Relevant bibliographies by topics / Contemporary sonnet

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Contemporary sonnet'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Contemporary sonnet"

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Jacobs, Adriana X. "?הַאִם אַתָּה דּוֹמֶה לְיוֹם אָבִיב." European Judaism 51, no. 2 (September 1, 2018): 97–105. http://dx.doi.org/10.3167/ej.2017.510215.

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In this article, I address contemporary Hebrew translations of Shakespeare’s Sonnets, specifically those by the Israeli poet Anna Herman. My reading of Herman’s translation of Sonnet 18 contextualizes this translation in the Hebrew translation history of the Sonnets. I discuss how Hebrew retranslations of the Sonnets illuminate and complicate our understanding of shifts in the development of modern Hebrew writing and translation from the nineteenth to twenty-first centuries. How do Herman’s translations ‘compare’, as it were, with the translations that have come before, particularly those by male translators? As part of a neoformalist turn in contemporary Hebrew poetry, I call attention to the ways in which Herman’s translations, which were published in 2006, revitalize our reading of the original Shakespearean English and the Hebrew translations that followed, thereby constituting an altogether contemporary text.
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Jacobs, Adriana X. "?הַאִם אַתָּה דּוֹמֶה לְיוֹם אָבִיב." European Judaism 51, no. 2 (September 1, 2018): 97–105. http://dx.doi.org/10.3167/ej.2018.510215.

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Abstract In this article, I address contemporary Hebrew translations of Shakespeare’s Sonnets, specifically those by the Israeli poet Anna Herman. My reading of Herman’s translation of Sonnet 18 contextualizes this translation in the Hebrew translation history of the Sonnets. I discuss how Hebrew retranslations of the Sonnets illuminate and complicate our understanding of shifts in the development of modern Hebrew writing and translation from the nineteenth to twenty-first centuries. How do Herman’s translations ‘compare’, as it were, with the translations that have come before, particularly those by male translators? As part of a neoformalist turn in contemporary Hebrew poetry, I call attention to the ways in which Herman’s translations, which were published in 2006, revitalize our reading of the original Shakespearean English and the Hebrew translations that followed, thereby constituting an altogether contemporary text.
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Wącior, Sławomir. "Reading the city: Edwin Morgan’s “Glasgow Sonnets” as a contemporary urban sonnet sequence." Roczniki Humanistyczne 63, no. 11 (2015): 291–307. http://dx.doi.org/10.18290/rh.2015.63.11-18.

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Olszewski, Krzysztof. "Chūya Nakahara jako twórca japońskiego sonetu: perspektywy przekładu." Gdańskie Studia Azji Wschodniej 19 (2021): 196–208. http://dx.doi.org/10.4467/23538724gs.20.058.13498.

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Chūya Nakahara as the author of Japanese sonnet: Translation perspectives This article offers a reflection – against the historical and literary background of the epoch – on Chūya Nakahara’s work (1907–1937), who was the precursor of the Japanese syllabicaccentual verse (particular of the sonnet). Comparative analysis of his poem Mata kon haru (Spring comes again) and its Polish translation (included in the only Polish anthology of contemporary Japanese poetry entitled Cherries bloomed in winter) aims at shedding light on how difficult was the adaptation of the sonnet to the Japanese language. The OJAD (Online Japanese Accent Dictionary) service seems to offer a new promise for the research practice, proving that the intonation cadence may be treated similarly as feet in the poetry written in European languages.
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Rogoff, J. "The Aesthetics of Contemporary Sonnet Sequences: The Examples of Salter and Muldoon." Literary Imagination 12, no. 3 (October 6, 2010): 335–43. http://dx.doi.org/10.1093/litimag/imq035.

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Marshall, Elaine F. "Hopkins’s Sermons and “Felix Randal”." Religion and the Arts 19, no. 4 (2015): 320–38. http://dx.doi.org/10.1163/15685292-01904002.

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Since Alfred Thomas’s discovery in 1971 that Hopkins had entered the death of his parishioner, Felix Spencer, in St. Francis Xavier’s church record book, scholars have interpreted Hopkins’s sonnet, “Felix Randal,” in the context of his ministerial experience in Victorian Liverpool. This paper aims to add to existing research on “Felix Randal” by analyzing some of the sonnet’s underlying themes in the light of Hopkins’s Bedford Leigh and Liverpool sermons, and sources on Felix Spencer and his environment that have not yet received attention by critics. These sources include The Gore’s Directory, contemporary newspapers, and material on Felix Spencer’s burial. The investigation will reveal that, despite the differences between Hopkins’s sermons and “Felix Randal,” some of the teachings in his sermons, together with information on the social conditions in his urban parishes, can help the reader to probe the obscurities in the sonnet, and offer additional interpretations of its meaning.
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Nyong'o, Tavia. "Brown Punk: Kalup Linzy's Musical Anticipations." TDR/The Drama Review 54, no. 3 (September 2010): 71–86. http://dx.doi.org/10.1162/dram_a_00005.

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How might a song carry the past without being burdened by history? In his performances for the camera, for audio recordings, and for live audiences, the artist Kalup Linzy explores the urgency of this question for contemporary black and queer subjects. Linzy's 2009 video song cycle, SweetBerry Sonnet, is a musical archive of radical passivity—one that manifests the anticipatory stance taken towards the world by the multiple personae Linzy invents for his live performances and videos.
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Farhana, Jannatul. "Revolutionary Poetic Voices of Victorian Period: A Comparative Study between Elizabeth Barrette Browning and Christina Rossetti." English Language and Literature Studies 6, no. 1 (February 26, 2016): 69. http://dx.doi.org/10.5539/ells.v6n1p69.

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<p>This article is an attempt to provide a comparative study between Elizabeth Barrette Browning and Christina Rossetti, two famous authors in the Victorian period. As the first female poet Browning throws a challenge by dismantling and mingling the form of epic and novel in her famous creation <em>Aurora Leigh. </em>This epic structurally and thematically offers a new form that questions the contemporary prejudices about women. Being influenced and inspired by Browning, Rossetti shows her mastery on sonnets in <em>Monna Innominata: A Sonnet of Sonnets</em>. Diversity in the themes of her poem allows Rossetti to demonstrate her intellect and independent thinking, which represents the cultural dilemma of Victorian women. Though Browning is addressed as the ‘first female poet’ and the pioneer of revolutionary female poets, her <em>Aurora Leigh </em>recognizes and celebrates the success of a female poet in that period but at the same time acknowledges the importance of traditional romance as well as marriage union at the end of the poem. On the other hand, in <em>Mona Innominata, </em>Rossetti mingles the traditional idea of romance with High Anglican belief to establish and uphold the position of women in the society as an individual and self sufficient one. She is the first poet in Victorian period who boldly denies the dominance of men in a woman’s life by celebrating sisterhood in her another famous work <em>Goblin Market</em>. Though Browning and Rossetti belong to the same period, Rossetti is quite advanced than Browning in terms of experimenting with forms, themes and breaking the conventions of Victorian era.</p>
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Kim, Hye-jeoung. "Introducción al género lírico coreano "sicho (시조)"." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada 1, no. 18 (January 9, 2012): 268. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.201218570.

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El género lírico sicho, desarrollado principalmente a finales del reino Koryo (918-1392) y a lo largo de 500 años del reino Choson (1392-1910), destaca por la amplia base de escritores y lectores que disfrutan de él y, a la vez, por su presencia activa en el panorama de la literatura contemporánea. Su larga tradición y su vigente actualidad testimonian más que suficientemente su valor como uno de los géneros más importantes de la literatura coreana. A nuestro juicio, la razón por la que el sicho sobrevive hasta hoy radica en su forma sencilla de tres versos breves, siendo un medio adecuado y eficaz para transmitir la sensibilidad lírica del pueblo coreano. Se tiende a pensar que, a lo largo de la historia de la literatura coreana, cada época concibe su propio género lírico, ya incorporado y archivado en la tradición oral, como el hyangga (향가), propio del reino Silla o el sokyo (속요) característico de Koryo. En cambio, la forma lírica del sicho persiste entre los diferentes tipos de poemas contemporáneos, tal como sucedió con el soneto en Occidente, cuya composición es aún muy valorada.The lyric genre shijo, developed primarily in the late Koryo period (918-1392) and over 500 years of the Choson Kingdom (1392-1910), stands out by the broad base of writers and readers who enjoy it, and, at the same time, by its active presence in the landscape of contemporary literature. Its long history and active present testify more than sufficiently its value as one of the most important genres of Korean literature. In our view, the reason why shijo survives today lies in its simple form of three short verses, being an appropriate and effective way to transmit the lyrical sensibility of the Korean people. We usually think that, over the history of Korean literature, every time conceive its own lyric, incorporated and filed in the oral tradition, as hyangga (향가) proper of Silla kingdom, or sokyo (속요), characteristic of Koryo. Instead, the lyrical form of shijo persists among different types of contemporary poems, like the sonnet in the Western tradition, whose composition is still highly valued.
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Handley, Agata G. "On (Not) Being Milton: Tony Harrison’s Liminal Voice." Text Matters, no. 6 (November 23, 2016): 276–90. http://dx.doi.org/10.1515/texmat-2016-0017.

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Tony Harrison’s poetry is rooted in the experience of a man who came out of the working class of Leeds and who, avowedly, became a poet and a stranger to his own community. As Harrison duly noted in one interview, from the moment he began his formal education at Leeds Grammar School, he has never felt fully at home in either the world of literature or the world of his working class background, preferring to continually transgress their boundaries and be subject to perpetual change. The paper examines the relation between poetic identity, whose ongoing construction remains one of the most persistently reoccurring themes of Harrison’s work, and the liminal position occupied by the speaker of Harrison’s verse. In the context of the sociological thought of such scholars as Zygmunt Bauman and Stuart Hall, the following paper discusses the way in which the idea of being in-between operates in “On Not Being Milton,” an initial poem from Harrison’s widely acclaimed sonnet sequence The School of Eloquence, whose unique character stems partly from the fact that it constitutes an ongoing poetic project which has continued from 1978 onwards, reflecting the social and cultural changes of contemporary Britain.
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Dissertations / Theses on the topic "Contemporary sonnet"

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Alencar, Rosana Nunes [UNESP]. "Lirismo, tradição e autorreflexividade crítica na poesia de Paulo Henriques Britto." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/138226.

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Empreendemos, nesta pesquisa, um estudo crítico-analítico da produção poética que compreende os livros Liturgia da matéria, Mínima lírica, Trovar claro, Macau, Tarde e Formas do nada, de Paulo Henriques Britto, observando a relação entre o lirismo contemporâneo e o lirismo constituído pelas tradições clássico-renascentista, romântica e moderna. A hipótese é a de que para esse poeta existe um incômodo, ou seja, um mal-estar, quando a questão é o lirismo contemporâneo. A produção poética de Britto, configurada nos seis livros que publicou ao longo de 30 anos de carreira, coloca-se como autorreflexiva, questionando a sua natureza e a sua função em meio a uma época saturada de projetos, em tese, finalizados, haja vista já ter sido anunciado o fim da modernidade e o das utopias disseminadas pelas vanguardas europeias e pelo modernismo brasileiro. Seja no modo de ser da linguagem, seja na escolha de temas, seja na organização formal, investigamos nessa produção poética a constituição do lirismo na contemporaneidade que, por sua vez, retorna à modernidade, do final do século XIX e início do século XX, e retorna também ao soneto com o intuito de promover uma discussão norteada pelo uso das formas poéticas. Depreendemos, do estudo realizado, que o lirismo de Britto se constitui das leituras que faz, dos poetas que traduz, das discussões que propõe a partir das formas fixas e livres, enfim, da autorreflexividade crítica. Aliada a essa experiência poética, inserem-se possibilidades que priorizam o “aqui e agora”. Lemos, nesse “aqui e agora”, a manifestação de traços da literatura contemporânea, que vão desde o modo como o poeta se posiciona no seu presente à modulação que realiza do passado. A sua poesia demanda um trabalho de recolocar questões e, ao fazê-lo, altera o cenário por onde transita. Do ponto de vista teórico-crítico, fundamentam esta pesquisa concepções de estudiosos como Hugo Friedrich, Michel Hamburguer, Alfonso Berardinelli, Octavio Paz, Michel Collot, Gottfried Benn, Marcos Siscar, Arlenice Almeida da Silva e Célia Pedrosa.
We develop, in this research, a critical and analytical study of the poetic production that comprises the books Liturgia da matéria, Mínima lírica, Trovar claro, Macau, Tarde and Formas do nada, by Paulo Henriques Britto, observing the relationship between the contemporary lyricism and the lyricism of the Classical, Renaissance, Romantic and Modern traditions. The hypothesis is that, for that poet, there is a discomfort, that is, an uneasiness regarding the contemporary lyricism. Britto's poetic production, arranged in the six books published throughout the thirty years of his career, positions itself as self-reflexive, questioning its nature and its function in a period flooded by projects that are, in theory, already finished, given the announcements of the end of the Modernity, as well as of the utopias widespread by the European Vangards and by the Brazilian Modernism. Whether related to the manner of the language, whether to the choice of themes, whether to its formal organization, we investigate, in that poetic production, the constitution of the lyricism in contemporaneity, that recaptures the sonnet with the intention of promoting a discussion of the use of poetic forms and also recaptures the modern aporias of end of the 19th century and of the beginning of the 20th. We concluded, from the study carried out, that Britto’s lyricism is constituted by the readings that he does, by the poets he translates, by the discussions he proposes about the fixed and unfixed forms, in short, by the critical self-reflexivity. Combined with this poetic experience, a world of possibilities that prioritizes the “here and now” is placed. We interpret this “here and now” as the manifestation of aspects of the contemporary literature, ranging from the way the poet positions himself in his present to the modulation that he carries out about the past. His poetry demands the task of posing questions and, in doing so, changes the scenario where it transits. From the theoretical and critical perspective, this work is grounded in conceptions provided by researchers such as Hugo Friedrich, Michel Hamburguer, Alfonso Berardinelli, Octavio Paz, Michel Collot, Gottfried Benn, Marcos Siscar, Arlenice Almeida da Silva and Célia Pedrosa.
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Vashkevich, Nadezda. "Le sonnet contemporain en Russie et en France." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030080.

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La présente recherche est consacrée au sonnet contemporain en Russie et en France. Elle évoque l’évolution du sonnet dans les deux pays et analyse en détail les œuvres de cinq poètes français et cinq poètes russes. Louis Aragon, Robert Desnos, Yves Bonnefoy, Jacques Roubaud, Laurent Fourcaut sont présentés à côtés de Yuri Veynert et Yakov Kharon, Iossif Brodsky, Victor Sosnora, Alexeï Tsvetkov, Timour Kibirov. La période étudiée s’étend des années 40 du XXe jusqu’à la première décennie du XXIe siècle. Les composants structurels du sonnet en tant que forme fixe et ses aspects génériques sont mis en examen afin de révéler les niveaux possibles de lecture et les liens des sonnets contemporains avec la tradition sonnettiste. L’étude met en relief quatre grands thèmes du sonnet : l’amour, la politique, la mort et le jeu
The present research is dedicated to the contemporary sonnet in Russia and in France. It traces the evolution of the sonnet in both countries and focuses on works of five French and five Russian poets. Louis Aragon, Robert Desnos, Yves Bonnefoy, Jacques Roubaud, Laurent Fourcaut are juxtaposed to Yuri Veynert and Yakov Kharon, Joseph Brodsky, Victor Sosnora, Alexei Tsvetkov, Timur Kibirov. The period under study goes from 1940s to now. The thesis deals with structural components of the sonnet as a poetic form and a genre in order to reveal the possible levels of reading and to establish relationship between the contemporary works and the sonnet tradition. The study highlights four major themes that are love, politics, death and game
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Patterson, Arnecia. "Concrete Evidence: A Collection of Poems Versifying the City." Dayton, Ohio : University of Dayton, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1260112007.

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Thesis (M.A. in English) -- University of Dayton.
Title from PDF t.p. (viewed 4/12/10). Advisor: Albino Carrillo. Includes bibliographical references (p. 34-36). Available online via the OhioLINK ETD Center.
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Bahauddin, Azizi Bin. "Contemporary Malaysian art : an exploration of the Songket motifs." Thesis, Sheffield Hallam University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287587.

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This thesis explores the Malay songket motifs in relation to Malaysia's cultural identity and the transformations of these motifs within the context of the researcher's own art works. An examination of Malaysian government's fixed National Culture policy on identity is contrasted with the reality of identity as dynamic. The identity policy was created and asserted on a multi-racial population based on concept of MalaylBumiputera with no recognition of the 'Other', the nonBumiputera culture. Divisions among the populace were created by the privileges of political, economic and social adjustments given only to the Bumiputera. The lack of addressing the concerns of recognition and acknowledgement of the 'Other' and existence of 'difference' and stereotyping becomes the main interest of this research. In this thesis, the Malay songket motifs were used as a vehicle to demonstrate the Malay's strong association with traditional customs and rituals, a culture that became the focus of the National Culture policy. The motifs symbolises the dominance of the Malays clinging on to power to control the nation, echOing the height of the Malacca Malay Sultanate Empire eight centuries ago. The sense of growth, unity and human spirituality associated with animism was expressed in the songket motifs. However, evidence of the motifs assimilation with Hindu-Buddhist and Islamic influences proved that there is no Malay 'purity' in this art form. The researcher's practice transforms the flat images of the songket motifs into installative art works. Foods, light, shadow, images and sound become the media which express the research findings drawn from documentary, visual and oral sources concerning the songket motifs. His practice differs from the normal practice of Malaysian artists, who literally translate Malay culture into art work. The researcher's practice employs specific references to Malaysian sources free from didactic, cultural-political content. Above all, as a Malaysian working in the UK, the researcher not only engages his theoretical findings to inform his practice, he becomes part of the research. He is both a Malaysian artist himself and a contributor to that part of Malay culture that is examined in this thesis. He contributes to the compilation of the songket motifs information into CD-ROM.
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Mututa, Addamms Songe [Verfasser], and Kai [Akademischer Betreuer] Wiegandt. "Contemporary African Cities in Postmillenial African Films / Addamms Songe Mututa ; Betreuer: Kai Wiegandt." Tübingen : Universitätsbibliothek Tübingen, 2019. http://d-nb.info/1204880522/34.

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McDermott, Lydia Eva. "Gerard Manley Hopkins's poetic art as "current language heightened" : (with reference to selected sonnets and in the light of contemporary stylistic theory)." Thesis, Rhodes University, 1985. http://hdl.handle.net/10962/d1002019.

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The aim of this thesis is twofold: To examine Hopkins's writings on poetics and to relate these to modern theories of poetic stylistics; and to show, through an examination of two sets of Hopkins sonnets, the ways in which Hopkins's writings on language and poetics are reflected in his verse (Introductory outline, p. 5)
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Lawrence, Faith. "'True receivers': Rilke and the contemporary poetics of listening (Part 1) ; Poems: Small weather (Part 2)." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/7418.

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Part 1: ‘True Receivers': Rilke and the Contemporary Poetics of Listening In this part of this thesis I argue that a contemporary ‘poetics of listening' has emerged in the UK, and explore the writing of three of our most significant poets - John Burnside, Kathleen Jamie and Don Paterson - to find out why they have become interested in the idea of the poet as a ‘listener'. I suggest that the appeal of this listening stance accounts for their engagement with the poetry of Rainer Maria Rilke, who thought of himself as a listening ‘receiver'; it is proposed that Rilke's notion of ‘receivership' and the way his poems relate to the earthly (or the ‘non-human') also account for the general ‘intensification' of interest in his work. An exploration of the shifting status of listening provides context for this study, and I pay particular attention to the way innovations in audio and communications technology influenced Rilke's late sequences the Duino Elegies and The Sonnets to Orpheus. A connection is made between Rilke's ‘listening poetics' and the ‘listening' stance of Ted Hughes and Edward Thomas; this establishes a ‘listening lineage' for the contemporary poets considered in the thesis. I also suggest that there are intriguing similarities between the ideas of listening that are emerging in contemporary poetics and Hélène Cixous' concept of ‘écriture féminine'. Exploring these similarities helps us to understand the implications of the stance of the poet-listener, which is a counter to the idea that as a writer you must ‘find your voice'. Finally, it is proposed that ‘a poetics of listening' would benefit from an enriched taxonomy. Part 2 of the thesis is a collection of my poems entitled ‘Small Weather'.
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Ramirez, Pedro Felipe. "Trois soupirs pour ensemble sonate pour piano et un souvenir du présent pour orchestre À la recherche d'un langage personnel." Thèse, 2012. http://hdl.handle.net/1866/9981.

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La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l'Université de Montréal (www.bib.umontreal.ca/MU).
Ce mémoire de maîtrise comprend les partitions, l’analyse musicale et les fichiers audio de trois oeuvres que j’ai composées entre les années 2011 et 2012. Pendant l’élaboration des oeuvres, mes objectifs étaient axés sur la continuité du discours musical, appelant à l’interaction des éléments et évènements musicaux, à l’exploration de différentes nuances et niveaux transitionnels, ainsi qu’à la sobriété et clarté de l’orchestration. Cette recherche m’a aidé à mieux définir un langage musical plus personnel Le corps du texte comporte un chapitre pour chaque composition. Les oeuvres ici présentées sont: Trois soupirs, pour ensemble (deux voix -soprano et baryton-, deux violons, un alto, un violoncelle et un orgue positif) Sonate, pour piano Un souvenir du présent, pour orchestre
This thesis contains the scores, the analysis and the audio files for three works which I composed in 2011 and 2012. While compositing these works, I aimed at seamless flow and continuity, as well as exploring the effects of dynamics and transitions. I also focussed on transparent orchestration, and on making my intentions as direct and clear as possible. This research has permitted me to define a more personal musical language. The text contains a chapter for each piece. The three pieces contained here are: Trois soupirs, for 2 voices and small ensemble (two violins, viola, cello and a positive organ) Sonate, for piano Un souvenir du présent, for orchestra
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Books on the topic "Contemporary sonnet"

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Press, Funtime. Chapbook: Trish: A Romance. Edited by Funtime Press. Conshohocken, Pa: Funtime Press, 2019.

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Lenbachhaus, Städtische Galerie im, ed. Sonne statt Regen. Ostfildern-Ruit: Hatje Cantz, 2003.

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Kay, Dennis. William Shakespeare: Sonnets and poems. New York: Twayne Publishers, 1998.

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Attersee, Christian Ludwig. Attersee: Atterseebarock : Sonne zur Braut : Werkauswahl 1985-1995. [Passau]: Museum Moderner Kunst Passau, Stiftung Wörlen, 1995.

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William Shakespeare: His life and times. New York: Twayne Publishers, 1995.

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McNaught, Judith. Tender Triumph (Sonnet Books). Pocket, 1991.

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Plutonic Sonnets. Baltimore, USA: PublishAmerica, 2008.

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Baer, William. Sonnets: 150 Contemporary Sonnets. University of Evansville Press, 2005.

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1948-, Baer William, ed. Sonnets: 150 contemporary sonnets. Evansville, IN: University of Evansville Press, 2005.

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Pateman, Kerrie. Poetry Now Book of Contemporary Sonnets. Forward Press, 1995.

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Book chapters on the topic "Contemporary sonnet"

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Orlovitz, Gil. "Art Of The Sonnet: LXIX." In Contemporary Poetry: A Retrospective from the "Quarterly Review of Literature", edited by Theodore Russell Weiss, 216. Princeton: Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400871728-070.

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Sheppard, Robert. "Convention and Constraint: Form in the Innovative Sonnet Sequence." In The Meaning of Form in Contemporary Innovative Poetry, 47–69. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-34045-6_3.

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Ford, Katie. "Sonnets 1–14." In John Donne and Contemporary Poetry, 75–83. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55300-9_8.

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Elsaesser, Thomas. "Sonnen-Insulaner: On a Berlin Island of Memory." In Memory Culture and the Contemporary City, 32–51. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230246959_3.

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Nawawi, Norwani Md, and Rafeah Legino. "Traditional Songket and Contemporary Designs Towards Commercial Products." In Proceedings of the 2nd International Colloquium of Art and Design Education Research (i-CADER 2015), 71–80. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-0237-3_8.

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Walker, Tom. "‘An Inconstant Stay’: Paul Muldoon, Seamus Heaney and the Ends of Shakespeare’s Sonnets." In Shakespeare and Contemporary Irish Literature, 49–69. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95924-5_3.

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Burt, Stephen. "The contemporary sonnet." In The Cambridge Companion to the Sonnet, 245–66. Cambridge University Press, 2011. http://dx.doi.org/10.1017/ccol9780521514675.014.

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Post, Jonathan F. S. "4. On first looking into Shakespeare’s Sonnets." In Shakespeare's Sonnets and Poems: A Very Short Introduction, 71–92. Oxford University Press, 2017. http://dx.doi.org/10.1093/actrade/9780198717577.003.0004.

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Shakespeare’s Sonnets are generally regarded as the finest collection of sonnets in the English language, and ‘On first looking into Shakespeare’s Sonnets’ seeks to offer yet one more perspective on why this is so. It outlines some of the puzzles and problems linked to the date of authorship and structure of the Sonnets; describes the sonnet form, comparing Shakespeare’s sonnet structure with that of Spenser; and considers some of the Sonnets in more depth, including Sonnet 116, the great ‘marriage’ poem. It is also noted that the Sonnets raise many ‘contemporary’ issues: matters of homosexual desire and transsexuality, of gender and racial stereotyping, of temptation and sexual addiction.
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Muldoon, Paul, Meg Tyler, Jeff Hilson, and Peter Howarth. "Contemporary poets and the sonnet." In The Cambridge Companion to the Sonnet, 6–24. Cambridge University Press, 2011. http://dx.doi.org/10.1017/ccol9780521514675.002.

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Müller, Timo. "The Spaces of Black Experimental Poetry." In The African American Sonnet, 109–28. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817839.003.0007.

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This chapter reads black experimental poetry of the late twentieth and early twenty-first centuries through the lens of the sonnet. While scholars such as Aldon Nielsen and Anthony Reed have stressed the temporal dimension of this poetry, the popularity of the sonnet among black experimental poets draws attention to the spatial dimension. In close readings of sonnet sequences by Ed Roberson, Wanda Coleman, Rita Dove, G. E. Patterson, and Wanda Phipps, the chapter shows how these poets use techniques such as seriality and fragmentation to explore the interstices of contemporary discourses about blackness, question conventionalized meanings, and envision a sphere of semantic openness that overcomes racial stereotypes and limiting ascriptions.
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Conference papers on the topic "Contemporary sonnet"

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Tiemeyer, Daniel. "Johann Nepomuk Hummels Sonate in fis-Moll Op. 81 – Studien zu Entstehungshintergrund, Rezeption und formaler Struktur." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.74.

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The article examines the significance of one of Johann Nepomuk Hummel’s masterpieces. First, it highlights the circumstances of its production and the contemporary critical acclaim in the AmZ. In a second step, Robert Schumann’s involvement with this work is shown. In his journal, the sonata of Hummel is mentioned several times which indicates the engagement of the young piano discipline. In a short article, published in the NZfM in the year 1839, Schumann links this sonata with the compositional “way of Mozart” and thus gives an important hint to the formal design of the piece itself. Aspects of formal organization and structure of this sonata are analyzed and presented in the third part of the essay. In opposition to Beethoven’s motivic development, Hummel pursues another strategy of formal structure by stringing together each of the segments and themes. Thus, the focus shifts from a dynamic design of sonata-form to a more epic layout of the piece. Additionally, technical development and innovations concerning piano techniques and virtuosity are examined.
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Connan-Pintado, Christiane. "Métamorphoses d’une histoire d’eau en littérature de jeunesse (1865-2004) Perspectives scientifiques/ littéraires/pédagogiques." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.2489.

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En lien avec l’axe littéraire du colloque, la présente contribution à la réflexion s’attachera à trois « histoires d’eau » publiées en France pour la jeunesse, en l’espèce trois fictions qui ont en commun de prendre pour protagoniste une goutte d’eau : Métamorphoses d’une goutte d’eau, de Zulma Carraud (Hachette, « Petite Bibliothèque rose illustrée », 1864), Histoire de Perlette goutte d’eau de Marie Colmont (Flammarion, « Père Castor », ill. Béatrice Appia, 1936 et Gerda Muller, 1960) et Histoire courte d’une goutte de Beatrice Alemagna (Autrement jeunesse, 2004). Dans la mesure où la littérature pour la jeunesse se caractérise séculairement par la double visée d’instruire et de plaire, on pourra s’interroger sur la manière dont elle accomplit cette mission en jouant de l’anthropomorphisation de l’inanimé et de la fictionnalisation des phénomènes naturels. La perspective diachronique adoptée invite à observer l’évolution de l’édition et de la création pour la jeunesse sur le long terme. Individualisée, humanisée, féminisée, la goutte d’eau devenue personnage prend la parole pour raconter son histoire avec le soutien d’une iconographie de plus en plus prégnante au cours de l’itinéraire qui conduit du livre illustré à l’album contemporain. Si nombre de ressources littéraires sont convoquées pour rendre le savoir plus aimable et le mettre à la portée des enfants, la leçon scientifique semble peu à peu marquer le pas au profit d’un projet poétique, esthétique et/ou idéologique où l’imaginaire de l’eau prend toute sa place. Cette étude prendra appui sur nombre de travaux qui se penchent sur la production pour la jeunesse, afin de mettre en valeur son intérêt historique, littéraire, artistique et pédagogique.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.2489
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