Journal articles: 'Contemporary British Poetry'

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Marsack, Robyn, and Alan Robinson. "Instabilities in Contemporary British Poetry." Modern Language Review 85, no. 2 (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 (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 (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 (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 (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 (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 (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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Jarniewicz, Jerzy. "After Babel: Translation and Mistranslation in Contemporary British Poetry." European Journal of English Studies 6, no. 1 (2002): 87–104. http://dx.doi.org/10.1076/ejes.6.1.87.4797.

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Potts, D. L. "Pastoral Elegy in Contemporary British and Irish Poetry * Knowing One's Place in Contemporary Irish and Polish Poetry." English 63, no. 243 (2014): 349–51. http://dx.doi.org/10.1093/english/efu021.

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Zimina, Evgeniia, and Mariana Sargsyan. "Politics, Poetry, People: an Overview of Contemporary Poetry Trends in the British Literary Landscape." Armenian Folia Anglistika 15, no. 1 (19) (2019): 113–29. http://dx.doi.org/10.46991/afa/2019.15.1.113.

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The article deals primarily with the poetic discourse surrounding the 2014 Scottish Independence Referendum and the post-referendum developments in the UK. The political processes of the recent years have been unprecedented in terms of the public resonance, which was by and large due to the active involvement of the social media. By examining the language and rhetoric strategies used in poems we become aware of the message behind them, of the political ideologies they are based on and of the means employed to address the public. It is argued that poetry, whether traditional or digital, sentimental or furious, played and still continues to play a significant role in shaping debate over mega political processes in the UK and in affecting people’s opinion.

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Larrissy, Edward. "Things, Description, and Metaphor in Contemporary British and Irish Poetry." Yearbook of English Studies 17 (1987): 218. http://dx.doi.org/10.2307/3507660.

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Zeilig, Hannah. "Gaps and spaces: Representations of dementia in contemporary British poetry." Dementia 13, no. 2 (2012): 160–75. http://dx.doi.org/10.1177/1471301212456276.

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Deane, Patrick. "The Occasion and Contexture of Speech in Contemporary British Poetry." Contemporary Literature 35, no. 2 (1994): 343. http://dx.doi.org/10.2307/1208843.

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Wolwacz, Andrea Ferras. "TOM PAULIN'S POETRY OF TROUBLES." Organon 34, no. 67 (2019): 1–23. http://dx.doi.org/10.22456/2238-8915.96943.

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This paper is part of my PhD thesis. It examines contemporary Northern Irish Literature written in English with the help of the theoretical approach of Irish Studies. It aims to introduce and make a critique of poetry written by Tom Paulin, a contemporary British poet who is regarded one of the major Protestant Irish writers to emerge from Ulster province. The thread pursued in this analysis relates to an investigation of how ideological discourses and the issues of identity are represented in the poet’s work. The author’s critical evaluation of existing ideologies and identities and his attempt to respond to them will also be analyzed. Four poems from three different collections are investigate. Paulin’s poems function as testimonies, denouncement and criticism of the Irish history.

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Barry, P. "PETER ROBINSON (ed). Oxford Handbook of Contemporary British and Irish Poetry." Review of English Studies 65, no. 272 (2014): 955–57. http://dx.doi.org/10.1093/res/hgu022.

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Fleming, Will. "“It Isn’t Race or Nation Governs Movement”: New Writers’ Press and the Transnational Scope of Irish Experimental Poetry in the 1960s and 1970s." Humanities 8, no. 4 (2019): 178. http://dx.doi.org/10.3390/h8040178.

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In this paper, I seek to contribute to the resurrection from critical obscurity of an overlooked tradition in contemporary Irish poetry: namely, that of small-press poetic experimentalism. Taking as a case study the Dublin-based New Writers’ Press (NWP, established 1967), I will interrogate the absence of virtually any mention of small Irish experimental presses in critical narratives of late modernist poetry of the British Isles in the 1960s and 1970s. By using an array of insights gleaned from the many letters, typescripts and other ephemera in the NWP archive housed at the National Library of Ireland, such absences in scholarship are explored in the context of what the press’ founding editors faced in navigating the small Irish poetry market of the mid-twentieth century. Through this archival lens, the reasons why a cohesive avant-garde network of British and Irish poetic experimentalists never materialised are analysed, and an argument for how Irish poetic experiments of the last half century have not received anywhere near the same degree of critical attention as those of their British counterparts will emerge. In the first half of this paper, I focus on the Irish commercial poetry scene in the 1950s and 1960s, ultimately illustrating how narrow and competitive it was in comparison to the British market, as well as the peculiar individual context of an Irish campus magazine, Trinity College’s Icarus (1950-). This will in turn suggest that the absence of presses such as NWP from critical accounts of late modernist poetic experimentalism may well be due to editorial decisions made by those Irish presses themselves. In the second half of this paper, I foreground some important archival evidence to review a number of instances in NWP’s history in which it comes close to forging alliances with presses within the more cohesive British experimental scene, though it never manages to do so. Drawing on this evidence, I present an archival basis for counterarguments to the possible conclusion that the responsibility for the general absence of Irish presses from narratives of small-press experimentalism lies with those Irish presses themselves.

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Saglia, Diego. "Telling Romantic Tales: History and Romantic-Period Icons in Contemporary British Poetry." English Language Notes 41, no. 4 (2004): 27–50. http://dx.doi.org/10.1215/00138282-41.4.27.

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Collins, Lucy. "Emergent Ground: Four Poems by Vona Groarke." Irish University Review 43, no. 2 (2013): 265–69. http://dx.doi.org/10.3366/iur.2013.0078.

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Vona Groarke (b. 1964) is a contemporary Irish poet. Born in Edgeworthstown in the Irish midlands, and now resident in Manchester, Groarke is the author of five collections of poetry with Gallery Press; her sixth collection, X, will be published early in 2014. Her work appears regularly in British and Irish journals, and has received numerous awards, including the Strokestown International Poetry Award and the Forward Prize. Four previously unpublished poems by Vona Groarke appear here, introduced by Lucy Collins.

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Malcolm, David. "Ellipsis, Narrative Gaps, and Their Functions in Contemporary British Poetry: A Narratological Approach." Tekstualia 1, no. 4 (2018): 67–79. http://dx.doi.org/10.5604/01.3001.0013.5152.

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The narratological understanding of ellipsis is defined as a gap in the presentation of a narrative’s histoire. The absence of extensive consideration of verse in narratological studies is argued. It is suggested that such an absence is surprising, as narrative and verse constantly intersect. The work of several contemporary British poets is discussed in terms of their employment of narrative ellipsis. A provisional typology of ellipsis in verse and functions for such ellipsis are put forward. It is hypothesised that this device is widespread in verse, and that examination of poetry using this and other narratological terms will prove fruitful.

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Byrne, Deirdre. "NEW MYTHS, NEW SCRIPTS: REVISIONIST MYTHOPOESIS IN CONTEMPORARY SOUTH AFRICAN WOMEN’S POETRY." Gender Questions 2, no. 1 (2016): 52–66. http://dx.doi.org/10.25159/2412-8457/1564.

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Considerable theoretical and critical work has been done on the way British and American women poets re-vision (Rich 1976) male-centred myth. Some South African women poets have also used similar strategies. My article identifies a gap in the academy’s reading of a significant, but somewhat neglected, body of poetry and begins to address this lack of scholarship. I argue that South African women poets use their art to re-vision some of the central constructs of patriarchal mythology, including the association of women with the body and the irrational, and men with the mind and logic. These poems function on two levels: They demonstrate that the constructs they subvert are artificial; and they create new and empowering narratives for women in order to contribute to the reimagining of gender relations.

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Alderman, Nigel, and Keith Tuma. "An "Adjunct to the Muses' Diadem": Resuscitating the Dead Art of Reading Contemporary British Poetry." Contemporary Literature 42, no. 1 (2001): 149. http://dx.doi.org/10.2307/1209087.

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Stott, Gregory. "Poetic Justice." Ontario History 105, no. 2 (2018): 160–82. http://dx.doi.org/10.7202/1050732ar.

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Beginning in 1855 Lambton County merchant, postmaster, poet, Orangeman and moderate conservative Robert McBride (1811-1895) saw himself as a victim of a conspiracy launched by scheming Reform-minded politicians and their cronies. In books of poetry, particularly his hefty Poems Sentimental & Satirical On Many Subjects Connected with Canada, and drawing on his own experiences, he outlined the malfeasance of the judiciary, the ‘land jobbing’ class, and others associated with the Reform movement in Canada West who, he claimed, were undermining and corrupting the British foundations of the province. McBride’s poetry and other contemporary documentation about his legal travails help us understand the complex connections that existed among colonial administrators at the local level in Canada West in the 1850s.

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Hessell, Nikki. "John Keats and Indian Medicine." Romanticism 22, no. 2 (2016): 157–66. http://dx.doi.org/10.3366/rom.2016.0271.

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John Keats's medical studies at Guy's Hospital coincided with a boom in interest in both the traditional medicines of the sub-continent and the experiences of British doctors and patients in India. Despite extensive scholarship on the impact of Keats's medical knowledge on his poetry, little consideration has been given to Keats's exposure to Indian medicine. The poetry that followed his time at Guy's contains numerous references to the contemporary state of knowledge about India and its medical practices, both past and present. This essay focuses on Isabella and considers the major sources of information about Indian medicine in the Regency. It proposes that some of Keats's medical imagery might be read as a specific response to the debates about medicine in the sub-continent.

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Tuma, Keith. "What Not to Make of Eric Mottram: Questions & Remarks on Contemporary British & American Poetry." Chicago Review 43, no. 4 (1997): 121. http://dx.doi.org/10.2307/25304221.

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Karnad, Girish. "Performance, Meaning, and the Materials of Modern Indian Theatre." New Theatre Quarterly 11, no. 44 (1995): 355–70. http://dx.doi.org/10.1017/s0266464x00009337.

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Girish Karnad is not only India's leading playwright, and a practitioner across the performing arts in all that nation's media, but the first contemporary Indian writer to have achieved a major production in a regional American theatre – Naga-Mandala, seen at the Guthrie Theatre in July 1993. The following interview was recorded on the occasion of that production, and ranges widely not only over Karnad's own work and its circumstances, but the situation and problems of the Indian theatre today, and its ambivalent relationship alike to its classical and its colonial past, and to the contemporary problems of its society. The interviewer, Aparna Dharwadker, is Assistant Professor of Drama and Eighteenth-Century British Studies at the University of Oklahoma. Her essays and articles have appeared or are forthcoming in PMLA, Modern Drama, and The Sourcebook of Post-Colonial English Literatures and Cultural Theory (Greenwood, 1995). She has also published collaborative translations of modern Hindi poetry in major anthologies, including The Oxford Anthology of Modern Indian Poetry (1994), and is currently completing a book-length study of the politics of comic and historical forms in late seventeenth-century drama.

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Adebayo, Mojisola, Valerie Mason-John, and Deirdre Osborne. "‘No Straight Answers’: Writing in the Margins, Finding Lost Heroes." New Theatre Quarterly 25, no. 1 (2009): 6–21. http://dx.doi.org/10.1017/s0266464x09000025.

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Mojisola Adebayo and Valerie Mason-John are two distinctive voices in contemporary writing and performance, representing an Afro-Queer diasporic heritage through the specific experience of being black, British, and lesbian. Creating continuities from contorted or erased histories (personal, social, and cultural), their drama demonstrates both Afro-centric and European theatrical influences, which in Mason-John's case is further consolidated in her polemic, poetry, and prose. Like Britain's most innovative and prominent contemporary black woman dramatist, debbie tucker green, they reach beyond local or national identity politics to represent universal themes and to centralize black women's experiences. With subject matter that includes royal families, the care system, racial cross-dressing, and global ecology, Adebayo and Mason-John have individually forged a unique aesthetic and perspective in work which links environmental degradation with social disenfranchisement and travels to the heart of whiteness along black-affirming imaginative routes. Deirdre Osborne is a lecturer in drama at Goldsmiths College, University of London, and has published essays on the work of black British dramatists and poets, including Kwame Kwei-Armah, Dona Daley, debbie tucker green, Lennie James, Lemn Sissay, SuAndi, and Roy Williams. She is the editor of Hidden Gems (London: Oberon Books, 2008), a collection of plays by black British dramatists.

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Pietrzak, Wit. "Poetry, Environment and the Possibility of Future. A Review of Sam Solnick’s "Poetry and the Anthropocene: Ecology, Biology and Technology in Contemporary British and Irish Poetry" (Abingdon: Routledge, 2017)." Text Matters, no. 9 (December 30, 2019): 395–402. http://dx.doi.org/10.18778/2083-2931.09.24.

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Waterman, Rory. "‘The Nation Rejoices or Mourns’: Literary and Cultural Ambivalences in Wendy Cope’s Making Cocoa for Kingsley Amis (1986)." English: Journal of the English Association 68, no. 263 (2019): 325–43. http://dx.doi.org/10.1093/english/efz016.

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Abstract The poet Wendy Cope gained a huge reputation in the early 1980s mainly for a series of witty and incisive parodies, often under the name of her desperate fictional poète maudit Jake Strugnell, and these poems were collected, along with others, in her hugely successful and influential debut collection, Making Cocoa for Kingsley Amis, which appeared in 1986. This book sold almost 200,000 copies, but has been the subject of a very small body of criticism. Many of her contemporary poet-critics were dismissive: in one contemporary review, Peter Riley epitomized a not uncommon reaction when he claimed that no ‘poetic import can be claimed for the book’, and railed against ‘a new audience for poetry, one which must be presumed to have previously fought shy of it as too difficult or too deep’. Certainly, Making Cocoa for Kingsley Amis is not a work of avant garde complexity, but Cope’s debut is not as cosily complacent as such critics indicate. It is in fact highly allusive and resistant to orthodoxies – and was a thorn in the side of the literary and cultural establishment into which she was instantly propelled. This essay assesses the ways in which Cope’s debut collection takes an ambivalent, nuanced, and parodic response to British institutions, and to the orthodoxies of the male-dominated literary world she was entering.

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DEN BOER, PIM. "Homer in Modern Europe." European Review 15, no. 2 (2007): 171–85. http://dx.doi.org/10.1017/s1062798707000191.

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Homer is considered the father of poetry in European culture, but the written Greek text of the Iliad and the Odyssey was for ages not available in modern Europe, and knowledge of Greek was almost completely lost. Homer entered European classrooms during the 19th century. The popularity of the Iliad and the Odyssey coincided with the creation of modern educational systems in European empires and nation-states. At the end of the 19th century Homer was considered perfect reading material for the formation of the future elite of the British Empire. In the course of the 20th century teachers and pedagogues became increasingly accustomed to perceive Homer and his society as totally different from our times. All reading of Homer is contemporary reading.

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Eschraghi, Armin, Daniel Grolin, Peter Smith, and Bruce Wannell. "Reviews." Baha'i Studies Review 14, no. 1 (2007): 137–53. http://dx.doi.org/10.1386/bsr.14.137_4.

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Hadrat-i Bb, Nusrat'u'llh Muhammad-Husain (1995) Dundas, Ont.: Institute for Baha'i Studies in Persian. 1038 pp. + English preface (1 p.); 108 illustrations. ISBN 1896193102.Ahd-i Al: Zindign-yi Hadrat-i Bb, Abu'l-Qsim Afnn (2000) Oxford: Oneworld. ISBN 1851682254. 16 + 654 pp. including index and 26 illustrations.Baha'i, Margit Warburg, [2003] Studies in Contemporary Religions, Salt Lake City: Signature Books. 91 pp. ISBN 1560851694 (pbk). Price: $12.95The Baha'i Faith in America, William Garlington (2005) Westport, CT: Praeger. Distributed by Kalimt Press as volume 21 in its Studies in the Babi and Baha'i Religions series. xxiii + 221 pp. including select bibliography and index. (hbk Praeger) 0-275-98413-3 $39.95; (pbk Kalimt) ISBN 0-275-98991-7 $29.95Rumi: Past and Present, East and West the Life, Teachings and poetry of Jalal al-Din Rumi. Franklin D. Lewis, 2000 Oxford: Oneworld Publications, xxvii + 686 pp. ISBN 1851682147. Price: (hbk) 26.99, US$35.95 (Winner in 2000 of the British-Kuwait Friendship Society Prize in Middle Eastern Studies administered by the British Society for Middle Eastern Studies)

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Maciel, Maria Esther. "Julio Bressane, Peter Greenaway e Haroldo de Campos." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 53–59. http://dx.doi.org/10.17851/2317-2096.8..53-59.

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Resumo: São Jerônimo teve que reinventar o latim para traduzir a Bíblia diretamente da língua hebraica, causando efeitos de estranhamento em seus contemporâneos e inaugurando uma nova concepção da arte de traduzir. No cinema contemporâneo, pelo menos dois cineastas trouxeram à tela a figura do santo tradutor: Julio Bressane, em São Jerônimo, e Peter Greenaway, em O livro de cabeceira. No caso deste, a evocação de Jerônimo entrelaça-se obliquamente, através do protagonista Jerome, à de um tradutor importante para a poesia de língua inglesa do século XX: Arthur Waley, o primeiro a traduzir para o inglês o clássico japonês O livro de cabeceira, de Sei Shonagon. No Brasil, Haroldo de Campos marca a confluência dessas duas vertentes: a da tradução criativa da poesia oriental e a da reescrita – na trilha aberta por São Jerônimo – de fragmentos da Bíblia a partir do original hebraico.Palavras-chave: São Jerônimo; tradução criativa; cinema contemporâneo.Abstract: St. Jerome had to re-invent Latin in order to translate the Bible directly from Hebrew. In doing so, he created a new conception of the art of translation. In the contemporary cinema, at least two filmmakers brought to the screen the figure of the saint-translator: Julio Bressane, in São Jerônimo, and Peter Greenaway, in The pillow book. In the case of the latter, the evocation of St. Jerome is obliquely interwoven, through the protagonist Jerome, with a prominent British translator, Arthur Waley, who was the first to translate into English the Japanese classic The pillow book by Sei Shonagon. In Brazil, Haroldo de Campos represents the convergence of these two approaches to translation: the “transcreation” of Oriental poetry and the re-writing of the Bible from the Hebrew, as St. Jerome did.Keywords: St. Jerome; creative translation; poetry; contemporary cinema.

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McBay, Arnold. "Who Decides the Land is Sacred?" ti< 7, no. 1 (2018): 1–2. http://dx.doi.org/10.26522/ti.v7i1.1727.

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Who Decides the Land is Sacred? 2018.gif animationArnold McBayThis work is born out of my recent studies in contemporary and historical visual poetry. While experimenting with my own ideas in visual poetry I gravitated towards creating animated visual poems.Who Decides the Land is Sacred is a consideration of the recent conflicts between indigenous peoples, oil companies and animal rights groups over land and animal rights have been much on my mind, especially the current tensions in the Shorthills Provincial Park just outside of St. Catharines, Ontario.The repeated moving line “Who Decides the Land is Sacred?” in the animation is a quote from the headline of a Vancouver Sun article (written by Douglas Todd) on the Supreme Court of Canada case “Ktunaxa Nation versus British Columbia” in which the SCC ruled against the indigenous group. This animation cycles in an infinite loop suggesting an interminable struggle as well as the elusive nature of resolving such conflicts. The ghost of the ecosystem looming in the form of a deer slowly disappears only to be reborn again. The three fragments of the animation shown in these three stills function as archaeological artefacts, fragments perhaps of a failed past and something lost. The media transformation from moving text to solitary frames stills the potential optimism one might read in the animated work.

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Archer, Harriet. "‘The earth … shall eat us all’: Exemplary History, Post-Humanism, and the Legend of King Ferrex in Elizabethan Poetry and Drama." English: Journal of the English Association 68, no. 261 (2019): 162–83. http://dx.doi.org/10.1093/english/efz024.

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Abstract The legend of King Ferrex was employed by Thomas Norton and Thomas Sackville in their succession play, Gorboduc (first performed 1561), and by John Higgins in his Mirror for Magistrates (1574; 1587), to reflect on contemporary politics and offer topical warnings to Elizabeth I and her subjects based on legendary British history. However, as well as including a section specifically focused on environmental exploitation, Higgins imbues the earth with a destructive animism in his poem which stands apart as an anomaly in his collection of verse complaints and amongst wider treatments of the story. Higgins’s emphasis on the arbitrary amoral and areligious destruction of all by the agency of the earth and other non-human actors challenges the Mirror’s educative model, and renders the Gorboduc legend inert. Looking at various versions of the narrative in Gorboduc, Higgins’s Mirror, and William Warner’s Albion’s England (1586), and analogous uses of environmental discourse in other contemporary poetic and dramatic texts by Shakespeare, Spenser, and Marlowe, this article considers the role of the nonhuman, and specifically the earth itself, in early modern imaginative historiography and political commentary. In particular, it suggests that there are fruitful connections to be made between modern posthumanist theoretical approaches, and the post-humanism of Higgins’s approach to exemplary history, whereby his admonitory text appears to abandon its premise of human primacy and perfectability in response to the perceived failure of Elizabethan advice literature to effect political change.

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Goldman-Ida, Batsheva. "Jonathan Leaman: In Conversation." IMAGES 13, no. 1 (2020): 47–73. http://dx.doi.org/10.1163/18718000-12340130.

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Abstract Jonathan Leaman (b. 1954, London) is a British painter who is represented in the Tate Collection. This article, the result of 15 years of his correspondence with art historian and museum curator Batsheva Goldman-Ida, focuses on a group of works by the artist from the last two decades. Leaman’s familiarity with major Kabbalah scholarship, combined with his wide knowledge of poetry and philosophy, enable him to engage in concepts related to Kabbalah and art in a discursive manner that is unparalleled in modern scholarship. This article showcases Leaman’s remarks with source material for the benefit of the reader. Leaman is one of the most important contemporary artists in the area of mystical art. His introduction to the public is long overdue. His paintings are an authentic, creative expression of the considered material filtered through the artist’s own self-awareness. Leaman’s keen interest in haecceity, hypostatization, and reification is juxtaposed with Goldman-Ida’s interest in object history and linguistic mysticism, and with key Hasidic and kabbalistic concepts such as worship through corporeality, divine contraction, and rectification.

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Levy, Deborah. "Questions of Survival: towards a Postmodern Feminist Theatre." New Theatre Quarterly 9, no. 35 (1993): 225–30. http://dx.doi.org/10.1017/s0266464x00007946.

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Deborah Levy is a playwright, poet, and novelist, whose theatre work is informed by a concern to combine visual imagery, music, and text. After working with visual artists and sculptors, and performing her poetry in pubs and galleries and on the cabaret circuit, she was commissioned by the Women's Theatre Group to write Pax. This was followed by Clam, three more plays for the fringe, and then by Heresies for the RSC. She is currently working on an adaptation of Angela Carter's Nights at the Circus. A collection of Deborah Levy's poetry, An Amorous Discourse in the Suburbs of Hell, and a novel, Beautiful Mutants, have both been published by Jonathan Cape. She has also worked as a writer and director with the Magdalena Project, for whom she directed a devised theatre piece entitled The B File, based on her own short story ‘Swallowing Geography’. This was performed in October 1991 in the theatre of Chapter Arts Centre, Cardiff, where it was well received by both critics and audience, and has since been staged for the European Arts Festival at Chapter, and at the Old Museum Arts Centre, Belfast. It was in Cardiff that Irini Charitou, who acted in both productions of The B File, talked to Deborah Levy about her concerns and interests as a feminist playwright who has chosen postmodernism as a means of articulating her cultural position. Irini Charitou, who complements the interview with a brief introduction to Pax, Clam, and Heresies, is presently researching towards an MPhil on contemporary British and Greek women's theatre at the University of Lancaster.

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Gualberto, Rebeca. "Adaptation against Myth: Gary Owen’s Iphigenia in Splott and the Violence of Austerity." Revista Alicantina de Estudios Ingleses, no. 35 (July 28, 2021): 119. http://dx.doi.org/10.14198/raei.2021.35.06.

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This article explores, from the standpoint of socio-political myth-criticism, the processes of revision and adaptation carried out in Gary Owen’s 2015 play Iphigenia in Splott. The play, a dramatic monologue composed in the rhythms of slam poetry, rewrites the classical Greek myth of Iphigenia in order to denounce the profound injustice of the sacrifices demanded by austerity policies in Europe—and more specifically, in Britain—in the recession following the financial crash of 2008. Reassessing contemporary social, economic and political issues that have resulted in the marginalisation and dehumanisation of the British working class, this study probes the dramatic and mythical artefacts in Owen’s harrowing monologue by looking back to Euripides’s Iphigenia in Aulis, the classical play which inspires the title of Owen’s piece and which serves as the mythical and literary background for the story of Effie. The aim is to demonstrate how Owen’s innovative adaptation of the sacrifice of Iphigenia, slurred out in verse, resentful and agonising, speaks out a desperate plea against myth, that is, against a dominant social ethos that legitimises its own violence against the most vulnerable—those who, as in the classical myth, suffer the losses that keep our boats afloat.

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Fraser, Hilary. "A VISUAL FIELD: MICHAEL FIELD AND THE GAZE." Victorian Literature and Culture 34, no. 2 (2006): 553–71. http://dx.doi.org/10.1017/s106015030605131x.

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In 1892, Katharine Bradley (1846–1914) and Edith Cooper (1862–1913) published a volume of poetry with the titleSight and Songbased on their response to a series of paintings in British and Continental public galleries. Bradley and Cooper, aunt and niece, devoted lovers, who over the three decades of their writing lives produced numerous volumes of poetry and plays collaboratively under the authorial signature “Michael Field,” had already made their name with a volume published in 1889 entitledLong Ago, comprising translations and elaborations of the Sapphic fragments, which has been read as an intriguing and (for the times) audaciously explicit celebration of love between women. The concept of “translation” was as fundamental to the project ofSight and Songas it had been toLong Ago; however, in the later volume it refers not to the literal translation of poetic fragments written in an ancient and other language (asLong Agoostensibly did) but to the rhetorical act of interpreting visual images. The aim of their new collection of ekphrastic poems was, as they explained in the Preface toSight and Song, “to translate into verse what the lines and colours of certain chosen pictures sing in themselves” (Michael Field,Sight and Songv). The synaesthetic complexity of Michael Field's language here suggests the multidimensional sensory experience of looking at and responding to visual art works, something the women try to capture in the various kinds of writing they undertake around the production of this volume – their journal and their letters, as well as the poems themselves – in their attempt to provide such a translation. In this essay I should like to explore howSight and Songcontinues the project ofLong Agoin the sense both of articulating their lesbian experience and of locating them in a cultural tradition, only that experience is here specifically associated with visual hermeneutics and with the circulation of the verbal and the visual, and the cultural connections they make are not with a classical lesbian heritage but with recent and contemporary aestheticians and writers on art – most notably, I suggest, with two other couples who wrote art criticism in collaboration: Bernard Berenson and Mary Costelloe, and Vernon Lee and Clementina (“Kit”) Anstruther-Thomson.

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Kiran, Naumana. "Stratification and Role of the Elite Muslim Women in the State of Awadh, 1742-1857." ATHENS JOURNAL OF HISTORY 7, no. 4 (2021): 289–94. http://dx.doi.org/10.30958/ajhis.7-4-2.

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This paper focuses on stratification and role of the elite Muslim women in the State of Awadh during the second-half of the eighteenth, and first-half of nineteenth century India. It evaluates the categorization of women associated with the court and the division of political and domestic power among them. It also seeks their economic resources and their contribution in fields of art and architecture. The study finds that the first category of royal women of Awadh, including queen mothers and chief wives, enjoyed a powerful position in the state-matters unlike many other states of the time in India. Besides a high cadre of royal ladies, three more cadres of royal women existed in Awadh’s court with multiple ratios of power and economic resources. Elite women’s input and backing to various genres of art, language and culture resulted in growth of Urdu poetry, prose, drama and music in addition to religious architecture. The paper has been produced on the basis of primary and secondary sources. It includes the historical accounts, written by contemporary historians as well as cultural writings, produced by poets and literary figures of the time, besides letters and other writings of the rulers of Awadh. The writings produced by the British travelers, used in this paper, have further provided an insightful picture and a distinctive perspective.

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Alderman, Rosalind. "Poetry and the Anthropocene: ecology, biology and technology in contemporary British and Irish poetry, by Sam Solnick, Routledge Environmental Humanities series edited by Ian McCalman and Libby Robin, Abingdon and New York, Routledge, 2017, xii + 224 pp., £90.00 (hardback), ISBN 978-1-138-94168-7." Green Letters 21, no. 2 (2017): 222–23. http://dx.doi.org/10.1080/14688417.2017.1328895.

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Asmal, Abu-Bakr M. "BRISMES 1994 Annual Conference." American Journal of Islam and Society 11, no. 4 (1994): 595–602. http://dx.doi.org/10.35632/ajis.v11i4.2446.

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The annual conference of the British Society for Middle EasternStudies (BRISMES) was hosted by the Department of Middle EasternStudies at the University of Manchester and concentrated on thetheme of "Culture: Unity and Diversity." About two hundred participantsdeliberated over approximately ninety papers of varying standards,in addition to the three plenary sessions. This was achieved bygrouping the speakers, many of whom were from overseas, intothirty-four panels covering such diverse themes as law, politics, language,literature, poetry, culture, identity, history, religion, architecture,mysticism, media, economics, and agriculture. A balance wasalso maintained between the historical and the contemporary in manyof these areas. Each session. featured up to five panels, each withbetween two and four speakers. These were held simultaneously inorder to give all of the participants in each session the opportunity tochoose the one panel that would be of most interest to them. Some ofthe panels were hosted by special interest groups: The Society forMoroccan Studies; The Association for Cypriot, Greek and TurkishAffairs; The Manchester University Research Group on Central Asiaand the Caucasus; and two panels in memory of Avriel Butovsky.The focus of the conference's attention was the plenary session oneach of the three days. A different guest speaker was present for eachsession. The most striking presentation was that of Seyyed HosseinNasr (George Washington University, USA). The opening plenaryaddress was by Bozkurt Guvem; (Ankara, Turkey), and the closingplenary session featured Tayeb Salih (London, UK).After the opening speeches, Bozkurt Guven????. currently advisor tothe President of Turkey and formerly an anthropologist and architect,was called upon to speak on the "Quest for National Identity inTurkey: Cultural Continuity of Historical Diversities." He began byfocusing on the dilemma that a quest for identity generates due to itsdeep-rootedness in the sociocultural and historical consciousness ofpeople at the individual, collective, local, national, static, and transitionallevels. In answer to the question "Who are you?," one's identityis as much dependent on the attitude of the perceiver as it is on theperception that the perceived has of himself or herself. It is therefore ...

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Riddiford, Alexander. "Homer's Iliad and the Meghanādbadha Kābya of Michael Madhusūdan Datta." Bulletin of the School of Oriental and African Studies 72, no. 2 (2009): 335–56. http://dx.doi.org/10.1017/s0041977x09000548.

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AbstractThe debt owed to Homer's Iliad by the Meghanādbadha Kābya (1861), Michael Madhusūdan Datta's Bengali epic and masterpiece, has long been recognized but has never been examined with any close or academically sensitive reference to the Greek poem. This study sets out to examine the use of the Homeric epic as a model for the Bengali poem, with particular regard to character correspondences, the figure of the simile and narrative structure. In addition to this close analysis, Datta's response to the Iliad will be set in the context of contemporary (and earlier) British receptions of the Homeric poem: the Bengali poet's reading of the Greek epic, far from being idiosyncratic (“colonial”), in fact bears the marks of a close engagement with contemporary British appreciation of the poem.

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Gendusa, Ester. "Bernardine Evaristo’s The Emperor’s Babe: Re-narrating Roman Britannia, De-essentialising European History." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 8 (December 1, 2015): 47. http://dx.doi.org/10.12681/syn.16212.

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Bernardine Evaristo’s The Emperor’s Babe (2001) contributes to the imaginative disentanglement of the traditional British ethnicity-and-nation nexus and questions the related founding myth of racial purity by featuring the character of Zuleika, a young black woman who is born of Sudanese parents in Roman London. Through the depiction of Zuleika, Evaristo offers a subversive reshaping of some versions of the official British national history in the context of a wider revision of the European classical past. However, in spite of its temporal setting, Evaristo’s historical novel simultaneously engages with contemporary issues of gendered racialisation and national belonging. In its highly orchestrated poetic prose, Roman Londinium and today’s London are imaginatively interwoven. This enables the reader to correlate Zuleika’s attempts at negotiating her right to citizenship in the Roman empire to contemporary Black British feminist politics, committed as it is to resisting structures of sexist and racial discrimination at play in present-day Britain.

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Abdel Aziz, Amal. "The Politics and Poetics of Oppression in Caryl Churchill's Seven Jewish Children." International Journal of Language and Literary Studies 2, no. 1 (2020): 116–23. http://dx.doi.org/10.36892/ijlls.v2i1.163.

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Caryl Churchill is one of the leading contemporary British playwrights. Because of the Israel military strike on Gaza in early 2009, she wrote her short poetic play, Seven Jewish Children, which densely explores modern Jewish history, from the time of pre-holocaust Europe up to the current struggles between Israel and Palestinian militant organizations. The stimulating dynamism of Churchill's historical chronicle is that though it introduces the past suffering of the Jews, it exposes their moral insincerity when it comes to labeling the current brutal actions performed by the state of Israel against Palestinian civilians. Employing a descriptive-analytical approach, this paper examines the play as a poetic narrative representing a pattern of reversed oppression in which contemporary Israelis, descendants of former victims of the Nazi, have inherited the legacy of the Holocaust and are deemed accountable for the ruthless violence perpetrated on the Arab residents of the occupied land.

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Latremouille, Jodi Marie. "Poetic Inquiry as Visiting: Stories of Men." in education 20, no. 2 (2014): 48–58. http://dx.doi.org/10.37119/ojs2014.v20i2.173.

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This article is a reflection on how stories can come to inhabit a place in a pedagogical way, as Keith Basso notes, “wisdom sits in places” (1996). In this story, I write about my experiences teaching a college preparation English and math class in rural British Columbia. In the short story entitled Stories of Men, I describe the act of witnessing the stories of suffering and hope of men who grew up attending local residential schools, alongside the stories of their sons’ coming of age in the contemporary school system. Keywords: poetic inquiry; narrative inquiry; storytelling; place-based pedagogy

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John, Stefanie. "‘Precision Instruments for Dreaming’: Anatomizing Keats in Pauline Stainer's The Wound-dresser's Dream." Romanticism 22, no. 2 (2016): 230–41. http://dx.doi.org/10.3366/rom.2016.0277.

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This essay examines allusions to Keats in the collection The Wound-dresser's Dream (1996) by the contemporary British poet Pauline Stainer. Drawing on the Keatsian notion of dreaming as a metaphor for poetic creativity and responding to Keats as both poet and physician, Stainer explores the interface between sense experience and imagination. As dreams seem to encode hidden meanings, so Stainer's writing evokes the impression that the textual riddles of her poems symbolize greater truths – while the nature of these truths is mostly left unclear. Through extensive use of allusion and surreal, sometimes opaque imagery she foregrounds the status of the poetic work as a linguistic construct. Yet she also maintains a Keatsian belief that poetry's ability to embrace uncertainties and mysteries affords it a unique grasp on actuality.

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Favret, Mary A. "Still Winter Falls." PMLA/Publications of the Modern Language Association of America 124, no. 5 (2009): 1548–61. http://dx.doi.org/10.1632/pmla.2009.124.5.1548.

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This essay follows closely a long tradition of poets writing about war as winter, emphasizing its most dangerous characteristics: an impersonal force that can bring indiscriminate annihilation, freezing numbness or insensibility, and blank illegibility. These poems tell of modern total war avant la lettre and its capacity to destroy what we can feel or know of its work. Focusing primarily on eighteenth-century British poets (Pope, Thomson, Cowper, and Wordsworth) but turning as well to Homer and our contemporary poets, the essay considers the particular threats of war to poetic creation and the difficult, often desperate means by which poets resist those threats. Perhaps most ominous in these figurations are representations of war as still, inactive, and somehow outside the logic of historical eventfulness. Thus the poets meditate as well on the very possibility of historical narrative amid the violence of war.

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Whiteley, Sara. "Talking about ‘An Accommodation’: The implications of discussion group data for community engagement and pedagogy." Language and Literature: International Journal of Stylistics 20, no. 3 (2011): 236–56. http://dx.doi.org/10.1177/0963947011413562.

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Community engagement is an important area of development both generally in Higher Education English departments and also in the disciplines of stylistics and cognitive poetics. Though claiming to be concerned with ‘real readers reading literature in the real world’ (Stockwell, 2002: 8), cognitive poetic and stylistic analyses could be biased towards the reading practices of academics (Miall, 2006). As a result, it is becoming increasingly popular for stylisticians to use empirical methods to investigate readers other than the analyst in their discussion of literary effect (e.g. Burke, 2010; Stockwell, 2009; Whiteley, 2011). This article examines extracts from group discussion data collected as part of the ‘Creative Writing in the Community’ project at the University of Sheffield. Five groups of readers were recorded discussing poems by contemporary British poet Simon Armitage. The groups consisted of cognitive poetic researchers, first-year undergraduate English students, and local reading groups respectively. I examine the style and content of their discussions in the light of existing research into the distinctions between ‘professional’ and ‘non-professional’ readers, and consider what the similarities and differences between their discourse could signal for university departments’ engagement with readers both within and outside of the classroom.

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Journal articles on the topic 'Contemporary British Poetry'

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