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Books on the topic 'Dialogue poem'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

Venclova, Tomas. Winter dialogue: Poems. Evanston, Ill: Hydra Books, 1997.

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2

Carol, Ciavonne, ed. Birdhouse dialogues: Poems. Plymouth Meeting, PA: LaFi Publishers, Ltd., 2013.

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3

Ștefănescu, Elena. Poeme drăcești =: Dialogue with Dracula. București: Editura Fiat Lux, 1995.

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4

Life long distance: Dialogue poems. Victoria, B.C: Emdash Pub., 2012.

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5

Lasisi, Akeem. Confluence: Poems, stories, dialogues. Lagos, Nigeria: Association of Nigerian Authors, Lagos State Branch, 2005.

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6

Poems of wine and tavern romance: A dialogue with the Persian poet Hafiz. Albany: State University of New York Press, 2013.

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7

Medina, Claudia. Poems and dialogues of life. Victoria, B.C: TreeSide Press, 2004.

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8

Holden, Harold. The dialogues of Athing & other poems. St. Johnsbury, Vt. (Box 332, St. Johnsbury 05819): Inland Books, 1993.

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9

Driscoll, Jack. Twin Sons of Different Mirrors: Poems in Dialogue. Minneapolis, USA: Milkweed Editions, 1989.

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10

Dialogue for the left and right hand: Poems. Cambridge, Mass: Lumen Editions, 1997.

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11

Garfinkel, Patricia. Making the skeleton dance: Poems and dialogues. New York: George Braziller, 2000.

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12

Brock, Sebastian P. Mary and Joseph, and other dialogue poems on Mary. Piscataway, NJ: Gorgias Press 954 River Road, 2011.

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13

Wittgenstein as philosophical tone-poet: Philosophy and music in dialogue. Amsterdam: Rodopi, 2014.

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14

Murphy-Gibb, Dwina. Ergot on the rye: Irish poems and colloquial dialogues. Thame Oxon: Prebendal, 1988.

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15

Gragnolati, Manuele, and Francesca Southerden. Possibilities of Lyric. Berlin: ICI Berlin Press, 2020. http://dx.doi.org/10.37050/ci-18.

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Opening to passion as an unsettling, transformative force; extending desire to the text, expanding the self, and dissolving its boundaries; imagining pleasures outside the norm and intensifying them; overcoming loss and reaching beyond death; being loyal to oneself and defying productivity, resolution, and cohesion while embracing paradox, non-linearity, incompletion. These are some of the possibilities of lyric that this book explores by reading Petrarch’s vernacular poetry in dialogue with that of other poets, including Guido Cavalcanti, Dante, and Shakespeare. In the Epilogue, the poet Antonella Anedda Angioy engages with Ossip Mandel’štam and Paul Celan’s dialogue with Petrarch and extends it into the present.
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16

Doorty, John. Into the heart of it: Daley dialogues and other poems. Lisdoonvarna, Co. Clare, Ireland: Rathbane Pub., 1997.

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17

Loud monologues, silent dialogues: Poems, anectotes [sic], and a short story. [Nairobi]: Acacia Publishers, 2004.

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18

Sider, Michael J. The dialogic Keats: Time and history in the major poems. Washington, D.C: Catholic University of America Press, 1998.

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19

Goethe, Johann Wolfgang von. The West-East Divan: Poems, with "notes and essays" : Goethe's intercultural dialogues. Binghamton, N.Y: Global Academic Pub., 2010.

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20

Giovanni, Reale, ed. Tutte le opere: Dialoghi, trattati, lettere e opere in poema. Milano: Bompiani, 2000.

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21

Roches, Madeleine Neveu Des. From mother and daughter: Poems, dialogues, and letters of les dames Des Roches. Chicago, IL: University of Chicago Press, 2006.

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22

From mother and daughter: Poems, dialogues, and letters of les dames Des Roches. Chicago: University of Chicago Press, 2006.

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23

Lombardo, Luca. Albertino Mussato, Epistole metriche Edizione critica, traduzione e commento. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-436-3.

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The Metric Epistles of Albertino Mussato (1261-1329) are a collection of 20 compositions in Latin verse (of which, 12 in elegiac couplets, 8 in hexameters, for a total of 1,570 verses) composed between 1309 and 1326 and addressed to different recipients. The list of recipients includes friends of the author and representatives of the Paduan political and intellectual élite of the early 14th century such as the judges Rolando da Piazzola, Giovanni da Vigonza and Paolo da Teolo, the notary Zambono d’Andrea and Marsilio Mainardini; masters of grammar and rhetoric such as the Venetian Giovanni Cassio, Bonincontro from Mantua and Guizzardo from Bologna; religious personalities such as the Dominican friars Benedetto and Giovannino da Mantova, respectively lecturer and professor of theology at the Studium Generale of the convent of S. Agostino in Padua; collective recipients, such as the College of Artists and fellow citizens of Padua. After an editio princeps was printed in Venice in 1636 on the basis of a now lost manuscript, a critical edition of the Epistles is published here for the first time, including the complete corpus of the texts in the light of their entire manuscript tradition. The texts are accompanied by an Italian translation and a detailed commentary, which mainly aims to bring to light and analyse the dense intertextuality of Mussato’s poem (in particular classical Latin sources), reconsidering the cultural background of the author and his contemporaries in the context of the so-called ‘Paduan prehumanism’ and an ideal dialogue with Dante’s coeval biographical and literary experiences.
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24

The critical history of Edgar Allan Poe's The narrative of Arthur Gordon Pym: "a dialogue with unreason". New York: Garland Pub., 1998.

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25

Fleischman, Paul. I am phoenix: Poems for two voices. New York: Harper & Row, 1985.

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26

Hawksford, Diane Zemke. Diane's Point of View : Love's Mysteries Revealed in Poetic Dialogue (Psychological Treatise Poem). Diagnostic Center of Learning Patterns Inc., 1999.

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27

Callaghan, Madeleine. ‘That such a man should be such a poet!’. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940247.003.0004.

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‘To Wordsworth’, ‘Verses Written on Receiving a Celandine in a Letter from England’, and Julian and Maddalo show Shelley responding to other poets as he shapes his discrete poetic voice. Wordsworth, who had been Shelley’s leader found, was becoming, in Shelley’s eyes, a leader lost. This chapter explores the complicated and nuanced poetry of relationship that Shelley makes out of his political disappointment in his older peer. Like Shelley’s open address to Wordsworth, Julian and Maddalo seems to speak to the relationship between Shelley and Byron. The poem seems to stage a Shelley-Byron conversation where Shelley places their ideological clash at the forefront of his dialogic poem. Yet even as Shelley seems to provide the reader with symbolic footholds, the poem resists such identifications. If Shelley, in these poems, is a poet among others, he remains carefully apart by virtue of his nuanced and mobile response to his peers.
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28

Lau, Beth. Intertextual Dialogue. Edited by David Duff. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199660896.013.26.

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Intertextual dialogue in the Romantic period is shaped by conflicting imperatives. Romantic writers lived in an age when the pressure to be original and natural coincided for the first time to a significant degree with the worship and canonization of previous British authors, especially such ‘geniuses’ as Shakespeare and Milton. Major figures from every genre of the period can be seen to negotiate the competing demands to acquire legitimacy by invoking other, recognized writers, and to express their own unique vision and style—both to fit into existing literary tradition and to stand out as unique. This chapter explores the complications of intertextual dialogue in five representative authors across a variety of genres: the essayist and critic William Hazlitt, the poet and writer of marginalia Samuel Taylor Coleridge, the novelist Jane Austen, and poets John Clare and John Keats.
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29

Louth, Charlie. Rilke. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198813231.001.0001.

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The life of Rilke’s work is in its words, and this book attends closely to the development of that life as it unfolds over Rilke’s career. What is a poem, and how does it act upon us when we read? This is a question of the greatest interest to Rilke, who addresses it in several poems and for whom the experience of reading affords an interaction with the world, a recalibration of our ways of attending to it, which set it apart from other kinds of experience. Rilke’s work is often approached in periods – he is the author of the Neue Gedichte, or of Malte, or of the Duino Elegies, or of the Sonette an Orpheus – as if the different phases of his work had little to do with one another, but in fact it is a concentrated and evolving exploration of the possibilities of poetic language, a working of the life of words into precise and exacting forms in dialogue with the texture of the world. This book traces that trajectory in a series of close readings that do not neglect the lesser-known, uncollected poems and the poems in French, as well as Rilke’s activity as a translator of Michelangelo, Shakespeare, Barrett Browning, Mallarmé and Valéry among many others. These encounters were part of Rilke’s engagement with the world, his way of extending the reach of his language to get it ever closer to the ungraspable movements, the risk and promise, of life itself.
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30

Risinger, Jacob. The Excursion as Dialogic Poem. Edited by Richard Gravil and Daniel Robinson. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199662128.013.0027.

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31

Bill Thompson and Claudia Medina Culos. Poems and Dialogues of Life. TreeSide Press, 2004.

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32

Whitlatch, Lisa. The Conditions of Poetic Immortality. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198789017.003.0009.

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This chapter focuses on Grattius’ praise of the mercurial figure of Hagnon in the central portion of the extant poem and argues that Grattius takes us on an intertextual journey back through Virgil’s Eclogues (the figure of Menalcas) to Lucretius (the figure of Epicurus), and ultimately to Theocritus (the figure of Daphnis), in an effort to secure for hunting positive associations that are absent from the Roman forebears. By means of such intertextual dialogue, as well as pointed use of the language of dowries, Grattius subtly promotes the notion that hunting is an eternal symbiotic relationship between man, god, and nature, which ensures its sustainability.
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33

Robinson, Peter. Shakespeare’s Loose Ends and the Contemporary Poet. Edited by Jonathan Post. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199607747.013.0026.

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‘Shakespeare’s Loose Ends and the Contemporary Poet’ contains detailed readings of individual poems with a Shakespearean theme by John Ashbery (‘Friar Laurence’s Cell’), Elizabeth Bishop (‘Twelfth Morning; or What You Will’), Roy Fisher (‘Barnardine’s Reply’), alongside passages from Geoffrey Hill’s ‘Funeral Music’ and The Triumph of Love, as well as observations about a number of other Shakespeare-inspired poems. It deploys them to sustain and illustrate an argument that contrasts with the noted attempts by earlier modernist poets such as Yeats, Eliot, Auden, and Ted Hughes to incorporate theories of Shakespeare’s organic creative unity into their oeuvres. Rather, this chapter proposes that it is the heterogeneity, the loose ends and frayed edges of the Shakespearean corpus that have inspired contemporary poets, prompting them to come at their own materials by means of the oblique angles provided by minor characters, such as Barnardine in Measure for Measure or the poet Cinna in Julius Ceasar, and less highly regarded plays, such as the early Henry VI cycle, finding thematic suggestions in implications that remain to be spelt-out in Shakespearean scenes, dialogues, and plot trajectories.
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34

Lifshin, Lyn. Dance Poems (Dialogues on Dance ; #7). Ommation Pr, 1990.

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35

Driscoll, Jack, and Bill Meissner. Twin Sons of Different Mirrors: Poems in Dialogue. Milkweed Editions, 1993.

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36

Shamma, Yasmine. Joe Brainard’s Collaged Spaces. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198808725.003.0003.

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Brainard was not only an illustrator and friend to many New York School poets, he was also an avid letter writer, collage artist, miniature artist, cartoonist, and serious poet. How is contemporary poetry involved in an overlooked dialogue with collage art? This chapter suggests a general tendency towards assembly across the disciplines of text and image which govern both first- and second-generation New York School aesthetics. This chapter showcases how Brainard’s work instigates and propels the collaged poetry of The New York Schools from the real and influential side-lines of their poems? This examination of Brainard’s work argues that though his work sat in the margins of New York School poetry, it informingly lined, bound, and shaped the spatial poetics of this avant-garde American school.
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37

Jr, Lynn Tolliver. Dialogue: A collection of poems, literature and other things... Trafford Publishing, 1997.

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38

Emerging Goddess. Portland, OR: TiLu Press, 2011.

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39

de, Campos Haroldo, Jackson K. David, and University of Oxford. Centre for Brazilian Studies., eds. Haroldo de Campos: A dialogue with the Brazilian concrete poet. Oxford: Centre for Brazilian Studies, University of Oxford, 2005.

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40

Jackson, K. David. Haroldo De Campos: A Dialogue With the Brazilian Concrete Poet. Centre for Brazilian Studies, 2005.

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41

Borris, Kenneth. The (H)eroic Idealism of Spenser’s Faery. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198807070.003.0005.

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Spenser bases his heroic poem The Faerie Queene upon a Platonic concept that he often cites: “hero” derives from “Eros,” so that “hero” means “born of love,” which thus inspires “great work” (Cratylus, 398c–d). For Plato in the Phaedrus and Symposium, genuine love involves a desire for beauty that promotes development of personal character through trial and stimulates heroic achievement by disclosing inspirational ideals. Invoking deities of love and his “dearest” Queen Elizabeth in the first proem, Spenser claims to perceive a sublime ideal personified as faery’s queen, that he considers the poem’s fundamental “argument” and inspiration (I.pr.1–4). He thus follows the Platonizing procedures of early modern idealized mimesis, whereby a poet seeks to imitate Ideas more than nature. Seeking to counter the antipoetic arguments of Plato’s Republic and help dispel society’s illusions with higher vision like that dialogue’s responsible philosopher in the fable of the cave, Spenser innovatively transforms the poetics, conceptual content, and scope of heroic poetry.
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42

Barrett, Eaton Stannard. All the Talents; a Satirical Poem in Three Dialogues, by Polypus. HardPress, 2020.

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43

various. Westmoreland And Cumberland Dialects: Dialogues, Poems, Songs, And Ballads. Kessinger Publishing, LLC, 2007.

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44

various. Westmoreland And Cumberland Dialects: Dialogues, Poems, Songs, And Ballads. Kessinger Publishing, LLC, 2007.

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45

Gibb, Dwina Murphy. Ergot on the Rye: Irish Poems and Colloquial Dialogues. Prebendal P, 1989.

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46

Dialogue in Fading Light: New and Selected Poems (New Island New Poetry). New Island Books, 2005.

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47

Crowley, Lara M. Satire and the “Deathles Soule”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821861.003.0002.

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Chapter 2 concerns early interpretations of Donne’s satiric poetry, specifically Metempsychosis. Investigating a copy of Donne’s strange poem in Folger, Manuscript V.a. 241, this study proposes that the compiler purposefully grouped it with the other contents—satiric dialogues by Lucian and a fable entitled “The Tale of the Fauorite”—because of a thematic link: the dangers of untrustworthy advisors. Donne had just cause to fear criticizing the court candidly, especially thanks to his Catholic family heritage. Surrounded by spies and censors, in 1601 Donne resorted to poetic subterfuge. Analysis of paratexts and thematic connections suggests that a contemporary reader interpreted Metempsychosis as topical satire on manipulative court counselors, thus reinforcing the modern critical contention that the poem satirizes Sir Robert Cecil. This study also reveals a reader who, while compiling the manuscript in approximately 1620, might have perceived that such criticisms maintained relevance for George Villiers, Duke of Buckingham.
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48

Ascending Goddess. Portland, OR USA: TiLu Press, 2012.

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49

Renker, Elizabeth. Reality Categories in Periodical Poems. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198808787.003.0003.

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One of the larger questions hovering over scholarship in American literary realism is how certain orders of experience came to count as “real,” and, crucially, as opposed to what. Yet, ironically, most scholarship on realism has not “counted” poems as part of the evolving discourse of realism. Periodical poems about reality categories are in fact extremely common in print culture after 1866. This chapter traces the larger dialogic scene in which poems articulate an array of emergent realist and idealist positions as antitheses. Individual poems work out (or take confused sides in) these larger debates about reality categories as philosophical concepts, as artistic concepts, and as both pertain to the sphere of “poetry” in particular. The meanings of these poems are social ones, arising in public scenes of conversation, dispute, and debate.
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50

Boncardo, Robert. Mallarme and the Politics of Literature. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429528.001.0001.

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Mallarmé and the Politics of Literature: Sartre, Kristeva, Badiou, Rancière recounts the radical readings of Mallarmé’s seminal poems by some of France’s most important 20th century thinkers. The book attempts to answer the question of why Mallarmé — one of modernity’s most ingenious yet obscure poets — was so important to French philosophers. With in-depth studies of Jean-Paul Sartre, Julia Kristeva, Alain Badiou and Jacques Rancière, along with shorter analyses of Jean-Claude Milner and Quentin Meillassoux, Mallarmé and the Politics of Literature situates Mallarmé with these thinkers’ philosophical and political projects. As the first work of English-language scholarship on each of these thinker’s readings of Mallarmé, Mallarmé and the Politics of Literature is also the first to bring these thinkers into dialogue, locating the points of contact and difference between their readings of the great Symbolist poet. Mallarmé and the Politics of Literature also includes a sustained reflection on the various ways literature has been conceived of politically by 20th century French thinkers, and argues that these modalities of reading literature politically have today reached a point of exhaustion. Mallarmé and the Politics of Literature thus culminates in a plea for renewed formulations of the link between politics and literature.
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