (1905), N. Gumilev (1919), M. Lozinsky (1935), E. Etkind (1963), S. Goncharenko (1987). We have found that the innovative nature of German sonnets is not always reflected in English translations. In some translations, American and British translators significantly modified the form of the original: interrogative sentences dominating in XVII and XVIII sonnets of the second part of the lyric cycle were not reproduced in English translations made by G. Good, D. Young, C. Haseloff, N. Mardas Billias and others.

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Burcar, Lilijana. "Old Aesthetics, New Ethics." Acta Neophilologica 56, no. 1-2 (December 8, 2023): 91–106. http://dx.doi.org/10.4312/an.56.1-2.91-106.

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The depiction of the class struggle features prominently in the American canon of the first half of the 20th century. However, the emphasis has been almost exclusively on prose fiction to the exclusion of the works of poets such as Claude McKay, one of the central figures of the early Harlem Renaissance and the leading figure among socially engaged English-speaking poets at the time. The article redresses this imbalance by drawing attention to McKay’s socially engaged sonnets, which helped to expand the horizons and culturally empower the exploited poor in America (and by extension the proletariat in England) to resist and overcome racist ideology in their common struggle for universal social justice. McKay makes use of a traditional, highly aestheticized sonnet form, while giving it a new ethical premise and fresh impetus.

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Malech, Dora, and Laura T. Smith. "Sonnets from the American: An Introduction." Hopkins Review 14, no. 2 (2021): 176–78. http://dx.doi.org/10.1353/thr.2021.0061.

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Kempton, Karl. "The Ramadan Sonnets." American Journal of Islam and Society 14, no. 1 (April 1, 1997): 129. http://dx.doi.org/10.35632/ajis.v14i1.2264.

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Best book of poems I’ve read in years by a contemporary and have had thepleasure of being lifted by, shot into the orbit of harmonious rapture grins andthe joyousness of countless YES, O, YES. The collection resonates and purifiesthe deep sweet water in the cells where the real self drinks. The resonatingbuilds stanza by stanza, poem after poem, informed by an American spiritualand mystical lineage from Transcendentalism to the Beats of the BeatitudeVision into as-yet-to-be identified and named Third Wave, holding in itsunnumbered beckoning hands the world‘s mystical poetry body. Moore’s spectacularcontribution to this present building surge arrives before his audiencewith a thorough immersion in Islam’s Sufi way. This is experience inspired intosong, not a complex geometry of imaginary gymnastics afloat in an alienatedmental life ...

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Regan, Stephen. "The Sonnet and its Travels." CounterText 3, no. 2 (August 2017): 162–75. http://dx.doi.org/10.3366/count.2017.0086.

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As well as being one of the oldest and best known of all poetic forms, the sonnet is also one of the most widely travelled. Critical studies of the sonnet in English have traced its historical development from its Italian predecessors, through its domestication in Elizabethan England, to its remarkable popularity among modern British, Irish, and American poets. There is still much to learn, however, about the geography of the sonnet. This essay looks at some of the ways in which the sonnet has been shaped in places distant from its familiar European cultural domain: in Roy Campbell's South Africa, Allen Curnow's New Zealand, and Derek Walcott's St Lucia. It claims that, paradoxically, the intense compression of the sonnet form generates a powerful preoccupation with worldwide vision. It also proposes that the shape and size of the sonnet makes it an especially attractive form for poet-translators, and that the circulation of translations, imitations, and versions of sonnets greatly enhances the geographical mobility of the form. The essay concludes that some of the most innovative experiments with the sonnet form, by writers such as Don Paterson and Paul Muldoon, have been those concerned with latitude, and with the crossing of cultural and geographical boundaries.

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Ryan, Jennifer. "The Transformative Poetics of Wanda Coleman’s American Sonnets." African American Review 48, no. 4 (2015): 415–29. http://dx.doi.org/10.1353/afa.2015.0048.

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Muhammad Mansha. "WHITENESS IN SHAKESPERE’S SONNETS." Inception - Journal of Languages and Literature 2, no. 1 (June 24, 2022): 40–54. http://dx.doi.org/10.36755/ijll.v2i1.25.

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Now a day the racial theorem is being used to study Shakespeare's works. The problem of whiteness is explored in his sonnets. He cherishes whiteness more than blackness. Elizabethan policies included the idea that being white was a sign of supremacy, and the sonnets served as a cover for contemporary racial views. Racism and racial injustice are inextricably linked to whiteness. Though invisible, it is a universal phenomenon. Whiteness allows people with fair skin to economically and culturally oppress people of color. According to Hall, an important aspect of early modern writings that contributes to the creation of the white subject is the "Africanist" presence. Whiteness is a potent, covertly hegemonic discourse that oppresses people of color. Whiteness and blackness are in binary antagonism. This African-American presence ultimately fosters a sense of white superiority. This conflicting mindset rekindles the debate over whiteness. The research demonstrates how Shakespeare's portrayals of a young man and a dark lady privilege whiteness and shape white identity. The young guy has been presented in charming terms, whereas Dark Lady has been regarded negatively in terms of culture, morality, and sexuality. The black lady is condemned for acting immorally. She is not considered one of the chaste women. Shakespeare creates a triple-turned-whore character for her. The young, fair, and intelligent person is glorified, and his generational continuation is taken into consideration. The study helps to dismantle the stereotype that exempts Shakespeare from racism.

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Mustafa, Hameed Abdullah, and Sherzad Shafi'h Barzani. "The African-American Poets' Struggle for the Rights of People: A Study in Claude McKay's Selected Poems." Twejer 3, no. 3 (December 2020): 821–66. http://dx.doi.org/10.31918/twejer.2033.22.

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This study scrutinizes selected protest poems written by the prominent black poet of the Harlem Renaissance Claude McKay (1889-1948). McKay is considered as a key literary figure of the Negro movement who played a significant role in struggling for and awakening his own people to demand their rights. His major aspiration was to end all forms of prejudice and oppression against blacks portrayed in his poems during the most effective movement in African American literary history comprising the times between 1920 to almost the mid-1930s. McKay established himself as a powerful literary voice for social justice during the Harlem Renaissance constantly struggling for people's identity and rights against the widespread prejudice, segregation, and racism against blacks in America and worldwide along with his pride in his black race and culture. These central issues had different impacts on the Harlem Renaissance and on the lives and works of those who participated in that movement; depicting how both race and racism could deﬁne the African American experience in the early twentieth century, as well. McKay, skillfully combined traditional forms and political protest in many of his sonnets. He took the old poetic genre and made it new and relevant to his own project by examining within its bounds unconventional and contemporary subjects. Along with his poetic diction and imagery, he juxtaposes contrasting images to show the hypocritic nature of America, showing his inevitable faith in the country. McKay's enthusiasm for and belief in the authority of intellectuals was strengthened by his understanding of America's deep-rooted racism. He closes many of his sonnets with gloomy observations of blacks' sufferings. The clear conclusion of his struggle was the fact that negro writers succeeded in showcasing the sufferings of people, incited blacks to demand their legal rights, and proved they are capable of everything and as genius as whites. Keywords: McKay, Struggles, Racism, identity, prejudice, rights.

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Stubbs, John. "Shakespeare’s Sonnets in the Slovene Translation of Janez Menart." ELOPE: English Language Overseas Perspectives and Enquiries 20, no. 2 (December 22, 2023): 105–20. http://dx.doi.org/10.4312/elope.20.2.105-120.

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The poet Janez Menart was a major figure in the postwar Slovene literary milieu. As such, his complete translation of Shakespeare’s Sonnets is of great interest in its own right. When placed in the broad framework of Skopos theory, the translation and the critical argument surrounding it also illuminate the irreconcilable nature of certain divergent approaches to literary translation. The chief point my remarks here will attempt to add to the discussion is that, notwithstanding the licence Menart occasionally permitted himself, his rendering of the work as a whole displays an uncanny sense of the logic and cohesion of the overall sequence the Sonnets comprise. His practical handling of the poems anticipated later trends in Anglo-American editorial scholarship; his translation manages to be both a classic in its own language and to offer a significant, if internationally overlooked reading of the original text.

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Pollak, Zoë. ""Gardens of Decay": Decomposing Nature in Frederick Goddard Tuckerman's American Sonnets." ELH 90, no. 3 (September 2023): 799–825. http://dx.doi.org/10.1353/elh.2023.a907209.

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Verducci, Erica. "Ellis Island." Polisemie 1 (April 3, 2020): 23–46. http://dx.doi.org/10.31273/polisemie.v1.605.

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Italian-American writer of the third-generation Robert Viscusi tells about the migratory tragedy of Italians in North America in his Ellis Island, a strongly innovative collection which combines history and autobiography. The poem consists of 624 sonnets unfolding through personal memories, historical researches and bold metaphors. The well-known opposition between earth and sea becomes here a match and a very realistic argument on the idea of transformation and mutability typical of a part of humanity that changes through migration. Ellis Island is the final place of changes, just as the poem itself, which can be read in the printed and static version, but also in the ever-changing, randomly generated one, available on the dedicated website by the author’s decision. A form in line with the content and its true meaning.

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Davis, Clark. "Very, Garrison, Thoreau." Nineteenth-Century Literature 74, no. 3 (December 1, 2019): 332–59. http://dx.doi.org/10.1525/ncl.2019.74.3.332.

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Clark Davis, “Very, Garrison, Thoreau: Variations on the Antebellum Passive” (pp. 332–359) This essay contends that the poetry of Jones Very, often considered predominately “mystical,” was deeply engaged in political debates of the era. Not only did Very often write poems with an avowedly public purpose, but his seemingly otherworldly, spiritual sonnets sometimes participated in antebellum political debates. The sonnet “The Hand and Foot” (1839), for instance, describes a mode of Christian passivity and quietism that echoes the contemporaneous call for passive “non-resistance” to slavery found in William Lloyd Garrison’s 1838 “Declaration of Sentiments,” the foundational statement of the New England Non-Resistance Society. Very’s poem also describes a mode of Christian behavior that is radically disruptive of social conformity, a kind of embodied “prayer” that may have influenced Henry David Thoreau’s more famous manifesto of passive resistance, “Resistance to Civil Government” (1849). Thoreau witnessed Very’s passive but disruptive behavior on more than one occasion in Concord, Massachusetts, well before his own unique dramatization of nonconformity in the mid 1840s. Comparing Very’s erasure of individual will to Thoreau’s more canny deployment of passivity can help us clarify antebellum modes of passive engagement as they evolved toward the eventual violence of John Brown’s raid and the American Civil War.

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Flynn, Christopher. "Coleridge'S AMERICAN Dream: Natural Language, National Genius And The Sonnets Of 1794-95." European Romantic Review 13, no. 4 (January 2002): 411–25. http://dx.doi.org/10.1080/10509580214656.

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Blackman, Shane. ""Listen to Irene Cara", "Octavio Paz and the Nobel", "The Goals of Diego Maradona"." Latin American Literary Review 49, no. 99 (September 9, 2022): 83–84. http://dx.doi.org/10.26824/lalr.333.

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These 3 sonnets explore the lives of pop-star Irene Cara, author and Nobel Prize winner Octavio Paz, and soccer legend Diego Maradona. Though one major sonnet form from literary history has included iambic pentameter, the sonnets here drop the iambic part, but keep the pentameter. In the history of the sonnet, there traditionally have been rhyme schemes. There is no particular rhyme scheme in these 3 sonnets. They are written with a mixture of free verse and rhyming. The poems span across Latin America -- from Mexico to Argentina and from Cuba to Puerto Rico -- and they celebrate the rich musical, literary, and sporting worlds of three icons and legends. The 3 sonnets employ ordinary language to describe extraordinary people, so that everyone and all readers can be inspired to be creative and to enjoy, shape, and impact the world.

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Nuralova, Stella. "“What a Soul in Those Soaring Shapes”: Transcaucasia in XIX century British Writing." Armenian Folia Anglistika 1, no. 1-2 (1) (October 17, 2005): 119–23. http://dx.doi.org/10.46991/afa/2005.1.1-2.119.

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In his work “Transcaucasia and Ararat”, J. Bryce, the founder of the Anglo-American company, refutes the stereotypes about the Transcaucasia, reveals the true picture of ethnic cooperation in the region and presents the interest of the English toward Mount Ararat. The book by yet another author – H.F. B, “Armenia: Journey and Investigation” is a combination of two separate journeys from 1893 to 1898. Lynch is quite enthusiastic about the “mountain of the Ark, the mythical paradise”. Finally, in his collection of sonnets titled “The Purple East” W. Watson defends the dying nation, “a homeless nation” which “is stretching its arms in a prayer”. The works of the authors mentioned need further and detailed research especially in our days, when the new world order is underway.

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Green, Edward. "Interview with Composer George Tsontakis." ICONI, no. 2 (2020): 38–49. http://dx.doi.org/10.33779/2658-4824.2020.2.038-049.

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This interview for the journal ICONI, taken by Dr. Edward Green, Professor at the Manhattan School of Music, is with one of the leading composers of the United States, George Tsontakis. A professor at Bard Conservatory of Music, he is the recipient of numerous awards for his work, including the prestigious Grawmeyer Award for his Second Violin Concerto. Professor Tsontakis’ work — nearly all of it commissioned — is wide-ranging in terms of genre, imaginative in its orchestrations, and always strongly emotional. Included in this interview are discussions of some of the biographical background to a number of his major pieces, including The Past, The Passion. Among the subjects discussed is the meaning of “concerto.” Several of his concertos and concerto-like compositions are specifically discussed in this interview, including Man of Sorrows (piano), and Sonnets (English Horn). The interview also touches upon his relations with two important American composers of earlier generation: George Rochberg, and Roger Sessions — who had been Tsontakis’ teacher of composition at Julliard.

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Kamionowski, Jerzy. "From “where I live” to “my slave songs”: Integrity and Extension in Wanda Coleman’s Poetry." Crossroads. A Journal of English Studies, no. 41(2) (2023): 35–54. http://dx.doi.org/10.15290/cr.2023.41.2.03.

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This article discusses Wanda Coleman’s poetry in terms of two interconnected categories which launched the studies of black literature by Craig Werner: “integrity” and “extension”. These categories are assumed to correspond to the standard critical perception of Coleman’s oeuvre as content- and form-oriented, respectively, where the former pre-conditions the latter. However, the implemented concepts not only demonstrate how well-acquainted the poet was with the everyday ghetto lives of poor black women and with multiple forms of discrimination against them (“integrity”), but also reveal her experimental attitude to language and to formal dimensions of poetry (“extension”). Also, a close reading of Coleman’s protracted series of American jazz sonnets and her “Retro Rogue Anthology” poems reveals that this formal strategy extended her attention to a new subject matter (i.e., history, culture, and black identity), perceived and presented from a collective black perspective. Eventually, Coleman’s re-writing of white classic poems bears the marks of the strategy of Signifyin(g) combined with the iconoclastic tradition pioneered by Friedrich Nietzsche.

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Luboń, Arkadiusz. "Scalanie uniwersum. Krytyka translatorska pośród kontekstów recepcji przekładowej poezji H.P. Lovecrafta w Polsce." Krytyka przekładu i okolice, no. 42 (December 29, 2021): 92–115. http://dx.doi.org/10.4467/16891864pc.21.019.14330.

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Consolidating the Universe. Translation Criticism among Contexts of Translational Reception of H.P. Lovecraft’s Poetry in Poland The article discusses the influence of translator’s criticism and other extra-textual factors on the translations of poetry by Howard Phillips Lovecraft. Since the very first renditions of his Fungi from Yuggoth sonnets by Jerzy Płudowski and Leszek Lachowiecki included in two anthologies of horror poetry, Polish versions of Lovecraft’s verses have always been modified in the process of interlinguistic transfer according to either sole preferences of the publishing houses and evaluations proposed by critics of the English originals or the translators’ reception of the previous Polish variants. In most cases these modifications resulted from more or less stereotypical visions of the American writer held by the translators and were aimed at establishing links to his other works already published in Poland (short stories, essays, letters). Thus effects of the semantic shifts, detectable also in the latest variants by Krzysztof Azarewicz and Mateusz Kopacz, can be referred to as consolidating the universe of the writer’s biographical legend and literary works which is more coherent in the Polish target texts than in the originals.

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Cho, Yi-kyung. "A Study on the Social Plurality of Poetry and Films Heralding the American Political History: Star Trek Series and Shakespeare’s Sonnets." Journal of Humanities and Social sciences 21 8, no. 6 (December 31, 2017): 995–1010. http://dx.doi.org/10.22143/hss21.8.6.67.

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

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

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Gadapee, Carlene M. "American Sonnet for the Sonnet." English Journal 110, no. 5 (May 1, 2021): 74. http://dx.doi.org/10.58680/ej202131237.

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Spinks, Lee. "The Names Alive Are Like the Names in Graves: Black Life and Black Social Death in Terrance Hayes's American Sonnets for My Past and Future Assassin." Intertexts 27, no. 1 (March 2023): 60–80. http://dx.doi.org/10.1353/itx.2023.a907254.

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SHADLE, DOUGLAS. "Nineteenth-Century Music." Journal of the Society for American Music 9, no. 4 (November 2015): 477–84. http://dx.doi.org/10.1017/s1752196315000401.

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Musicological research on nineteenth-century music blossomed during the 1970s. The surge was solidified with the founding of the journal 19th-Century Music in 1977, roughly a year after the establishment of the Sonneck Society and a decade before the appearance of AmeriGrove I. During this decade, the journal published seven articles on nineteenth-century American subjects (all on the United States, not other American regions or countries). By contrast, the official journal of the Sonneck Society, American Music, published nearly twice that number between 1983 and 1986 alone. Although this simple metric has sociological explanations exceeding the scope of this review, it suggests that work on nineteenth-century music in the Americas stood at some remove from general musicological discourse in the Sonneck Society's early days.

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Rai, Kamal. "Structural Reflection: Race and Class in James Baldwin’s “Sonny’s Blues”." Mindscape: A Journal of English & Cultural Studies 2, no. 1 (December 31, 2023): 79–86. http://dx.doi.org/10.3126/mjecs.v2i1.61683.

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This research paper explores that the African American repression against the Afro- American community in American society takes place primarily due to two factors: race and class. Behind the story of the dejected position of the Black community, there is not only a single reason but rather multiple factors that are intertwined. Basically, Baldwin’s story "Sonny’s Blues" represents that race and class seem to be contributing aspects to their disregarded presence in society. In addition, most people believe that Afro-Americans are treated as others simply due to racism in the white-dominated American society. However, using two theories: Marxist classism and African American theories, analyzing the story Sonny’s Blues, this paper aims to show how both class and race simultaneously become the basic foundation of oppression against the Afro- American community. Actually, for how long and how deeply Afro-Americans have been subjugated in American society as a consequence of their race and economic class. It means the story reveals both economic class and race would be responsible for their wretched status in the White Mainstream American society.

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Moore, J. P. "* Renegade Poetics: Black Aesthetics and Formal Innovation in African American Poetry * Anthems, Sonnets, and Chants: Recovering the African American Poetry of the 1930s * The Muse Is Music: Jazz Poetry from the Harlem Renaissance to Spoken Word." American Literature 84, no. 3 (January 1, 2012): 664–66. http://dx.doi.org/10.1215/00029831-1664782.

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Coleman, Wanda. "American Sonnet (54)." Callaloo 19, no. 3 (1996): 764. http://dx.doi.org/10.1353/cal.1996.0111.

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Coleman, Wanda. "American Sonnet (55)." Callaloo 19, no. 3 (1996): 765. http://dx.doi.org/10.1353/cal.1996.0112.

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Cooley, Peter. "An American Sonnet." Psychoanalytic Perspectives 3, no. 2 (March 2006): 99. http://dx.doi.org/10.1080/1551806x.2006.10472957.

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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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Hayes, Terrance. "American Sonnet for Generic Carousel Music, and: American Sonnet for the Magic Carrots, and: American Sonnet & Golden Shovel for the Tree of Liberty." Hopkins Review 14, no. 2 (2021): 167–69. http://dx.doi.org/10.1353/thr.2021.0056.

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Hayes, Terrance. "American Sonnet for My Past and Future Assassin, and American Sonnet for My Past and Future Assassin, and American Sonnet for My Past and Future Assassin." New England Review 39, no. 1 (2018): 122–24. http://dx.doi.org/10.1353/ner.2018.0018.

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Morgan, Paula, and William Lichtenwanger. "Oscar Sonneck and American Music." Notes 42, no. 3 (March 1986): 554. http://dx.doi.org/10.2307/897345.

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Epstein, Dena J., William Lichtenwanger, and Irving Lowens. "Oscar Sonneck and American Music." American Music 4, no. 2 (1986): 221. http://dx.doi.org/10.2307/3051988.

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Jaros, Peter. "A Double Life: Personifying the Corporation from Dartmouth College to Poe." Poe Studies 47, no. 1 (2014): 4–35. http://dx.doi.org/10.1353/poe.2014.a565302.

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This essay pursues the prehistory of contemporary debates over corporate personality by investigating the early nineteenth-century American corporate imaginary In 1819, Dartmouth College v. Woodward enshrined the common-law definition of the corporation—an artificial person, immortal and invisible—in American jurisprudence. In contrast, contemporaneous satirical poems on failing banks personified corporations as strikingly visible and mortal. In subsequent decades, Poe drew on the legal doctrine of artificial personhood in a number of works—the sonnet “Silence” and the tales “William Wilson” and “Peter Pendulum, the Business Man”— and juxtaposed it unsettlingly with the so-called natural personhood of human beings. Whereas literary scholarship on antebellum legal personhood has principally explored the contested status of African Americans, this essay argues that the early corporation confronted both jurists and lay writers with an idea of personhood irreducible to the human being. It shows how Poe’s work, in particular, articulates the challenges posed by the complex ontology and ghostly genealogy of the corporation to the logic of human identity.

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Hayes, Terrance. "American Sonnet for My Past and Future Assassin." Ploughshares 44, no. 1 (2018): 70–73. http://dx.doi.org/10.1353/plo.2018.0013.

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Braggs, Rashida K. "Evoking Baldwin’s Blues: The Experience of Dislocated Listening." James Baldwin Review 1, no. 1 (September 29, 2015): 152–63. http://dx.doi.org/10.7227/jbr.1.9.

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“It is only in his music [. . .] that the Negro in America has been able to tell his story. It is a story which otherwise has yet to be told and which no American is prepared to hear,” so wrote James Baldwin in “Many Thousands Gone.” Throughout his career, James Baldwin returned to this incomprehension of African-American experience. He continually privileged music in his literature, crafting his own literary blues to address it. Baldwin’s blues resonated even more powerfully and painfully for its emotional and geographical dislocation. In this article, Rashida K. Braggs argues that it was the combination of music, word, and migration that prompted Baldwin’s own deeper understanding. Exploring her term dislocated listening, Braggs investigates how listening to music while willfully dislocated from one’s cultural home prompts a deeper understanding of African-American experience. The distance disconcerts, leaving one more vulnerable, while music impels the reader, audience, and even Baldwin to identify with some harsh realities of African-American experience. Baldwin evokes the experience of dislocated listening in his life and in “Sonny’s Blues.” Braggs also creates an experience of dislocated listening through her video performance of Baldwin’s words, thus attempting to draw the reader as well into a more attuned understanding of African-American experience.

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Yakovenko, I. V. "CONTEMPORARY AFRICAN AMERICAN WOMEN’S SONNET: BETWEEN TRADITION AND INNOVATION." Language. Literature. Folklore, no. 2 (2021): 156–65. http://dx.doi.org/10.26661/2414-9594-2021-2-21.

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Austenfeld, Thomas. "Müller, Timo: The African American Sonnet: A Literary History." Zeitschrift für Anglistik und Amerikanistik 69, no. 2 (June 1, 2020): 199–201. http://dx.doi.org/10.1515/zaa-2021-2042.

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Balkun, Mary M. "The American Sonnet: An Anthology of Poems and Essays." Resources for American Literary Study 45, no. 1 (May 2023): 249–54. http://dx.doi.org/10.5325/resoamerlitestud.45.1.0249.

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Anderson, Gillian B. "Putting the Experience of the World at the Nation's Command: Music at the Library of Congress, 1800-1917." Journal of the American Musicological Society 42, no. 1 (1989): 108–49. http://dx.doi.org/10.2307/831419.

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Between 1800 and 1917 the music section at the Library of Congress grew from a few items in The Gentleman's Magazine to almost a million items. The history of this development provides a unique view of the infant discipline of musicology and the central role that libraries played in its growth in the United States. Between 1800 and 1870 only 500 items were acquired by the music section at the Library of Congress. In 1870 approximately 36,000 copyright deposits (which had been accumulating at several copyright depositories since 1789) enlarged the music section by more than seventy fold. After 1870 the copyright process brought an avalanche of music items into the Library of Congress. In 1901 Herbert Putnam, Librarian of Congress, hired American-born, German-educated Oscar Sonneck to be the second Chief of the Music Division. Together Putnam and Sonneck produced an ambitious acquisitions program, a far-sighted classification, cataloging, and shelving scheme, and an extensive series of publications. They were part of Putnam's strategy to transform the Library of Congress from a legislative into a national library. Sonneck wanted to make American students of music independent of European libraries and to establish the discipline of musicology in the United States. Through easy access to comprehensive and diverse collections Putnam and Sonneck succeeded in making the Library of Congress and its music section a symbol of the free society that it served.

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Kramer, Michael P. "The raison d'être of "The New Colossus"." Partial Answers: Journal of Literature and the History of Ideas 22, no. 2 (June 2024): 355–77. http://dx.doi.org/10.1353/pan.2024.a930408.

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Abstract: Combining textual analysis, cultural contextualization, and the history of ideas, this essay excavates the complex "literal sense" of Emma Lazarus's iconic sonnet, "The New Colossus." Beginning with the deliberate misreading of the statue's intended and acknowledged signification and noting the poem's network of contrarieties, the essay dwells on the contrast between the "wretched refuse" on Ward's Island and decadent Gilded Age exhibition where the poem was first read; it goes on to argue that the poem disables the connection between progress and poverty, reinvigorates the rhetoric of asylum, points to the Hebraic roots of American history, and reimagines American modernity as a benign merging of contrarieties.

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Vértiz, Vickie. "La Cuenta, and: We Had to Become Doves: An American Sonnet." Pleiades: Literature in Context 42, no. 1 (March 2022): 74–75. http://dx.doi.org/10.1353/plc.2022.0069.

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Romero Luque, Manuel. "El soneto modernista (Manuel Machado como paradigma)." Rhythmica. Revista Española de Métrica Comparada, no. 15 (February 2, 2018): 113. http://dx.doi.org/10.5944/rhythmica.21190.

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El soneto es una forma métrica privilegiada, hasta el punto de traspasar los límites de su consideración como estrofa y adentrarse en los del género literario. Desde su nacimiento en el medievo siciliano, el soneto se extendió por toda la literatura occidental con notable éxito y no ha dejado de cultivarse hasta hoy. Una razón de esta pervivencia ha sido, sin duda, su capacidad para adaptarse a las distintas épocas y modos estéticos. En el caso de las letras hispánicas, un momento clave fue la llegada del modernismo y la implantación de un nuevo credo poético. La corriente venía de América y fue Rubén Darío su principal valedor; pero rápidamente el ámbito peninsular acogió con satisfacción sus novedades. Manuel Machado ha sido un claro exponente de la materialización de aquellas transformaciones: la alteración de su estructura (aun conservando su carácter de obra perfectamente trabada), la diversidad de metros empleada, el enriquecimiento de sus rimas o la asimilación de variedades ajenas a la tradición en lengua española.The sonnet is a privileged metrical form, it even runs through the limits of its consideration as a stanza to go into the ones of a literary genre. Since it was born in the Sicilian Medieval period, the sonnet spread over all the western literature with a remarkable success and it has never stopped of being practised since then. A reason for that, without a doubt, it has been its capacity of conforming to the diff erent ages and aesthetic patterns. In the case of Hispanic writings, a key moment was the appearance of Hispanic American modernism and the implementation of a new poetical creed. This literary trend came from America and Ruben Dario was its main defender, but it was easily accepted in Spain despite its novelties. Manuel Machado has been a clear example of how those transformations became real: the alteration of its structure (although the stanza conserved its character or work perfectly ensembled), the diversity of verses, the prosperity of its rhymes or the assimilation of varieties from out of the Spanish language’s tradition.

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Hong, Anna Maria. "Three Mothers, Two Eves: Female Virtuosity and Outrage in the American Sonnet." Hopkins Review 14, no. 2 (2021): 202–7. http://dx.doi.org/10.1353/thr.2021.0066.

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Quina, Kathryn, and Ann M. Varna Garis. "Sex In The Therapy Hour." Psychology of Women Quarterly 19, no. 2 (June 1995): 291–93. http://dx.doi.org/10.1177/036168439501900202.

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Sexual Feelings In Psychotherapy: Explorations For Therapists and Therapists-In-Training, Kenneth S. Pope, Janet L. Sonne, and Jean Holroyd. Washington, DC: American Psychological Association, 1993. 304 pp., $24.95. ISBN: 1-55798-201–5. Sexual Involvement with Therapists: Patient Assessment, Subsequent Therapy, Forensics, Kenneth S. Pope. Washington, DC: American Psychological Association, 1994. 176 pp., $24.95. ISBN: 1-55798-248–1.

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Journal articles on the topic 'American Sonnets'

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