Academic literature on the topic 'Biographical poetry'
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Journal articles on the topic "Biographical poetry"
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Bartczak, Kacper. "Be Poetics of Plenitude and the Poet’s Biography: Self-Creation in Some Later Poems by John Ashbery." Polish Journal for American Studies, no. 9 (2015) (July 20, 2023): 51–74. http://dx.doi.org/10.7311/pjas.9/2015/4.
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Thee article deals with the status of biographical references in John Ashbery’s later poetry. It is an attempt to work out an approach that, while keeping the biographical in view, is an alternative to the way in which the biographical has functioned in recent Ashbery scholarship. In discussing Ashbery’s strategy, I use the neo-pragmatist idea of aesthetic self-creation, especially a version of it developed by Alexander Nehamas in his writings on aesthetic objects. The term I am developing to discuss the variety of self-creation in Ashbery is “the emerging self,” and I see it as a component of a poetics which I am calling the pragmatist ironist poetics of plenitude. The emerging self of the poetics of plenitude, rising over the expanse of a lifetime of poetry writing, is a type of poetic authorial subjectivity whose relation to the empirical facts of the author’s biography reverses the relation between poetry and biography found in confessional poetry. The poetics of plenitude shows the biographical fact to be dependent on the poetic element on which it relies for its authenticity. Within the poetics of plenitude, it is the poetic that is the real and authentic.
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Salar Abdulqadr, Kizhan, Roz Jamal Omer, and Ranjdar Hama Sharif. "Ezra Pound's Poetry between Victorianism and Modernism: A Historical-Biographical Analysis." Technium Social Sciences Journal 21 (July 9, 2021): 826–32. http://dx.doi.org/10.47577/tssj.v21i1.3817.
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This paper examines the short poems of Ezra Pound, a group of works that have long been the subject of academic discussion in the field of literary analysis. Although Ezra Pound is typically considered a Modernist poet, some clear elements of Victorianism can be discerned within his revolutionary forms of poetry. The paper will offer a historical and biographical background to Pound's work before moving on to an analysis and discussion of the poet's short poems. While previous studies of Ezra Pound's poetry have adopted various critical approaches, we believe that this is the first study that compares the influence of Modernism and Victorianism on the work of this important figure in English verse of the early twentieth century.
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Yu, Xiaohan. "Research on Li Shangyin Outside Mainland China Since 2010." Communications in Humanities Research 32, no. 1 (April 26, 2024): 15–23. http://dx.doi.org/10.54254/2753-7064/32/20240004.
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In the last decade, research on Li Shangyin's poetry outside mainland China has notably shifted away from the traditional biographical interpretation method of "knowing the authors life and analyzing the work." A select few of these papers critically scrutinize the historical facts associated with Li Shangyin, unveiling fallacies in past biographical narratives and challenging the veracity of certain deeds. The majority of recent articles take a departure from the biographical approach, choosing instead to delve directly into the imagery, poetic artistic conception, and writing skills inherent in the text. These article provide in-depth analysis of the meaning and use of language, vocabulary and literary allusion. In some of them, emphasis is placed on the emotional and aesthetic value of Li Shangyin's poetry, with some scholars even regarding its "incomprehensibility" as an achievement rather than a shortcoming. In general, "what does the text of poetry express" has become an more and more important question.
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Bartol, Krystyna. "PINDAR ΙΣΧΝΟΦΩΝΟΣ (SCHOL. IN PI.O.6.88)." Cambridge Classical Journal 63 (December 2017): 1–10. http://dx.doi.org/10.1017/s1750270517000070.
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I argue in this article that the scholiast's claim (schol. in Pi.O.6.88) that Pindar was ἰσχνόφωνος meant that he was believed to be a stammerer rather than a weak-voiced person. I have attempted to show how later commentators developed some points of Alexandrian critics’ judgement of Pindar's poetry into a conventional biographical reference to the poet's speech defect.
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M, Gopi. "Biographical Thoughts in Contemporary Tamil Poetry (2005-2007)." International Research Journal of Tamil 4, S-3 (July 16, 2022): 208–15. http://dx.doi.org/10.34256/irjt22s332.
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Literature narrates the experiences of human life. In the nineteenth and twentieth centuries, despite the emergence of various literatures, the field of poetry began to take shape with a renaissance. Poetry is the way to find the norms of human life and in the theme 'Biographical Thoughts in Contemporary Tamil Poetry (2005-2007)', the idea of life is that human beings should live in unity without selfishness. There is no destruction to the wealth of education. Therefore, it is necessary to get a compulsory education. Exercise and meditation on a daily basis suggest that there should be perseverance, that the little money saved in youth should help in old age, that family planning should be enforced to reduce population growth, that children should come forward to protect themselves without leaving their parents in a nursing home, and that hunger should be avoided. By doing so one can maintain good health. It has been explored and explored through biological thoughts that life can be prosperous and spring if alcohol, liquor and gambling are kept on the right path to prevent the mind from going astray.
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Skarbek-Kazanecki, Jan. "When poetry becomes autobiography: anecdote as an interpretative tool in the Greek classical epoch." Tekstualia 2, no. 61 (August 15, 2020): 19–36. http://dx.doi.org/10.5604/01.3001.0014.3810.
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The article discusses the role of biography in the reception of archaic poetry in the classical period. As it is illustrated by a fragment of Critias (295W), in the fi fth century B.C. the archaic poetic traditions, previously transmitted orally through performance, began to be interpreted from a biographical perspective: fi rst-person statements were mostly associated with the poets themselves and treated as a source of biographical information; in other words, archaic poetry came to be seen as a kind of autobiography. Anecdotes about poets were used to interpret the same poems which had provided the basis for these false stories: as an interpretative tool, they simplifi ed old compositions, not always clear for the reader. Until the 1980s, classical philologists often relied on false testimonies from the classical and Hellenistic era, limited by their attachment to the biographical perspective.
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Xu, Yan (徐豔), and Qinming Zhang (張秦銘). "A Reinterpretation of Tao Yuanming’s Thirteen Poems from a Zhuangzian Perspective." Journal of Chinese Humanities 7, no. 3 (May 2, 2022): 218–57. http://dx.doi.org/10.1163/23521341-12340116.
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Abstract Although some scholars have successfully challenged the traditional biographical reading, which considers an author’s biography an important reference and proposed proper reinterpretations of many of Tao Yuanming’s poems, we still find its dominance in the interpretation of words and sentences, even the structure and theme in Tao’s poems. In light of this issue, this article reinterprets thirteen of Tao’s poems based on our detailed investigation of all the existing notes on them. Most biographical readings, shaped by the ideal image of intellectuals portrayed in the Analects, obscure the substantial connections with the Zhuangzi in Tao’s poetry. Our reinterpretation focuses on the intertextual relationship between Tao’s poems and the Zhuangzi. We can see that the influence of the Zhuangzi on Tao’s poetry is more extensive and far-reaching than previously considered. This can help us reveal the connection between Tao’s poetry and the metaphysical institution in the Eastern Jin dynasty, which took its view of life from the Zhuangzi, instead of taking Confucianism as the only source.
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Solov, T. V., and S. A. Shargunov. "‘Poems unspelled’: on Georgy Obolduev’s early poetry." Voprosy literatury, no. 4 (August 28, 2020): 91–101. http://dx.doi.org/10.31425/0042-8795-2020-4-91-101.
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In her interview with S. Shargunov, editor-in-chief of the Yunost magazine, a writer and a public figure, the critic T. Solovyova raises various problems and questions. Among these are questions of contemporary literature, which, Shargunov believes, relies too much on the principles of stability and elegance, and needs some kind of a shock; the fate of thick literary magazines, which no longer can survive in a Soviet reservation and have started to actively explore the world around them; and the principles of biographical research, which is largely based on the invention of the protagonist, etc. The interview is concerned with Shargunov’s own prose, including his biographical novel about Valentin Kataev, his first experience in serious research, as well as works by Shargunov’s contemporaries, including authors of the same age. At the same time, the interview deliberately avoids politics and ideology; it does not discuss Shargunov’s activities as a people’s representative in the State Duma.
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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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Jamal, Muhammad Tanveer, and Abdul Zahoor Khan. "Poetry of Bābā Farīd." ISLAMIC STUDIES 61, no. 1 (March 31, 2022): 85–110. http://dx.doi.org/10.52541/isiri.v61i1.1393.
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Shaikh Farīd al-Dīn Mas‘ūd Ganj-i Shakar (569/1173-664/1265) is one of the celebrated Chishtī Sufis of the Indian subcontinent. Chishtī order is credited with several seminal literary innovations in Medieval Islamic India. Bābā Farīd is considered the father of Punjabi poetry. He also had a great command of other languages including Persian and Arabic. The present study explores the contemporary sources that interacted with Bābā Farīd’s couplets. An effort has also been made to explore the originality of the Ashlōk-i Shaikh Farīd included in the Guru Granth. The study is a unique endeavour to conceptualize and examine the thematic connection of Bābā Farīd’s poetry with his life, teachings, and metaphysical thoughts preserved in biographical compendia.
Dissertations / Theses on the topic "Biographical poetry"
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Askew, Claire Louise. "The axe of the house (Section A) ; 'Entangled in biographical circumstances' (Section B)." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9449.
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The axe of the house is a collection of poetry written and collated over three and a half years. The vast majority of the poems are about women: these are women’s voices usually recounting specifically female experiences. Many of these female poems were informed by the confessional mode, as appropriated and transmuted by the contemporary women writers I read and studied. The collection begins with confessions of my own in poems like “Anne Askew’s ashes” and “Jean,” and then moves on to include love poems like “Prayer” and “Gulls,” which are also at least partially autobiographical. Also confessional, but not autobiographical, are the poems at the centre of this collection. These are poems in which women from various different walks of life speak about their inner lives. Some of these women, like the speakers of “Hate mail” and “Silver Ghost,” are my own creation, while others, like “Mrs Rochester,” are borrowed from elsewhere. These poems examine intimate relationships from various angles: marriages, one night stands and vicious rivalries are all explored via a first person narrative. Body image is also a common theme. There are a few poems which are more overtly political, delivering feminist messages about the ways patriarchal society portrays and often ostracises women. “Harpies,” for example, looks at women who are seen to have no sexual worth, while “The picture in your mind when you speak of whores” concerns women whose only perceived worth is sexual, dismissing the various marginalising stereotypes that exist around sex workers. The collection moves farthest away from its examination of the female experience in the poems towards the end. However, these poems form a travelogue in which privilege of various kinds is examined and critiqued. Poems like “Witch” and “Belongings” are still concerned with the lives of women, while “Big heat” uses a female narrator to examine the more recognised privileges of wealth and mobility. These ideas recur in poems like “Barcelona diptych” and “Highway: Skagit County, WA,” but the poems that round off the collection are also attempts to capture a sense of place and space. Throughout this work, there are poems that are particularly interested in liminal space: several of the poems in the collection, including “Poltergeistrix” and “The women” look at the hours and days immediately after death. The space between travel destinations is also liminal, and these final poems attempt to make sense of it – finally succeeding with “Hydra,” which delivers a sense of acceptance and advocates living ‘in the moment’. The critical section, “Entangled in biographical circumstances,” looks afresh at the female confessional poem, most commonly associated with Sylvia Plath, Anne Sexton and Adrienne Rich. With reference to the works of these literary foremothers, I focus on the ways in which a new generation of women poets has been inspired to adopt this mode. As well as noting the often hostile response of male critics to confessional work by female writers, I examine the very different ways in which Sharon Olds, Sapphire and Liz Lochhead work in the confessional tradition to produce poetry that speaks candidly about the inner lives of women. I also discuss the ways in which the work of these three poets has influenced and shaped my own poetry.
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Quigley, Sarah. "A world elsewhere : a critical and biographical study of the European influence on the life and work of Charles Brasch." Thesis, University of Oxford, 1997. http://ora.ox.ac.uk/objects/uuid:e6384f57-5ab1-491a-8882-75a42b582bac.
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When Charles Brasch died, in 1973, he specified that his private papers - his diaries, letters, and many of his manuscripts - be placed under embargo for thirty years after his death. The external details of his life were, by this time, well-known. He had become a high-profile figure in the field of New Zealand literature, through his critical writings, his role as 'patron', and particularly his twenty- year editorship of the periodical Landfall. Yet his reputation as a poet, although established, was neglected both then and now. His poetry is one of central relevance to a contemporary scene; as clearly as any, it reveals the difficulty of writing for, and about, a society which still laboured under the weight of a 'colonial' stigma. By tracing the movement from his juvenilia to his mature poetry, from his teenage years to adulthood, this study examines the effect of Brasch's personal development on his writing. Partly because of the embargo on his papers, partly because of his secretive nature, his private life has remained a shadow behind poetry which is itself often ambiguous; yet his creative progression was largely determined by the events of this life, both external and internal. Previously, little has been known or written about the decade and a half he spent in Europe. These were crucial years, both in shaping his editorial vision, and in the discovery of his own poetic voice. By means of personal interviews, and recourse to letters in private collections, his story is told: from his arrival in Oxford in 1927, to his final acceptance of New Zealand as his home, in 1945. The first chapter outlines the three years he spent at St John's College, and the general literary context in which he began to write. Chapter Two covers his brief foray into archaeology, and the resultant poetry and unpublished fiction. The importance of German literature - particularly that of Rilke - to his work becomes the focus of Chapter Three. As a direct result of this influence, the second half of the 1930s was dominated by his search for a voice, and a subject, of his own. Chapter Four details this struggle, and the first tentative New Zealand element in his work. A teaching job at Great Missenden - the subject of Chapter Five - temporarily distracted Brasch from developing this theme, yet sources reveal that the country of his birth was never far from his mind. Chapters Six and Seven deal with the effect on his poetry of the growing unease in Europe, the difficult split of allegiances to two hemispheres, and his subsequent commitment to England for the duration of the war. Throughout 1944-5, he became involved in script-writing, and the eighth and final chapter examines the extent of his success in this new genre. His return to New Zealand, late in 1945, marked the apparent beginning of a career which, nonetheless, had its origins in experiences half a world away.
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Repshire, James Grant. "F.W. Harvey and the First World War : a biographical study of F.W. Harvey and his place in the First World War literary canon." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/21790.
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F.W. Harvey’s poetry was more popular during the First World War than many – if not most – of those whom we celebrate as ‘the war poets’ today. He is unique among the poets of that war for his insight into the life of the British POW in Germany, and for the influence of his work in the first of the British trench journals, the 5th Gloucester Gazette. Yet, he has received little national attention since his death in 1957, and scholarly work on his life is lacking, largely owing to a deficit of publicly-available primary sources and original material regarding his life and works. This has resulted in a failure to place him properly within the literary canon of the First World War. The recent discovery of Harvey’s papers allows us to examine his life and his contemporary cultural impact, and more fully to evaluate the value of his work and what it tells us about the First World War experience. Using Harvey’s papers, this biographical study will reconstruct the historical details of his life as they relate to the First World War. Concurrently, it will develop our understanding of his war-related work. This will demonstrate Harvey’s influence during the war, first as a trench poet, then as the poetic voice of the British POW. It will also examine how Harvey’s work continued to be affected by the war in the years after the armistice. The result will be a greater appreciation of the life and importance of a First World War poet whose voice was in danger of being lost to time.
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Smith, Daniel M. S. "John Donne and the Conway Papers : a biographical and bibliographical study of poetry and patronage in the seventeenth century." Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1336209/.
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This thesis investigates a seventeenth-century manuscript archive, the Conway Papers, in order to explain the relationship between the archive’s owners and John Donne, the foremost manuscript poet of the century. An evaluation of Donne’s legacy as a writer and thinker requires an understanding of both his medium of publication and the collectors and agents who acquired and circulated his work. The Conway Papers were owned by Edward, first Viscount Conway, Secretary of State to James I and Charles I, and Conway’s son. Both men were also significant collectors of printed books. The archive as it survives, mainly in the British Library and National Archives, includes around 300 literary manuscripts ranging from court entertainments to bawdy ballads. This thesis fully evaluates the collection as a whole for the first time, including its complex history. I ask three principal questions: what the Conway Papers are and how they were amassed; how the archive came to contain poetry and drama by Donne, Ben Jonson, Thomas Middleton and others; and what the significance of this fact is, both in terms of seventeenth-century theories about politics, patronage and society, and modern critical and historical interpretations. These questions cast new light on the early transmission of Donne’s verse, especially his Satires and verse epistles. The Conway Papers emphasise the importance of Donne’s closest friends – such as Sir Henry Goodere, George Gerrard and Rowland Woodward – in the dissemination of his poetry. The manuscripts help define Donne’s earliest readership and establish why his writing was considered valuable cultural capital. Examining the transmission of these manuscripts from the poet to his readers, I present new arguments about Donne’s role in a gift economy, and demonstrate how his writings were exchanged as symbols of intellectual amity between patrons and clients.
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Ghosh, Hrileena. "John Keats's medical notebook and the poet's career : an editorial, critical and biographical reassessment." Thesis, University of St Andrews, 2016. http://hdl.handle.net/10023/8247.
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This thesis explores the significance of John Keats's medical Notebook, and his time at Guy's Hospital (October 1815 – March 1817), for the poet's career. As a primary contribution, it offers a new transcription of Keats's medical Notebook (Appendix 1). The transcription reproduces Keats's text and indicates the layout of his notes, but is neither a facsimile, nor a new edition: the visual form of Keats's notes is not reproduced, nor do I offer critical annotations; commentary follows in subsequent chapters. The achievements, limitations and influence of the only edition of Keats's medical Notebook — Maurice Buxton Forman's from 1934 — are the subject of the first chapter, which also considers accounts of Keats's medical career in Keats biography and criticism. Chapter two focuses on the poems Keats wrote while at Guy's to show that the two aspects of his life — medicine and poetry — were mutually influential. Chapter three considers Keats's medical notes in comparison to a fellow-student's, indicating how some characteristics of Keats's note-taking prefigure aspects of his mature poetry. Chapter four finds Endymion suffused with medical knowledge and imagery, and argues that this was a vital aspect of the poem's depiction of passion. Chapter five suggests that the publication of Keats's 1820 volume was greatly influenced by questions of health, medicine, and disease; concerns reflected by the poems in it, which also reveal the extent of Keats's continued awareness of, and interest in, contemporary medical thought. In sum, the thesis argues that the origins of Keats's poetic achievement can be traced in his medical Notebook and ‘hospital' poems, and that the ability to infuse his poetry with medical knowledge was a vital component of Keats's poetic power and achievement.
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Montin, Sarah. ""I am not concerned with poetry. My subject is war" : Écrire la Première Guerre mondiale : les enjeux du poème face aux circonstances." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040100.
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Le premier conflit mondial qui met fin à l’après-midi doré de l’époque édouardienne signe l’entrée du Royaume-Uni dans le XXe siècle politique et esthétique. La place unique qu’occupe la Grande Guerre dans l’imaginaire collectif britannique participe de l’engouement populaire que suscite encore aujourd’hui la war poetry, devenue un véritable « lieu de mémoire » textuel. Son importance dans le paysage culturel britannique paraît dès lors démesurée par rapport à la place qu’elle occupe dans le canon poétique du XXe siècle. À la fois conservatrice et innovante, respectueuse des formes mais sujette à l’expérimentation, l’œuvre des war poets, souvent confondue avec celle des Georgian poets, se range du côté des modernes plutôt que des modernistes. Poésie de circonstance définie par le moment et le lieu d’écriture, elle est jugée à l’aune de la problématique moderne de l’œuvre « impure », poésie tournée vers la révélation de l’événement plutôt que vers l’acte de création. C’est cette tension entre l’appel du monde et l’appel du texte qui fonde la définition générique, esthétique et éthique de la war poetry. Son intérêt critique réside dans sa double finalité, son hybridité tonale, générique et formelle, sa nature composite et polymorphe qui l’inscrivent de plain-pied dans le registre de la dissonance, propre à la poésie moderneBy putting an end to the golden Edwardian afternoon, the First World War propelled Britain into the political and aesthetic twentieth century. Owing to the unique place occupied by the Great War in the collective British mind, war poetry represents today a highly popular textual “realm of memory”. However, its relevance in Britain’s cultural landscape does not correspond to its status within the poetic canon of the twentieth century. Both conservative and innovative, intent on codified forms yet experimental in nature, often confused with Georgian Poetry, war poetry leans towards the modern rather than the modernist definition of poetry. As a form of occasional writing, determined by the place and time from which it sprung, war poetry is judged according to the modern standards of “impure poetry”, more focused on the revelation of the event than on the act of creation itself. It is the contradictory claims of world and text that found the generic, aesthetic and ethical definition of war poetry. Its critical interest resides in its dual purpose, its tonal, generic and formal hybridity, its complex and changing nature, which firmly inscribe it within the modern poetics
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Kivilo, Maarit. "The formation of biographical traditions about the early Greek poets." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504060.
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Hogg, Roger Holmes. "Wilfrid Wilson Gibson : people's poet : a critical and biographical study of W.W. Gibson 1878-1962." Thesis, University of Newcastle Upon Tyne, 1989. http://hdl.handle.net/10443/1798.
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The scope of this dissertation embraces two elements. It sets out to be a chronological account of the life of the poet and also to offer an evaluative, critical account and Judgement of each of his publications. By blending these two elements in each chapter I have tried to demonstrate my introductory view that the poet's autobiography is to be read both in the life story and in the poems. The method of investigation of the life has depended almost entirely on the examination of primary sources. All of Gibson's own papers were destroyed by the time of his death and it seemed as though there was no material from which to build a biography. Gibson, however, was a prolific correspondent and by careful study of his letters, well saved by their recipients, I found the story of his life unfolding. The critical Judgements are largely my own but I investigated some scant secondary material which included chapters in books, review articles, references in literary histories and other people's biographies which helped me to shape my opinions. The ordering of the dissertation is entirely chronological, divided into chapters marking major or significant changes or moments in the poet's life and work. As a larger, simplifying and clarifying form of division I have distinguished three phases that mark off Gibson's periods of Romantic, Realist and finally Dialect and Lyric Poet. I have concluded that Gibson, though now almost entirely neglected, deserves credit as a minor poet, much more than he has so far received: for being the first Edwardian poet who pared his language of all postromantic excess and wrote plainly; for being the instigator of the Realism in poetry which was proclaimed by the Georgian Realistic Revolt and for being the first poet of the Great War who wrote from the viewpoint of the common soldier, in plain language, and so being an important influence on the major war poets Sassoon, Rosenberg and Owen, who read him and who wrote after him. His clear, distinctive voice makes for a poetry of intrinsic merit and broad appeal.
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Meritt, Mark Dean. "Body-snatchers of literature : embodied genius and the problem of authority in romantic biographical sketches /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3061958.
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Thesis (Ph. D.)--University of Oregon, 2002.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 251-257). Also available for download via the World Wide Web; free to University of Oregon users.
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Ferguson, Jim. "A weaver in wartime : a biographical study and the letters of Paisley weaver-poet Robert Tannahill (1774-1810)." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2395/.
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This thesis is a critical biography of Robert Tannahill (1774-1810). As a work of recovery its aim is to lay out the details of the life and in so doing to make the case for Tannahill as a distinctive figure in Scottish literary history. Part One covers the main events in Tannahill’s life, and analyses his poetry, songs and play, The Soldier’s Return, drawing heavily on his extant correspondence throughout. Part Two of the thesis gives all of Tannahill’s extant correspondence. The received critical opinion of Tannahill in the nineteenth century was that his true talent lay in the writing of Scottish pastoral songs. In accordance with this perception the other aspects of his work have, generally, been treated as marginal by previous critics. This thesis aims to broaden the critical understanding of Tannahill as a writer working in the first decade of the 1800s by taking into consideration his social and political milieu, the writers he was influenced by and his response to particular events in his life and in the world. I argue that Tannahill was not party political, but had sympathy for Whig causes such as abolition of the death penalty and of slavery. He also opposed cock-fighting and animal cruelty. Key to understanding much of Tannahill’s output was his attitude to the wars with Revolutionary and Napoleonic France (1793-1815). Fear of French invasion of the British Isles was something that exercised Tannahill a good deal. His attitude to war was that it was pointless human folly, but his dislike of all imperialism, including British and French, makes his position complex and the complexity of his response to war is a recurring theme throughout. Tannahill’s upbringing in Paisley and his position as an artisan weaver had a profound effect on his writing, as did the influence of Robert Burns. Tannahill was fiercely independent, despised literary patronage and inherited wealth and power. There is an attempt to explain and understand how and why Tannahill came to hold these points of view and to point out where they find expression in his work. Chapter 1 looks at Tannahill’s upbringing and life in Paisley. Chapter 2 deals with the ‘Critical Reception’ of his work from 1815 to the present. Chapter 3 looks in depth at his attitudes to war and the threat of French invasion. Chapter 4 concentrates on Tannahill’s play The Soldier’s Return and considers how it fits into the pastoral tradition. Chapter 5 looks at the content and some formal aspects of his poetry and Chapter 6 deals with the range of his lyrics and songs. Part Two is a project of retrieval, sub-titled The Letters of Robert Tannahill, it presents in chronological order eighty-two letters, the vast majority of which were written by Tannahill to friends and acquaintances between the years 1802 and 1810. It has been compiled from holograph manuscript sources found in the University of Glasgow Library, the National Library of Scotland, University of Edinburgh Library and Paisley Central Library. In addition, letters previously published in the David Semple edition of Tannhill’s Poems, Songs and Correspondence (1876) have been inserted to give the most comprehensive collection of Tannahill correspondence to date. These letters give a fascinating insight into Tannahill’s life and work. The guiding editorial principle for transcription from holograph has been: to provide as accurately as possible a text free from editorial interference.
Books on the topic "Biographical poetry"
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Coleridge, Samuel Taylor. Biographia literaria, or, Biographical sketches of my literary life and opinions. London: J.M. Dent, 1991.
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Press, Chax, ed. Io's Song: Signatures' Colors (A Biographical essay ). Tucson, Arizona: Chax Press, 2019.
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Faiz̤, Faiz̤ Aḥmad. O city of lights: Selected poetry and biographical notes. Karachi: Oxford University Press, 2006.
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Robin, Isobel. Freud's back-yard: Poems. Wollongong, Australia: Five Islands Press, 2002.
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Numajiri, Keiichirō. Genkon, eimei hyakushu. Tōkyō-to Tachikawa-shi: Kokubungaku Kenkyū Shiryōkan, 2005.
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Corcoran, Jill, and J. Beth Jepson. Dare to dream-- change the world. Tulsa, OK: Kane Miller, 2012.
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Hardy, Thomas. Thomas Hardy: A biographical introduction on video. London: Filmscan Lingual House, 1988.
Find full textBook chapters on the topic "Biographical poetry"
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Hendon, Paul. "Biographical Summary and Guide through Auden’s Works." In The Poetry of W. H. Auden, 9–30. London: Macmillan Education UK, 2000. http://dx.doi.org/10.1007/978-1-137-22005-9_2.
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Alabi, Adetayo. "Poetry and Ping-Pong: Auto/Biographical Verbal Duels in Yoruba Polygamous Households." In African Histories and Modernities, 55–77. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-15617-5_4.
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Alabi, Adetayo. "The auto/biographical images of Africa in udje and Tanure Ojaide's poetry 1." In Oral Forms of Nigerian Autobiography and Life Stories, 181–206. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003158219-8.
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Poppenhagen, Nicole. "“Ocean People”: Maritime (Im)Mobilities in the Chinese American Imaginary." In Maritime Mobilities in Anglophone Literature and Culture, 187–210. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-91275-8_10.
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AbstractUnderstanding the ocean in both metaphorical and material terms, this essay approaches Chinese American texts from the intersection of oceanic, mobility, and Chinese American studies. While mobility has often been perceived in highly romanticized terms, in Chinese American literature the ocean is characterized by ambiguity as it becomes a site of negotiation for the role of immigrants during the era of Chinese exclusion. In Maxine Hong Kingston’s auto/biographical text China Men, Pam Chun’s family narrative The Money Dragon, poetry from Ellis Island and Angel Island, and Genny Lim’s play Paper Angels, the complex relationships between time and space, sea and land, inform the immigrants’ journey across the ocean. Their American beginnings are defined by a liberating, though often disorienting, mobility and at the same time a longed for, but mostly paralyzing immobility on and off ships and islands. To use Maxine Hong Kingston words, these circumstances of migration turn Chinese Americans into “ocean people.” Ultimately, a focus on the ship voyage and the island as oceanic tropes in Chinese American texts reveals the Chinese American experience as shaped by maritime (im)mobilities.
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Olsen-Smith, Steven, Cheyene Austin, and Denise Holbrook. "“Almost Unknown to the General Reader”: Biographical and Conceptual Contexts of Melville’s Marginalia in Thomas Warton’s The History of English Poetry." In New Directions in Book History, 205–39. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-56312-7_9.
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"Biographical Note." In Dance Writings and Poetry, xi—xvi. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300146523-001.
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"Biographical Note." In Please, No More Poetry, viii. Wilfrid Laurier Press, 2013. http://dx.doi.org/10.51644/9781554588565-002.
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"2. Biographical Outline." In The Poetry of Michelangelo, 8–22. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300160673-004.
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"Biographical Notes." In Hispano-Arabic Poetry: A Student Anthology, xv—xix. Piscataway, NJ, USA: Gorgias Press, 2004. http://dx.doi.org/10.31826/9781463209469-003.
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"Biographical Notes." In The New American Poetry, 1945–1960, 427–46. University of California Press, 1999. http://dx.doi.org/10.1525/9780520354005-047.
Full textConference papers on the topic "Biographical poetry"
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Hazratqulova, Elmira. "ATTITUDE TO THE SAINTS IN HISTORICAL WORKS." In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/sqew2307.
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In the East mystical motifs developed in the literature of the Islamic period. In particular, when studying sources related to the history of medieval Maverannahr and Khorasan, the poetry of this period reflects different views on symbols, and historical works present biographical information about the life of Sufi writers. This article analyzes information about the representatives of Sufism in the works of "Baburnama" by Zahirad-Din Muhammad Babur and "Tarihi Rashidi" by Haidar Mirzo. At the same time, the prophecies characteristic of the saints and the attitude of the authors to this situation are studied.
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Krasovec, Aleksandra N. "“KALEIDOSCOPIC” NOVEL OF JOSIP OSTI IN THE ASPECT OF TRANSCULTURALITY." In 50th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063183.10.
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The Slovenian-Bosnian poet, writer, essayist, literary critic, translator and editor Josip Osti (1945–2021) was born in Sarajevo, lived and worked in Slovenia since 1990. Being a recognized poet in his homeland, writing in Croatian, one of the largest translators of Slovenian literature into Serbo-Croatian, since 1997 he has been writing in Slovenian. The transcultural aspects of Josip Osti’s literary works, both poetry collections and novels, are a unique phenomenon. In our study, we turned to the novels of Josip Osti, namely his trilogy — Ghosts of the House of Heinrich Böll (2016), In Front of the Mirror (2016) and Life is a Creepy Fairy Tale (2019). All three works have a strong (auto)biographical component and form a special novel form, which the author calls the “kaleidoscope-mosaic” novel. The latter has a fragmented structure and consists of short stories, life stories, anecdotes, urban legends, essayistic notes, literary-critical digressions, lyrical passages, diary entries, etc. In Osti’s novels, we also find a connection with the tradition of short prose in Bosnian-Herzegovina literature, in particular, with the works of the 1990s by such authors as M. Jergović, D. Karahasan, N. Veličković, K. Zaimović and others. Their texts are characterized by a destabilized genre form, a mosaic narrative, personal and documentary evidence, and a palimpsest narrative model. The kaleidoscopic structure of Osti’s prose texts helps him to reflect the transcultural view characteristic of his intimate and artistic world, to embrace the complex overlap of heterogeneous elements. The novels are written in Slovene, but they are mainly devoted to the space of Sarajevo, the unique multicultural atmosphere of this city, as well as the tragedy unfolding in it; thus, the writer complements the so-called “Sarajevo text”, but already in the field of Slovenian literature, artistically comprehending the interconnectedness of Bosnia and Slovenia. Refs 19.
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Olarescu, Dumitru. "The historical-biographical film: destinies and personalities." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.10.
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The history of national cinema shows that the evolution of non-fiction biographical film began with subjects dedicated to prominent personalities. These were included in the film magazine “Soviet Moldova” and in the almanac “Life in pictures”. In 1961, the first historical-biographical film “The Legendary Brigade Commander”- a eulogy to Grigore Kotovski (director A. Litvin) appeared at the “Moldova-film” studio, followed by other films dedicated to the heroes of the times: Pavel Tkacenko, Elena Sârbu, Tamara Cruciok, which were dominated by a pronounced propagandistic character. A new level of national historical-biographical film can be noticed in the late 1960s and early 1970s, when the filmmakers: Emil Loteanu (“Academician Tarasevici”), Andrei Buruiană (“Ştefan Neaga”), Vlad Druc (“Ion Creangă”) made their debut. Yet, the idea of biography especially predominates in the creation of Anatol Codru, who played a significant role in the affirmation stage of this kind of nonfiction film, bringing through his films, “Alexandru Plămădeală”, “Alexei Şciusev”, “Dimitrie Cantemir”,”Vasile Alecsandri” a new breath in the context of the films made before him. He imposed himself through a poetic-philosophical vision on the destinies and the creation of the personalities, who contributed to the spiritual prosperity of the nation.
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Ignatenko, Alexander. "A FEW WORDS ABOUT THE HISTORICAL CONTEXT AND PROTOTYPES IN THE POEM THE SONG OF EVERLASTING SORROW (806) BY BAI JUYI." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.02.
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The article offers an analysis of some structural features of the poetic semantics of the poem The Song of Everlasting Sorrow by Bai Juyi (白居易《长恨歌》, 806) in biographical, historical and cultural contexts, and also draws a parallel with possible prototypes. In this regard, the main purpose of the article is to consider some semantic and structural connections related to the chronotope, archetypes and prototypes on the material of the The Song. During the work on the study, it was found out that the narrative model of “avoiding facts” (避实就虚) was used in the plot of the poem, superimposed on factual material and related to the biography of the emperors Han Wudi (汉武帝) and Tang Xuanzong (唐玄宗).
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Galay, K. "THE FORGOTTEN EHRENBURG IN THE CONTEXT OF THE FRENCH MEDIA." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3749.rus_lit_20-21/303-307.
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I.G. Ehrenburg was a writer, poet, publicist, whose creative legacy can be called an important asset of Russian literature of the twentieth century. The writer, who lived for a long time both in Russia and abroad, was also known in France - his figure was quite significant for the French readers and he was mentioned in various French weeklies. Moreover, he was invited as a journalist, wrote articles himself and gave interviews to French newspapers and magazines. A huge interest in the personality of Ilya Ehrenburg appeared during the Second World War: he was spoken of as a “combat writer”, as a supporter of Franco-Soviet relations, and as a great traveller. And, of course, the French media could not miss Ehrenburg's novel “The Fall of Paris”. In the 90s of the twentieth century, various biographical books about Ehrenburg are published, in which he, from one point of view, was called “a mediocre novelist”, “a weak writer”, but “the embodiment of the era”, and from another point of view - “a travelling Jew” and “a man of conviction”, “a nomad of the world” and “a missionary of culture”. In modern times, we only encounter references to the name of Ilya Ehrenburg as an outstanding journalist, a writer from the 'first wave' of emigration, who stood as a symbol of his era.