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Relevant bibliographies by topics / Contemporary British Poetry

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Journal articles
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Academic literature on the topic 'Contemporary British Poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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Journal articles on the topic "Contemporary British Poetry"

1

Marsack, Robyn, and Alan Robinson. "Instabilities in Contemporary British Poetry." Modern Language Review 85, no. 2 (April 1990): 432. http://dx.doi.org/10.2307/3731845.

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Teterina, Liliia. "MULTILINGUALISM IN CONTEMPORARY BRITISH POETRY." INTERNATIONAL JOURNAL OF MULTILINGUAL EDUCATION II, no. 3 (July 1, 2014): 56–63. http://dx.doi.org/10.22333/ijme.2014.3005.

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Dettmar, Kevin J. H. "Contemporary British Poetry and the City (review)." Comparative Literature Studies 39, no. 3 (2002): 247–49. http://dx.doi.org/10.1353/cls.2002.0020.

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Chitwood, Bryan C. "Tom Pickard and the Voices of Postwar British Poetry." Twentieth-Century Literature 66, no. 3 (September 1, 2020): 361–84. http://dx.doi.org/10.1215/0041462x-8646885.

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This article examines the work of British poet Tom Pickard, taking the publication of his collected poems as an occasion to renew an appreciation of the voice as an analytic category for the study of twentieth-century and contemporary British poetry. Focusing on a range of Pickard’s work, especially Ballad of Jamie Allan, the article suggests that rather than view the recent history of British poetry in terms of a modernist/antimodernist dichotomy, with poets assigned to either side of that divide, scholars might productively attend to how voice, as an analytic category and a textual effect, illuminates poetic histories that transgress the bounds of received aesthetic-political narratives.

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Faulkner, Peter, James Acheson, and Romana Huk. "Contemporary British Poetry: Essays in Theory and Criticism." Modern Language Review 93, no. 4 (October 1998): 1101. http://dx.doi.org/10.2307/3736303.

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Kerrigan, J. "Notes from the Home Front: Contemporary British Poetry." Essays in Criticism 54, no. 2 (April 1, 2004): 103–27. http://dx.doi.org/10.1093/eic/54.2.103.

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Lockwood, M. J. "Michael Rosen and Contemporary British Poetry for Children." Lion and the Unicorn 23, no. 1 (1999): 57–66. http://dx.doi.org/10.1353/uni.1999.0013.

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Impens, Florence. "Pastoral elegy in contemporary British and Irish poetry." Irish Studies Review 22, no. 2 (April 2, 2014): 250–52. http://dx.doi.org/10.1080/09670882.2014.897496.

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홍옥숙. "Contemporary British Poetry: Its Changes from Inside and Outside." New Korean Journal of English Lnaguage & Literature 54, no. 2 (May 2012): 153–77. http://dx.doi.org/10.25151/nkje.2012.54.2.008.

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Morrison, Blake. "The Filial Art: A Reading of Contemporary British Poetry." Yearbook of English Studies 17 (1987): 179. http://dx.doi.org/10.2307/3507659.

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Dissertations / Theses on the topic "Contemporary British Poetry"

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Perril, Simon. "Contemporary British poetry and modernist innovation." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309700.

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Stone, Alison Jane. "Contemporary British poetry and the Objectivists." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/30174.

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This thesis examines a neglected transatlantic link between three post-war British poets – Charles Tomlinson, Gael Turnbull and Andrew Crozier – and a group of Depression-era modernists: the Objectivists. This study seeks to answer why it was the Objectivists specifically, rather than other modernists, that were selected by these three British poets as important exemplars. This is achieved through a combination of close readings – both of the Americans’ and Britons’ poetry and prose – and references to previously unpublished correspondence and manuscripts. The analysis proceeds via a consideration of how the Objectivists’ principles presented a challenge to dominant constructs of ‘authority’ and ‘value’ in post-war Britain, and the poetic is figured in this sense as a way-of-being as much as a discernible formal mode. The research concentrates on key Objectivist ideas (“Perception,” “Conviction,” “Objectification”), revealing the deep ethical concerns underpinning this collaboration, as well as hitherto unacknowledged political resonances in the context of its application to British poetries. Discussions of language-use build on recent critical perspectives that have made a case for the ‘re-forming’ potential of certain modernist poetries, particularly arguments about ‘paratactic’ versus ‘fragmentary’ modernisms, and as such the three British poets’ interest in the Objectivists is interpreted as a response to a need for restitution following the trauma of World War II. Ultimately, it is argued that this interaction (which this thesis figures in explicitly transatlantic terms) was a challenge to the emphasis placed on collective and normative viewpoints in much post-war British poetry, many of which were located in an organic conception of ‘nation.’ This study claims that the Objectivists’ example posited a contrasting poetic, foregrounding individual agency and capacity for thought as the only viable means for the poet to re-connect with and make meaningful statements about society and the world.

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Yeung, Heather Hei-Tai. "Affective mapping : voice, space, and contemporary British lyric poetry." Thesis, Durham University, 2011. http://etheses.dur.ac.uk/929/.

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This thesis investigates the manner in which an understanding of the spatial nature of the contemporary lyric poem (broadly reducible to the poem as and the poem of space) combines with voicing and affect in the act of reading poetry to create a third way in which space operates in the lyric: the ‘vocalic space’ of the voiced lyric poem. Together with the poem as and of space, the vocalic space of the contemporary lyric poem gives way to an enunciating I and eye with which we, as reader, identify and which we voice, in a process of ‘affective mapping’. Voice, and the spaces the I/eye of the contemporary lyric poem visualises and articulates, is affective, contested, and multiple. Visual and vocalic identification with the voice of the poem through this free, fragmented, or multiple, I/eye leads us to understand more fully the poem on its own terms. The chapters of this thesis offer readings of John Montague’s The Rough Field, Thomas Kinsella’s A Technical Supplement, Kathleen Jamie’s This Weird Estate, and Alice Oswald’s Dart, as well as the poetry of Seamus Heaney, Thom Gunn and Mimi Khalvati, in order to investigate the implication of this thesis on the way we read, voice, and analyse contemporary British lyric poetry. The work of each poet offers different perspectives on perception, place, and space, and different engagements with the voiced and textual spaces of poetry, from the more formal poetics of Heaney, Jamie, and Gunn, to the experiments with text and image of Montague, Kinsella, and Jamie, the use of different languages by Montague, Jamie, and Khalvati, and the manipulation of the space of the page and angle of poetic vision and voice by Montague, Khalvati, and Oswald. The chapters work almost chronologically from The Rough Field (1972) to Dart (2002) with an emphasis on the importance of space, voice, and affect to the readings of the poems and poets in question.

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Twiddy, Iain. "The pastoral elegy in contemporary British and Irish poetry." Thesis, University of Sheffield, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.427181.

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Mortuza, Shamsad. "The Shamanic and Bardic Traditions in Contemporary British Poetry." Thesis, Birkbeck (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487208.

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The thesis examines the shamanic in poetry by exploring the work of five late modernist British poets: lain Sinclair, Jeremy Prynne, Brian Catling, Barry MacSweeney, and Maggie O'Sullivan. These poets are committed to. a radical aesthetic that questions the symbolic ordering of reality_ Loosely drawing on Mircea Eliade's notion of shamanism as 'archaic techniques of ecstasy,' they transform Eliade's version of the shaman's 'elective trauma' in order to enact a critical rejection of totalitarian tools of the state and society. I have used Sinclair's idea of the 'Shamanism of Intent' to frame three of the poets (Prynne, Catling, and Sinclair) as, in Rothenberg's phrase, 'Technicians of the Sacred' in order to highlight their intention to wrest spirituality away from the confines of religion and embody it in textual practice. This process involves an investigation and enlisting of 'hidden' energies - past and present. I have interpreted MacSweeney and O'Sullivan in terms of their attitude towards the body where it stands as a figure of the material (i.e. social and textual) and the . physical (i.e. individuals). While MacSweeney shows the physical body dismembered in a double gesture which exposes the destructive force of society and at the same time evokes the scattered body of Dionysian ritual, Maggie O'Sullivan dissects the body of her text to observe its gestation (i.e. the birth oflanguage). The process rather than the artistic product is important. Based on these criteria, I have discussed these two poets under the category of 'Technicians of the Body.' The poets studied refrain from branding their poetic practice as shamanic, to avoid possible fetishisation andexoticisation of their chosen project. My categorisation, however, is supported by the numerous engagements with shamanic elements in their work. In a broader literary context, I discuss how contemporary uses of the shamanic relate to the English Romantic poets' selective interpretation of shamanic and bardic ideas of the poet. At the same time I argue that the contemporary poets' use of shamanic elements involves a shared critique of myth.

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Sheppard, Victoria. "Contesting voices : authenticity, performance and identity in contemporary British poetry." Thesis, University of Southampton, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438041.

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Downing, Niamh Catherine. "Stratigraphies : forms of excavation in contemporary British and Irish poetry." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/11763.

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This thesis intervenes in current critical debates about space, place and landscape in late-twentieth and twenty-first century British and Irish poetry, by examining models of excavation in selected work by Geoffrey Hill, Ciaran Carson, Geraldine Monk and Alice Oswald. It argues that the influence of the spatial turn on literary criticism over the last thirty years has led to the deployment of a limited set of spatial tropes as analytical tools for interpreting the spaces and places of poetry. By deploying excavation as a critical method it seeks to challenge existing approaches that tend to privilege ideas of space over time, and socio-spatial practices over literary traditions of writing place. In doing so it develops a new model for reading contemporary poetries of place that asserts the importance of locating spatial criticism within temporal and literary-historical frameworks. The four poets examined in the thesis exhibit a common concern with unearthing the strata of language as well as material space. Starting from a premise that excavation always works over the ground of language as well as landscape it investigates the literary traditions of landscape writing in which each of these poets might be said to be embedded. After surveying the critical field the thesis sets out four principles of excavation that it argues are transformed and renewed by each of these poets: the relationship between past and present; recovery and interpretation of finds; processes of unearthing; exhumation of the dead. The subsequent chapters contend that these conventions are put into question by Geoffrey Hill’s sedimentary poetics, Ciaran Carson’s parodic stratigraphy, Geraldine Monk’s collaborations with the dead, and Alice Oswald’s geomorphology of a self-excavating earth. The critical method that underpins the discussion in each of the chapters is also excavatory in that it unearths both the historical and literary strata of specific sites (the Midlands, Belfast, East Lancashire, Dartmoor and the Severn estuary) and resonances in the work of earlier poetic excavators (Paul Celan, Edward Thomas, Gerard Manley Hopkins, William Wordsworth, Dante Alighieri and Homer). Through careful exegesis of these poets and their precursors this thesis demonstrates that by transforming existing forms of excavation, contemporary poetry is able to renew its deep dialogue with place and literary history.

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Badrideen, Ahmed. "Aspects of domesticity in contemporary British, Irish and American poetry." Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11502/.

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This thesis explores representations of home and domesticity in contemporary verse. Home-life and domestic scenes are significant in contemporary verse, not only because they are found in unprecedented abundance, but also because they are often taken as the principal subject of a poem, rather than as contextual setting. In short, in the post-war era, domestic experiences have proven to be rich and seemingly inexhaustible source of poetry. This is traceable primarily to an interest in ‘experiences of ordinariness’ exhibited by contemporary poets – an interest which is in no small part a product of the Movement aesthetic – and also to the surge in academic and imaginative explorations of the nature and quality of home-life during the postwar decades. A principal concern of this thesis will be with moments of epiphany or rarefication, when the domestic sphere loses its ‘domestic’ colouring as it mediates and is involved with deep emotional or intellectual experiences. The first chapter considers Hardy and Larkin. These poets, often paired together and seen as principal figures in the ‘English line’, are shown to be significant poets of the domestic sphere. The second chapter considers representations of the childhood home. Here the house is shown to be a ‘formative’ place, the ground for moral and intellectual growth. In the eyes of the child, the one who defamiliarises his or her surroundings par excellence, the house and its contents might become somewhat monumental, imbued with import unavailable to adults. The third chapter considers poems of domestic love and marriage. It shows that these poems hinge on a combination of the mundane and homely with high emotion and feeling. This leads to a new type of love poetry: wry, often sardonic, with under-stated sentiment and affection. The fourth chapter, which looks at political poems set at home, offers the most ambivalent account of domestic space. Home life might accrue negative regard when considered in relation to wars or political disturbance. On the other hand, domestic life is regarded positively as the desired end of war or civil unrest. An unmolested and normal home life is the fruit of peace. The fifth chapter looks at domestic architecture in itself, considering the various ways that domestic interiority is presented in relation to the wider world. It explores various types of relationships between domestic interiority and the exteriority beyond, from poetry where the house is besieged by the external environment, to poems where the impulse is a movement from inside to outside. The sixth chapter explores how domestic scenes and items are invoked in the work of mourning. The thesis concludes with a chapter on poetic representations of hotels and hospitals, which may be regarded as ersatz homes, ghosted by the presence of the authentic home.

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Gamble, Miriam Claire. "Form, genre and lyric subjectivity in contemporary British and Irish poetry." Thesis, Queen's University Belfast, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491942.

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This thesis engages with the usc of traditional forms, and the role of the lyric subject, in contemporary poetry. It carries out close readings on the work of five contemporary poets (Derek Mahon, Michael Longley, Paul Muldoon, Don Paterson and Simon Armitage) and highlights points of intersection and influence between their various oeuvres. The thesis also challenges critical readings which suggest the existence of significant 'generational' differences in Northern Irish poetry from the 1960s onwards, and reveals, by dose attention to the poems themselves, that the critical perception of a clear barrier existing between the formal 'conservatism' of one generation and the 'experimentalism' of the next is unfounded and incorrect. By linking the formal procedures of Paul Muldoon to pre-existing strategies perceptible in the work of two earlier poets, Michael Longley and Derek Mahon, it reveals a more fruitful pattern of exchange and influence, and highlights ways in which the two earlier writers, via their manipulation of form and subject, may be seen to engage with 'radical' concepts habitually perceived to be beyond their purview. To this end, the thesis also interacts with theories of form, language and subjectivity. Finally, by extending its reach beyond Northern Ireland to include the work of two emergent British poets, Don Paterson and Simon Armitage, the thesis argues that the formal approaches of Northern Irish poetry continue to exert visible intluence on new writing, thus challenging arguments which suggest these techniques to be redundant, retrograde or site-specific. Using the figure of Paul Muldoon as intermediary, it asserts the significance of Muldoon's formal inheritance to his influence on younger writers, and argues for recognition of the means by which Armitage and Paterson straddle the conventional binaries of labels like 'mainstream' and 'experimental.'

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Fogarty, William. "Local Languages: The Forms of Speech in Contemporary Poetry." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19662.

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Robert Frost’s legendary description of “the sound of sense” to define his poetics has for decades sounded like little more than common sense. His idea is now taken to be fairly straightforward: the inflections of an utterance resulting from the tension between demotic speech and poetic form indicate its purport. However, our accepted notion of Frost’s formulation as simply the marriage of form and meaning misconstrues what is potentially revolutionary in it: if everyday speech and verse form generate tension, then Frost has described a method for mediating between reality, represented by speech, and art, represented by verse form. The merger is not passive: the sound of sense occurs when Frost “drag[s] and break[s] the intonation across the metre.” And yet Frost places speech and verse form in a working relationship. It is the argument of this dissertation that poets reckon with what is often understood as discord between poetry and reality by putting into correspondence forms of speech and the forms of poetry. The poets I examine–Seamus Heaney, Gwendolyn Brooks, Tony Harrison, and Lucille Clifton–are concerned with their positions in local communities that range from the family unit to ethnic, religious, racial, economic, and sexual groups, and they marshal forms of speech in poetic form to speak from those locales and to counter the drag and break of those located social and political realities. They utilize what I call their “local languages”–the speech of their particular communities that situates them geographically in local contexts and politically in social constructs–in various ways: they employ them as raw material; they thematize them; they invent idiosyncratic “local” languages to undermine expectations about the communities that speak those languages; they devise generalized languages out of standard and nonstandard constructions to speak not just to and from specific locations but to speak more broadly about human experience. How, these poets ask, can poetry respond to atrocities, deprivations, divisions, and disturbances without becoming programmatic or propagandistic and without reinforcing false preconceptions about the kinds of language suitable for poetry? They answer that question with the living speech of their immediate worlds.

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Books on the topic "Contemporary British Poetry"

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Wheatley, David. Contemporary British Poetry. Edited by Nicolas Tredell. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-31663-9.

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Robinson, Alan. Instabilities in contemporary British poetry. Basingstoke: Macmillan, 1988.

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Alan, Robinson. Instabilities in contemporary British poetry. Houndmills, Basingstoke, Hampshire: Macmillan Press, 1988.

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Broom, Sarah. Contemporary British and Irish Poetry. London: Macmillan Education UK, 2006. http://dx.doi.org/10.1007/978-1-137-11367-2.

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Robinson, Alan. Instabilities in Contemporary British Poetry. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19397-4.

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Robinson, Alan. Instabilities in contemporary British poetry. Basingstoke: Macmillan, 1988.

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Contemporary British poetry and the city. Manchester: Manchester University Press, 2000.

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Contemporary British and Irish poetry: An introduction. New York: Palgrave Macmillan, 2005.

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Broom, Sarah. Contemporary British and Irish poetry: An introduction. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2006.

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The Peguin book of contemporary British poetry. Harmondsworth: Penguin, 1985.

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Book chapters on the topic "Contemporary British Poetry"

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O'Brien, Sean. "Contemporary British Poetry." In A Companion to Twentieth-Century Poetry, 571–84. Malden, MA, USA: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470998670.ch47.

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Barry, Peter. "Contemporary British Modernisms." In Teaching Modernist Poetry, 94–115. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230289536_7.

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Ramey, Lauri. "Contemporary Black British Poetry." In Black British Writing, 109–36. New York: Palgrave Macmillan US, 2004. http://dx.doi.org/10.1057/9781403981134_8.

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Wheatley, David. "Approaches to Contemporary British Poetry." In Contemporary British Poetry, 32–53. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-31663-9_3.

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Wheatley, David. "Introduction." In Contemporary British Poetry, 1–8. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-31663-9_1.

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Wheatley, David. "Anthologies and Canon Formation." In Contemporary British Poetry, 9–31. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-31663-9_2.

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Wheatley, David. "Postcolonialism." In Contemporary British Poetry, 54–80. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-31663-9_4.

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Wheatley, David. "Gender, Sexuality and Class." In Contemporary British Poetry, 81–109. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-31663-9_5.

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Wheatley, David. "Experiment and Language." In Contemporary British Poetry, 110–35. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-31663-9_6.

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Wheatley, David. "New Environments." In Contemporary British Poetry, 136–60. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-31663-9_7.

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