Journal articles: 'Donne, John - poetry'

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Young, R. V. "Love, Poetry, and John Donne in the Love Poetry of John Donne." Renascence 52, no. 4 (2000): 251–73. http://dx.doi.org/10.5840/renascence20005246.

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Kumar, Dr Rajiv. "John Donne : A Great Poet." SMART MOVES JOURNAL IJELLH 7, no. 12 (December 28, 2019): 8. http://dx.doi.org/10.24113/ijellh.v7i12.10230.

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John Donne is one of the greatest of English religious poets, and the poets of the 17th century on whom his influence was most deep and lasting than all religious poets. As Joan Bennett tells us this is so because his temperament was essentially religious. A man of religious temperament is constantly aware, constantly perceiving the underlying unity, the fundamental oneness of all phenomena, and the perception of such a relationship, such an inherent principle of unity, is revealed even by the imagery of the earliest poetry of Donne. No doubt Donne's religious poetry belongs to the later part of his career, to the period after his ordination, and the gloom, despair and frustration which resulted from the death of his wife, poverty, and ill-health. The earliest of his religious poems are the sonnet-sequence called La Corona and The Litanie; the best of his religious poetry is contained in the Holy Sonnets, the Divine Poems and The Three Hymns. The best of Donne's religious poetry was written only during the last phase of his career, but the nature of his imagery, even the early one, clearly indicated that his genius was religious and he was bound to take to religious poetry and to the pulpit.

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Young, R. V. "Book Review: Desiring Donne: Poetry, Sexuality, Interpretation, John Donne, Body and Soul." Christianity & Literature 59, no. 2 (March 2010): 351–57. http://dx.doi.org/10.1177/014833311005900220.

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Braček, Tadej. "Contrasts in Metaphysical Writing: John Donne and Emily Dickinson." ELOPE: English Language Overseas Perspectives and Enquiries 7, no. 2 (May 28, 2010): 77–90. http://dx.doi.org/10.4312/elope.7.2.77-90.

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This paper starts by stating what metaphysical poetry is, what its characteristics are, and who the metaphysical poets are. Later the paper focuses on Emily Dickinson’s poetry and confirms the thesis that she can be considered a metaphysical poet. The third thing the paper deals with is to what extent Donne’s and Dickinson’s poetry as well as Donne’s Sermons correspond to the Calvinist theology, which is the common credo of the Churches to which they belong. A further issue the paper debates about is rhetorical devices in the metaphysical service.The last aspect of Donne’s and Dickinson’s writing that the essay explores is their attitude towards truth.

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Pebworth, Ted-Larry. "John Donne, Coterie Poetry, and the Text as Performance." Studies in English Literature, 1500-1900 29, no. 1 (1989): 61. http://dx.doi.org/10.2307/450454.

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Neji, Rachid. "John Donne’s Poetry between the Petrarchan Tradition and Postmodern Philosophy: A Case Study- “The Canonization”." Journal of Humanities and Social Sciences Studies 3, no. 1 (January 30, 2021): 51–56. http://dx.doi.org/10.32996/jhsss.2021.3.1.6.

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This paper sheds light on the way John Donne’s poetry (1572-1631) deconstructs the familiar notions and foreshadows a literary area of postmodern contemplation and meditation. It may be true that Donne was influenced by the medieval ideas, but in his mature years he was persuaded that literature and poetry should submit to deep changes. In fact, the centrality of love and religion in Donne’s poetry seduces him to explore and discover the tenor of the universe theoretically and practically. The journey of discovery and exploration provides him with efforts to decode the inner spirituality by accepting the subversive, ambiguous, unfamiliar, and rebellious poetic concepts. Bearing all this in mind, this article yearns to scrutinize the fact that Donne seeks to devise a poetic platform to liberate literature and poetry from conventional modes of versification. The explanation of this attitude seems to be simple and easy understandable, but also rather surprising and complicated. The analysis will show that Donne’s poetry resorts to the sacred and profane in order to criticize social perspectives, and undermine established rules of poetry. The illustration of this attitude requires a deep analysis of his love and religious poems.

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Zare-Behtash, Esmail. "Images of ‘Love’ and ‘Death’ in the Poetry of Jaláluddin Rumi and John Donne." International Journal of Applied Linguistics and English Literature 6, no. 2 (January 4, 2017): 97. http://dx.doi.org/10.7575/10.7575/aiac.ijalel.v.6n.2p.97.

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The purpose of this study is to compare the lives and literary careers of two great poets from the East and the West to find common grounds in their lives and writings. In comparing the poetic works of these two great poets, the study will focus on love and death as two major images in the poetry of these two great poets. Jaláluddin Moláná Rumi as he is called in the West, was a Persian poet-philosopher, and John Donne was a metaphysical poet-preacher from England. These two poets wrote much about their ideas with lucidity and wit. Love and death were both of supreme concern for these poets and a preoccupation of their hearts. Nothing is possible in “love” without “death”. Life for Donne is love, the love of women in his early life, then of his wife and finally the love of God. Love for Rumi is sweet madness, healing all infirmities and the physician of pride and self-conceit. Death for Donne is nothing but a transitory passage from here to the hereafter and union with God. Death for Rumi is also a wedding; it is a change from one stage to another as a seed planted in the earth dies in one form in order to be born in another. Both believe that we are from Him, and to Him we shall return.Keywords: Rumi, Donne, love, death, metaphysical poetry, Sufism

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Markova, Maryana V. "Petrarchan Contexts of John Donne�s Spiritual Lyrics." Alfred Nobel University Journal of Philology 1, no. 21 (2021): 10–18. http://dx.doi.org/10.32342/2523-4463-2021-1-21-1.

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The article is devoted to the connection of the famous English poet, prose writer and preacher John Donne�s (1572�1631) works with the Petrarchan discourse of the European literature. The purpose of the investigation is to reveal and interpret the elements of Petrarchism in spiritual lyrics of the author on the basis of systematic approach with the use of the genealogical and comparative typological methods. The most prominent cases of the traditional Petrarchan themes, motives and images usage in John Donne�s religious texts and the specifity of their functioning have been examined in this article. Our attention has been paid to the genetic interconnection between the courtly rhetoric, which had been inherited by Francesco Petrarch and his numerous followers from the Provencal troubadours, and the traditions of the European mysticism that causes the harmony of the Petrarchan interpretive contexts according to the spiritual lyrics of the writer. Already in his earliest works, in particular in the book �Songs and Sonnets�, John Donne did not avoid mixing the sacred and the profane, quite intensively using religious images and motifs in love poetry. But his Petrarchism is most notable in his �Holly Sonnets�. The poetry of this cycle is not about God at all, but about the author himself in his relationship with Lord. In these sonnets the writer describes his feelings for God in almost the same way as Francesco Petrarch described his love for Laura. In general, if we talk about Petrarchism in relation to the spiritual lyrics of John Donne, it should be noted that for the writer it was not only a convenient source of the �ready� artistic images, motifs or means of expression but a kind of a perfect artistic technique for expressing secret, deeply personal thoughts and emotions. The conclusion has been done that such typically Petrarchan ideas such as: the dedicated service to the object of feelings, slavish adoration, obedience and dependence on its inconstant wishes John Donne has managed to adapt to the special needs of the sacred genres in such a way that his texts look surprisingly attractive, interesting and clear to different readers. Despite his worldwide fame John Donne is still one of the least researched literary figures in Ukrainian science. The article is directed to study only one of many aspects of his many-sided artistic heritage which needs the comprehensive professional analysis of the literary theorists and historians. So this article can be used for the further investigation of the problems, connected with the Petrarchan discourse generally in English literature and particularly in John Donne�s works and the scientific results proposed in it can be used in writing course works, graduation works and thesis on the related themes.

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Alareer, Refaat, Noritah Omar, and Hardev Kaur. "A Bakhtinian Reading of John Donne’s Parody Poem “The Bait”." Advances in Language and Literary Studies 8, no. 1 (February 1, 2017): 200. http://dx.doi.org/10.7575/aiac.alls.v.8n.1p.200.

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While conventional critics seek the comic aspect of parody, modernist critics credit parody with questioning mainstream literary trends and subverting literary production. For instance, Mikhail Bakhtin believes in parody’s power to create “a decrowning double” by turning the official worldview up-side-down. For experimental poets like John Donne, parody transcends mere comical imitation into a serious practice. Donne, having lived in the heyday of the Renaissance with its overemphasis on decorum and courtly love, sought refuge in parody to resist and disturb existing norms of versification and offer an alternative worldview. This paper examines John Donne’s parody poem “The Bait” in the light of Bakhtin’s concept of parody as a decrowning double. The analysis shows that not only had Donne resorted to parody to criticize the society, but he also employed it to undermine established rules of poetry. The study concludes that Donne used parody to create an important platform to liberate poetry from dominant modes of versification, invite readers, often by means of defamiliarisation, to reconsider their stance and literary taste, and promote experimental styles; thus, Donne transcends the norms of prevalent courtly love poetry once and for all.

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Du, Jiapeng. "An Analysis of Metaphysical Conceits in John Donne’s Poems." Theory and Practice in Language Studies 11, no. 8 (August 1, 2021): 962–67. http://dx.doi.org/10.17507/tpls.1108.12.

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In the seventeenth century British literary arena appears a unique school of poetry called “metaphysical school”. The most remarkable characteristic of the metaphysical poetry is the original and arresting conceits. John Donne is the forefather and the most representative of the school. Through analyzing the sources of conceits in John Donne’s poems, this paper attempts to clarify the using of conceits in John Donne’s representative poems, and then summarize the features and unique functions of conceits. It is hoped that it can help readers to have a better understanding of the poet’s poetry, and grasp his thoughts.

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Llasera, Margaret. ""Howrely in Inconstancee" : Transience and Transformation in the Poetry of John Donne." XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles 23, no. 1 (1986): 39–56. http://dx.doi.org/10.3406/xvii.1986.1105.

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Kammer, Joel. "From John Donne to the Last Poets: An Eclectic Approach to Poetry." English Journal 91, no. 3 (January 2002): 64. http://dx.doi.org/10.2307/821515.

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Chauhan, Dr Jaideep. "Treatment of Love in the Poetry of John Donne and Walt Whitman." POETCRIT 33, no. 1 (January 2, 2020): 23–27. http://dx.doi.org/10.32381/poet.2020.33.01.4.

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Rajoriya, Dr Vandana. "From Srngara to Santa: Poetry of John Donne in Light of Indian Aesthetics." POETCRIT 33, no. 1 (January 2, 2020): 1–8. http://dx.doi.org/10.32381/poet.2020.33.01.1.

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Papazian, Mary A., and Gary A. Stringer. "The Variorum Edition of the Poetry of John Donne, Vol. 2: The Elegies." Sixteenth Century Journal 32, no. 4 (2001): 1174. http://dx.doi.org/10.2307/3649034.

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Lyons, Bridget Gellert. "Poetry of Contemplation: John Donne, George Herbert, Henry Vaughan, and the Modern Period." George Herbert Journal 13, no. 1-2 (1990): 98–101. http://dx.doi.org/10.1353/ghj.1990.0003.

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McCabe, R. "The Variorum Edition of the Poetry of John Donne, volume ii: The Elegies." Essays in Criticism 52, no. 4 (October 1, 2002): 333–40. http://dx.doi.org/10.1093/eic/52.4.333.

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Low, Anthony. "Book Review: Feminine Engendered Faith: The Poetry of John Donne and Richard Crashaw." Christianity & Literature 42, no. 4 (September 1993): 608–9. http://dx.doi.org/10.1177/014833319304200414.

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Javed, Noveen, Ezzah Shakil, and Fiza Ali Beenish. "A Stylistic Analysis of The Good-Morrow by John Donne." Global Language Review V, no. III (September 30, 2020): 258–66. http://dx.doi.org/10.31703/glr.2020(v-iii).26.

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The present paper aims to analyze John Donne's poem "The Good-Morrow" stylistically. Being a branch of applied linguistics, Stylistics scrutinizes the literary and non-literary texts in terms of their tonal and linguistic style. Donne's poem, being rich in hyperboles and conceits, depicts the universal theme of undying love where Donne welcomes new dawn and is optimistic for upcoming years of adoration and is exuberant over the magical union of two soulmates. The paper in hand adopts the stylistic analysis as a research methodology to unveil the basic theme of the poem and analyses the poem on the grammatical, phonological and graphological levels. The theoretical framework incorporates the main tenets of Geoffrey N. Leech (1969) from his well-known work "A Linguistic Guide to English Poetry", and also this work focuses on the notions of Mick Short (1996). Stylistic analysis of the chosen poem portrays how the poet, via the use of striking stylistic devices, communicates the central concept of the poem and how the poet has adorned the poem with various elements of style on the levels of grammar phon and graphology.

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Hammond, Gerald, and William Zunder. "The Poetry of John Donne: Literature and Culture in the Elizabethan and Jacobean Period." Modern Language Review 82, no. 1 (January 1987): 164. http://dx.doi.org/10.2307/3729925.

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Frontain, Raymond-Jean. "Review: The Poetry of John Donne: Literature and Culture in the Elizabethan and Jacobean Period." Christianity & Literature 34, no. 4 (September 1985): 70–71. http://dx.doi.org/10.1177/014833318503400417.

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Hegedüs, Kader N. "The Variorum Edition of the Poetry of John Donne, Volume 3: The Satyres. John Donne. Ed. Gary A. Stringer . Bloomington: Indiana University Press, 2016. cviii + 1,050 pp. $80." Renaissance Quarterly 72, no. 3 (2019): 1176–78. http://dx.doi.org/10.1017/rqx.2019.371.

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Lichtmann, Maria. "Poetry of Contemplation: John Donne, George Herbert, Henry Vaughan, and the Modern Period. Arthur L. Clements." Journal of Religion 72, no. 2 (April 1992): 311–12. http://dx.doi.org/10.1086/488901.

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Alvi, Amatulhafeez, Rahma Alvi, and Ateqa Abdul Rahim Alvi. "Mystical Representation of Death in the Poetry of John Donne and Abul-Alaa Al-Ma’arri: A Comparative Study." Eralingua: Jurnal Pendidikan Bahasa Asing dan Sastra 5, no. 1 (February 14, 2021): 19. http://dx.doi.org/10.26858/eralingua.v5i1.17684.

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Abstract. This paper is a comparative descriptive investigation of the mystical representation of death in the poetry of the English poet John Donne and the Arabic poet AbulAlaa Al-Ma’arri. Highlighting their life circumstances and the religious, intellectual, economic and psychological factors that shaped their specific perceptions of Death, the study reflects upon the mystic elements in both poets’ approach towards Death and delves deeper into the language they adopted to express their insights. The death poetry of both poets has been previously studied from different individual perspectives, but none has approached it comparatively from a mystical stylistic viewpoint. Using the major echelons of mysticism implemented by both poets in the treatment of death in the selected death poems such as contemplation, escapism, compulsion, conscience, tranquility, submission and reunion, the study implements a comparative content and stylistic analysis methodology to analyze linguistic and literary representation of death in the selected poems. It identifies the similarities and differences between both poets and concludes that despite the cultural and religious, time and place differences, both poets share psychological and intellectual factors that lead them towards the identical mystical perception of Death as an agent for unity with the Ultimate Divinity. This perception has been gradually developing and masterfully represented with the use of linguistic techniques like imagery, apostrophe, metaphors, personification, symbolism, allusion. and logical construction. The study hopes to fill a vital gap in the body of knowledge related to the mystical perceptions of death and the language that capture the identity of the two poets in their timeless literary masterpieces. Keywords: Mysticism; Death; Donne; Al-Ma’arri; Comparative.

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Carnes, Natalie. "‘That Cross's Children, Which Our Crosses Are’:Imitatio Christi, Imitatio Crucis." Scottish Journal of Theology 69, no. 1 (January 25, 2016): 63–80. http://dx.doi.org/10.1017/s0036930615000782.

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AbstractHow does one rightly name and discernimitatio Christi, imitatio crucis, and the relation between them? In one provocative attempt to answer this question, John Howard Yoder identifies Christ-imaging in vulnerable enemy love and rejects all other criteria. This essay reads the iconoclasm of Yoder's approach through poetry of the cross by William Mure and John Donne. It then proceeds to repair Yoder's Mure-like posture with Donne, as well as the writings of Margaret Ebner and Margery Kempe. These texts destabilise the dichotomies that sustain Yoder's iconoclasm and illustrate the inadequacy of a single criterion forimitatio Christi.Yet Kempe and Ebner's texts are also infected with violence such that they, too, need repair. Vulnerable enemy love thus returns as a negative condition for Christ-imaging, and Yoder's strong iconoclasm is moderated to a weaker iconoclasm that breaks images purporting to be Christ-like but are, in fact, violent.

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Hrdlicka, Steven. "Laborious Ben Jonson." Ben Jonson Journal 26, no. 1 (May 2019): 21–39. http://dx.doi.org/10.3366/bjj.2019.0237.

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This essay discusses labor in the poetry of Ben Jonson and engages some notable recent critical assessments of Jonson's labor as a concept determined by material production. Contemporaries, such as John Donne, often drew attention to Jonson's “labor” as he himself does in a Latin phrase on the frontispiece of the 1616 folio. What did he mean by it? The characteristic integration of labor that Jonson exhibits in both his poetic practice and persona was tied to a foundational idea that he received and developed from translation of Horace's “Art of Poetry.” Rather than determined by market forces and the like, the multiplex meanings and contexts that Jonson can be seen to associate with labor suggests that it was a concept he received from classical and medieval writers who emphasized that both the material and spiritual ends of poetry were equally important. Poets such as Milton, Robert Southwell, and Herbert also display similar ideas tied to labor. A discussion of Hercules' Labors in Pleasure Reconciled to Virtue, in which Jonson draws attention to the relationship between virtue, labor, and happiness, as well as demonstrates his familiarity with the association medieval writers made between labor and the labyrinth, concludes the essay.

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Watson, Neil. "“This Bed Thy Center Is, These Walls, Thy Spheare:” Metaphysical Unification in the Love Poetry of John Donne." British and American Language and Literature Association of Korea 128 (March 17, 2018): 47–60. http://dx.doi.org/10.21297/ballak.2018.128.47.

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Ślarzyńska, Małgorzata. "The Metaphysical Canon in Poetry: on Cristina Campo’s Translation Activity." Tekstualia 1, no. 5 (December 31, 2019): 151–58. http://dx.doi.org/10.5604/01.3001.0014.4107.

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The article focuses on Cristina Campo’s poetry translations in the context of her literary choices infl uenced by her predilection to metaphysical literature. The category of metaphysical literature can be understood, fi rst of all, as related to metaphysical English poets like John Donne, George Herbert, Richard Crashaw, and Henry Vaughan. Metaphysical were also those authors whose writings defi ed the categories of space and time, and transcended the temporal and geographical limits. One of the greatest Campo’s fascinations from that perspective was the poetry of William Carlos Williams, as well as other authors that entered in her category of imperdonabili. Campo’s translational activity followed a well-delineated path related strictly to her metaphysical inclinations and manifested certain traits of the tendency to establish the personalized canon of real and worthwhile literature that at the same time opposed the mainstream literary choices of that time

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Coles, Kimberly Anne. "The Matter of Belief in John Donne’s Holy Sonnets*." Renaissance Quarterly 68, no. 3 (2015): 899–931. http://dx.doi.org/10.1086/683855.

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AbstractThough historians of religion have demonstrated that the theological commitments of early modern English people were labile and complex, there was nonetheless a prevailing sense in the period that belief posited bodily consequences. This article considers this bodily presence in John Donne’s poetry by exploring the humoral construction of religious identity in his Holy Sonnets. Donne’s conversion provided him with an unusual perspective: not many people were positioned to hold as nuanced a view of religious ideology. It is surprising, then, that when Donne considers his conversion — which he does in little and large in the Holy Sonnets — he casts it in somatic terms. Donne’s humoral constitution of faith in the Holy Sonnets anatomizes the vexed transactions of body and soul particular to late sixteenth- and early seventeenth-century thought. He depicts his body in the same terms that he uses to represent his religious temperament — as changeable and lacking integrity.

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Lockwood, Tom. "The Variorum Edition of the Poetry of John Donne, Vol. 3: The Satyres. Ed. by Gary A. Stringer and others." Library 19, no. 2 (June 1, 2018): 241–43. http://dx.doi.org/10.1093/library/19.2.241.

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Mascetti, Yaakov A. "Tokens of Love." Common Knowledge 27, no. 1 (January 1, 2021): 1–39. http://dx.doi.org/10.1215/0961754x-8723023.

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Contextualist scholars working on the rhetoric of corporeal presence in seventeenth-century English religious lyrics have naturally focused their attention on sacramental discourse of the Reformation era. As part of the Common Knowledge symposium on the future of contextualism, this full-length monograph, serialized in installments, argues that the contextualist focus on a single and time-limited “epistemic field” has resulted in a less than adequately ramified understanding of the poetry of John Donne, George Herbert, Aemilia Lanyer, and John Milton. What the contextualist approach misses is that even the religious discourses of the period were tied to a long and in no way local epistemological debate about signs and their meaning, whose roots are to be found in Greek and Latin rhetorical theory. This first installment of “Tokens of Love” commences a discussion of the role of classical pagan sign-theory in the development of Reformation sacramental discourse.

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Rois, Robert. "The Chreia in the Forrest." Review of European Studies 12, no. 1 (March 1, 2020): 87. http://dx.doi.org/10.5539/res.v12n1p87.

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Interpretation of poetry becomes manageable when we find in the poets' background elements of early training which are revealed in their work. In the schools of the British Renaissance Aphothonius’ Progymnasmata was the preferred manual of classical rhetoric used to teach students how to write. The composition exercises in this manual of rhetoric were applied to the art of letter writing, since this was the most common means for communication at the time. Among the various writing exercises from the Progymnasmata used in the grammar schools of the English Renaissance, the chreia predominates. We can see that the main thematic headings and subdivisions used in the epistolary lyric fit this particular format. John Donne introduced this innovation to English poetry. Ben Jonson perfected the technique, as we see in his book of poems, The Forrest. Several of his best known poems fit the chreia pattern. We close our study with a suggestion that To Heaven, one of the best known poems of the English Renaissance, can be interpreted as a letter addressed directly to God.

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Rule, Philip C. "Book Review: Eucharistic Poetry: The Search for Presence in the Writings of John Donne, Gerard Manley Hopkins, Dylan Thomas, and Geoffrey Hill." Christianity & Literature 41, no. 3 (June 1992): 358–60. http://dx.doi.org/10.1177/014833319204100321.

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Antović, Mihailo. "Multilevel grounded semantics across cognitive modalities: Music, vision, poetry." Language and Literature: International Journal of Stylistics 30, no. 2 (March 22, 2021): 147–73. http://dx.doi.org/10.1177/0963947021999182.

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This article extends the author’s theory of multilevel grounding in meaning generation from its original application to music to the domains of visual cognition and poetry. Based on the notions of ground from the philosophy of language and conceptual blending from cognitive linguistics, the approach views semiosis in works of art as a series of successive mappings couched in a set of six hierarchical, recursive levels of constraint or grounding boxes: (1) perceptual, parsing the stimulus into formal gestalten; (2) cross-modal, motivating schematic correspondences between the stimulus so structured and the listener’s embodied experience; (3) affective, ascribing to this embodied appreciation dynamic sensations, as in the distinction between tense and lax parts of the perceptual flow; (4) conceptual, drawing analogies between such schematic and affective appreciation and elementary experiential imagery, resulting in outlines of narratives; (5) culturally rich, checking such a narrative outline against the recipient’s cultural knowledge; and (6) individual, adding to the levels above idiosyncratic recollections from the participant’s personal experience. The goal of the analysis is to show that the interpretation of constructs from different semiotic modes (music, vision and language) may rely on the same grounding levels as it ultimately depends on the same perceptual, embodied and contextual circumstances. Specifically, the article uses the system to analyse the possible reception of a section from the romance for violin and orchestra ‘The Lark Ascending’ by Ralph Vaughan Williams, the painting ‘The Last Supper’ by Leonardo da Vinci and the poem ‘No Man Is an Island’ by John Donne.

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Abdulla, Ismail A., and Abbas F. Lutfi. "Cognitive Semantic Analysis of Conceptual Metaphors in Donne’s “A Valediction: Forbidding Mourning”." Polytechnic Journal of Humanities and Social Sciences 1, no. 1 (June 30, 2020): 1–12. http://dx.doi.org/10.25156/ptjhss.v1n1y2020.pp1-12.

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There has always been a widely held view among literary and linguistic circles that poetic language and naturally occurring language represent two quite different registers; hence, they can by no means be subjected to treatment through the same rout of analysis. Another problem is that poetic language is said to utilize some special figures as meaning construction devices that are called meaning devices, which are purely literary devices and have little value outside literature. This paper aims at analyzing poetic language in terms of the renowned cognitive semantic model known as conceptual metaphor theory which was first prosed for the analysis of everyday language and cognition. Another aim of this study is to prove the fallacy of the traditional view that treated metaphor as an ornamental literary device and one source of linguistic or semantic deviation. Adopting the conceptual metaphor theory, the present research hypothesizes that the conceptual metaphor theory is applicable to the poetic language as well. It is also hypothesized that traditional view toward metaphor is completely false. To achieve the above aims and check the hypotheses, the researchers have analyzed one of the most renowned metaphysical poems by John Donne, titled “A Valediction: Forbidding Mourning.” Through the analysis, it has been concluded that the conceptual metaphor theory is applicable to poetic language as it is to everyday language and the conceptual metaphors are basic, rather than ornamental, for understanding poetry, and for the meaning construction in poetic language as they are in non-poetic one.

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Verweij, Sebastiaan. "The Variorum Edition of the Poetry of John Donne, Volume 4.1. The Songs and Sonets, Part 1: General and Topical Commentary. John Donne. Ed. Albert C. Labriola, Jeffrey S. Johnson, and Paul A. Parrish, Bloomington: Indiana University Press, 2017. lxxii + 418 pp. $80." Renaissance Quarterly 72, no. 2 (2019): 759–61. http://dx.doi.org/10.1017/rqx.2019.235.

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Evans, Robert C. "John Donne. The Holy Sonnets. Volume 7, Part 1 of The Variorum Edition of the Poetry of John Donne. Ed. Gary A. Stringer, Paul A. Parrish et al. Bloomington: Indiana University Press, 2006. 606 pp. index. append. bibl. $59.95. ISBN: 0-253-34701-7." Renaissance Quarterly 59, no. 4 (2006): 1322–23. http://dx.doi.org/10.1353/ren.2008.0480.

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Shenk, Robert. "John Donne’s “desire of more”: The Subject of Anne More Donne in His Poetry, ed. M. Thomas Hester. Newark: University of Delaware Press, 1996. 265 pages." Ben Jonson Journal 5, no. 1 (January 1998): 335–40. http://dx.doi.org/10.3366/bjj.1998.5.1.24.

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BRATCHELL, D. F. "Ray, R. H., A John Donne Companion. Pp. x + 414 (Garland Reference Library of the Humanities, vol. 1070). Clements, A. L., Poetry of Contemplation: John Donne, George Herbert, Henry Vaughan, and the Modern Period. Pp. xvii + 306. New York: State University of New York Press, 1990." Notes and Queries 38, no. 3 (September 1, 1991): 382–84. http://dx.doi.org/10.1093/notesj/38.3.382.

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Mulder, John R. "Arthur L. Clements. Poetry of Contemplation: John Donne, George Herbert, Henry Vaughan, and the Modern Period. Albany: State University of New York Press, 1990. xvii + 306 pp. $49.50." Renaissance Quarterly 45, no. 1 (1992): 203–5. http://dx.doi.org/10.2307/2862863.

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DiGangi, Mario. "George Klawitter. The Enigmatic Narrator: The Voicing of Same-Sex Love in the Poetry of John Donne. (Renaissance and Baroque Studies and Texts, 14.) New York: Peter Lang, 1994. xiii + 271 pp. $52.95." Renaissance Quarterly 50, no. 1 (1997): 339–40. http://dx.doi.org/10.2307/3039388.

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Mitchell, Dianne. "Stringer, Gary A., et al. The Variorum Edition of the Poetry of John Donne, Vol. 3: The Satyres. Bloomington: Indiana University Press, 2016. cviii, 1,049 pp. $40.00. Hardcover (ISBN: 978-0-2530-1290-6)." Papers of the Bibliographical Society of America 112, no. 2 (June 2018): 263–66. http://dx.doi.org/10.1086/697425.

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Post, Jonathan F. S. "Early Modern Lyric on the Rebound: Heather Dubrow ,The Challenges of Orpheus: Lyric Poetry and Early Modern England. Baltimore: Johns Hopkins University Press, 2008. x + 293 pages; ISBN: 9780801887048.; John Kerrigan ,Archipelagic English: Literature, History, and Politics, 1603–1707. Oxford: Oxford University Press, 2008. xiv + 599 pages; ISBN: 9780198183846.; Ramie Targoff ,John Donne, Body and Soul. Chicago: University of Chicago Press, 2008. xiv + 213 pages; ISBN: 9780226789637." Huntington Library Quarterly 71, no. 3 (September 2008): 513–25. http://dx.doi.org/10.1525/hlq.2008.71.3.513.

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Beard, Ellen L. "Satire and Social Change: The Bard, the Schoolmaster and the Drover." Northern Scotland 8, no. 1 (May 2017): 1–21. http://dx.doi.org/10.3366/nor.2017.0124.

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Despite his lack of formal education, Sutherland bard Rob Donn MacKay (1714–78) left over 220 published poems, far more than any other contemporary Gaelic poet. During his lifetime he was equally esteemed for well-crafted satires and well-chosen (or newly-composed) musical settings for his verse. This article examines a group of related satires attacking the schoolmaster John Sutherland and the drover John Gray, comparing them to Rob Donn's views on other schoolmasters and cattle dealers, and considering both what conventional historical sources tell us about the poetry and what the poetry tells us about history, particularly literacy, bilingualism, and the cattle trade in the eighteenth-century Highlands.

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Bunga, Rosa Dalima, Hawiah Djumadin, and Maria Magdalena Rini. "Struktur Puisi Karya John Dami Mukese Serta Relevansinya Dalam Pembelajaran Sastra." Edunesia : Jurnal Ilmiah Pendidikan 2, no. 1 (January 1, 2021): 1–9. http://dx.doi.org/10.51276/edu.v2i1.62.

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Abstract: This study aims to describe the structure of the poem "Autumn" by John Dami Mukese which consists of physical and inner structures and their relevance to the study of literature in high school. This study uses a qualitative approach with qualitative descriptive methods. The data in this study are in the form of words that contain physical and inner structure in the poem "Autumn" by John Dami Mukese. The data source is a collection of books "Jelata Poel Jelata" by John Dami Mukese. Data collection procedures in this study are reading, identifying, modifying, and classifying in accordance with the focus of the study. Data analysis uses in-depth understanding techniques. Checking the validity of the data is done through triangulation techniques. The results of the poem builder research structure consisting of physical structures in the form of: connotative and denotative diction; visual imaging; concrete words; style of personification and repetition; rhyme; and typography. The inner structure of themes; feeling (taste); tone; and mandate. The structure of the builders of "Autumn" poetry by John Dami Mukese can be used as teaching material in the study of literature in high school specifically at KD 3.17 analyzing the elements of poetry builders. Abstrak: Penelitian ini bertujuan untuk mendeskripsikan struktur puisi “Musim Gugur” karya John Dami Mukese yang terdiri atas struktur fisik dan struktur batin dan relevansinya dengan pembelajaran sastra di SMA. Penelitian ini menggunakan pendekatan kualitatif dengan metode deskriptif kualitatif. Data dalam penelitian ini berupa kata-kata yang mengandung struktur fisik dan batin dalam puisi “Musim Gugur” karya John Dami Mukese. Sumber data adalah buku kumpulan “Puisi-Puisi Jelata” karya John Dami Mukese. Prosedur pengumpulan data dalam penelitian ini adalah membaca, mengidentifikasi, mengodifikasi, dan mengklasifikasikan sesuai dengan fokus penelitian. Analisis data menggunakan teknik pemahaman arti secara mendalam. Pengecekan keabsahan data dilakukan melalui teknik triangulasi. Hasil penelitian struktur pembangun puisi yang terdiri atas struktur fisik berupa: diksi konotatif dan denotatif; pengimajian visual; kata konkret; gaya bahasa personifikasi dan repetisi; rima; dan tipografi. Struktur batin berupa tema; feeling (rasa); nada; dan amanat. Struktur pembangun puisi “Musim Gugur” karya John Dami Mukese dapat digunakan sebagai bahan ajar dalam pembelajaran sastra di SMA secara khusus pada KD 3.17 menganalisis unsur pembangun puisi.

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Cefalu, Paul. "Seeing the Beatific Vision in “Good Friday: Made as I was Riding Westward that Day” through John Donne’s Sermons." Christianity & Literature 68, no. 2 (December 28, 2018): 175–92. http://dx.doi.org/10.1177/0148333117727127.

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This article compares John Donne’s sermonic treatment of the beatific vision to the related but divergent treatment of the theme in his poem “Good Friday: Made as I was Riding Westward that Day.” Never one simply to duplicate in his poetic imaginings the pure, if occasional, theology of the sermons, Donne suggestively strays from the sermonic line on seeing God’s face in his most extended and provocative meditative poem on the theme, “Good Friday.”

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Mascetti, Yaakov A. "Tokens of Love." Common Knowledge 27, no. 2 (May 1, 2021): 176–251. http://dx.doi.org/10.1215/0961754x-8906131.

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Abstract In the second installment of this contribution to the Common Knowledge symposium “Contextualism—the Next Generation,” Donne's religious poetry is set in dialogue not only with the “Great Controversy” of the 1560s over the nature of the eucharistic sign but also with pre-Christian semiotic discourses. From the perspective of contextualist scholarship, which recognizes in any temporal context a limited number of discourses available, Donne's religious poems of the period from about 1607 to 1620 register many contradictory conceptions, but contradictory only in the sense that no contextualist map of religious identities allows for their miscibility or even collocation. Notoriously resistant to psychological and phenomenological interests, contextualism has no place for an early seventeenth-century Christian writer whose concern is less to join a school of thought on the Real Presence in the Eucharist than to dismiss the issue as vexingly trivial in comparison with the question of whether God thinks that each or any of us adequately loves him. For the questions that concern Donne, there are no determinate answers available, and no standard vocabulary. But the poet's alternating acquiescence in and fretfulness about indeterminacy and incomprehensibility constitute an intellectual and affective identity as much as does the attachment to any one or other more recognizable set of arguments and ways of framing them.

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McCully, C. B. "Writing under the influence: Milton and Wordsworth, mind and metre." Language and Literature: International Journal of Stylistics 9, no. 3 (August 2000): 195–214. http://dx.doi.org/10.1177/096394700000900301.

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This article suggests, in the spirit of Hayes (1983), that poetic influence can in part be expressible through a series of constraints as these are manifest in metrical filters, devices which essentially define which cadences are metrical for one poet, yet unmetrical for another. Synchronically, metrical filters help to account for the differences between the pentametric lines of Shakespeare, say, and those of Marlowe or John Donne. Diachronically, however, the employment of metrical templates yields challenging insights into how one poet, or group of poets, inherits, and seems to absorb, the metrical cadences of one or more strong precursors. In this instance, the focus of attention is on the literary relationship between Milton and Wordsworth, and the article shows, using a survey from Wordsworth’s mature work, that Wordsworth indeed seems to have inherited Milton’s characteristic intra-linear metrical structures, and employed them in his verse. Misreading, or ‘creative misprision’, may be, as Bloom (1973) suggests, the thematic hallmark of poetic influence, but here, metrically speaking, imitation is clearly the sincerest form of debt.

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Donawa, Wendy. "Poetry and process: Glad in the Ruthless Furnance / Poésie et procédé : être joyeux dans l’impitoyable fournaise." Canadian Review of Art Education / Revue canadienne d’éducation artistique 45, no. 1 (December 22, 2018): 12–22. http://dx.doi.org/10.26443/crae.v45i1.47.

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Abstract: Poets use sensory imagery and perception, memory and experience, free association and contemplation to join psychic and material worlds, and to honour both emotional and discursive truths. Through multiple drafts, free-writing and research, the author unpacks her own reflections and poems to demonstrate the process by which intuition and personal insight are crafted for public understanding. This poetic process suggests that scholarly discourses of the arts and the humanities need not always fall into the quantitative/qualitative binary, but that both heart and mind are required to some degree in the seeking of wisdom.Keywords: imagery, craft, metaphor, cadence, tone, sensory perception, memory, intuition, contemplationRésumé : Les poètes utilisent l’imagerie sensorielle et la perception, la mémoire et l’expérience ainsi que l’association libre et la contemplation, pour unifier les univers psychique et matériel et célébrer à la fois les vérités émotionnelles et discursives. Par le biais de multiples ébauches, d’écriture libre et de recherches, l’auteure partage ses réflexions et poèmes pour décrire le procédé par lequel intuition et points de vue personnels sont façonnés dans le but d’être compris par le public. Ce procédé poétique donne à penser que les discours érudits sur les arts et les sciences humaines ne doivent pas obligatoirement être de nature binaire quantitative ou qualitative mais que cœur et esprit sont, dans une certaine mesure, indispensables à la quête de la sagesse. Mots-clés : imagerie, art, métaphore, cadence, ton, perception sensorielle, mémoire, intuition, contemplation.

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TYBJERG, KARIN. "J. LENNART BERGGREN and ALEXANDER JONES, Ptolemy'sGeography: An Annotated Translation of the Theoretical Chapters. Princeton and Oxford: Princeton University Press, 2000. Pp. xiii+192. ISBN 0-691-01042-0. £24.95, $39.50 (hardback)." British Journal for the History of Science 37, no. 2 (May 24, 2004): 193–96. http://dx.doi.org/10.1017/s0007087404215813.

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J. Lennart Berggren and Alexander Jones, Ptolemy's Geography: An Annotated Translation of the Theoretical Chapters. By Karin Tybjerg 194Natalia Lozovsky, ‘The Earth is Our Book’: Geographical Knowledge in the Latin West ca. 400–1000. By Evelyn Edson 196David Cantor (ed.), Reinventing Hippocrates. By Daniel Brownstein 197Peter Dear, Revolutionizing the Sciences: European Knowledge and Its Ambitions, 1500–1700. By John Henry 199Paolo Rossi, Logic and the Art of Memory: The Quest for a Universal Language. By John Henry 200Marie Boas Hall, Henry Oldenburg: Shaping the Royal Society. By Christoph Lüthy 201Richard L. Hills, James Watt, Volume 1: His Time in Scotland, 1736–1774. By David Philip Miller 203René Sigrist (ed.), H.-B. de Saussure (1740–1799): Un Regard sur la terre, Albert V. Carozzi and John K. Newman (eds.), Lectures on Physical Geography given in 1775 by Horace-Bénédict de Saussure at the Academy of Geneva/Cours de géographie physique donné en 1775 par Horace-Bénédict de Saussure à l'Académie de Genève and Horace-Bénédict de Saussure, Voyages dans les Alpes: Augmentés des Voyages en Valais, au Mont Cervin et autour du Mont Rose. By Martin Rudwick 206Anke te Heesen, The World in a Box: The Story of an Eighteenth-Century Picture Encyclopedia. By Richard Yeo 208David Boyd Haycock, William Stukeley: Science, Religion and Archaeology in Eighteenth-Century England. By Geoffrey Cantor 209Jessica Riskin, Science in the Age of Sensibility: The Sentimental Empiricists of the French Enlightenment. By Dorinda Outram 210Michel Chaouli, The Laboratory of Poetry: Chemistry and Poetics in the Work of Friedrich Schlegel. By David Knight 211George Levine, Dying to Know: Scientific Epistemology and Narrative in Victorian England. By Michael H. Whitworth 212Agustí Nieto-Galan, Colouring Textiles: A History of Natural Dyestuffs in Industrial Europe. By Ursula Klein 214Stuart McCook, States of Nature: Science, Agriculture, and Environment in the Spanish Caribbean, 1760–1940. By Piers J. Hale 215Paola Govoni, Un pubblico per la scienza: La divulgazione scientifica nell'Italia in formazione. By Pietro Corsi 216R. W. Home, A. M. Lucas, Sara Maroske, D. M. Sinkora and J. H. Voigt (eds.), Regardfully Yours: Selected Correspondence of Ferdinand von Mueller. Volume II: 1860–1875. By Jim Endersby 217Douglas R. Weiner, Models of Nature: Ecology, Conservation and Cultural Revolution in Soviet Russia. With a New Afterword. By Piers J. Hale 219Helge Kragh, Quantum Generations: A History of Physics in the Twentieth Century. By Steven French 220Antony Kamm and Malcolm Baird, John Logie Baird: A Life. By Sean Johnston 221Robin L. Chazdon and T. C. Whitmore (eds.), Foundations of Tropical Forest Biology: Classic Papers with Commentaries. By Joel B. Hagen 223Stephen Jay Gould, I Have Landed: Splashes and Reflections in Natural History. By Peter J. Bowler 223Henry Harris, Things Come to Life: Spontaneous Generation Revisited. By Rainer Brömer 224Hélène Gispert (ed.), ‘Par la Science, pour la patrie’: L'Association française pour l'avancement des sciences (1872–1914), un projet politique pour une société savante. By Cristina Chimisso 225Henry Le Chatelier, Science et industrie: Les Débuts du taylorisme en France. By Robert Fox 227Margit Szöllösi-Janze (ed.), Science in the Third Reich. By Jonathan Harwood 227Vadim J. Birstein, The Perversion of Knowledge; The true Story of Soviet Science. By C. A. J. Chilvers 229Guy Hartcup, The Effect of Science on the Second World War. By David Edgerton 230Lillian Hoddeson and Vicki Daitch, True Genius: The Life and Science of John Bardeen, the Only Winner of Two Nobel Prizes in Physics. By Arne Hessenbruch 230Stephen B. Johnson, The Secret of Apollo: Systems Management in American and European Space Programs, John M. Logsdon (ed.), Exploring the Unknown: Selected Documents in the History of the U.S. Civil Space Program. Volume V: Exploring the Cosmos and Douglas J. Mudgway, Uplink-Downlink: A History of the Deep Space Network 1957–1997. By Jon Agar 231Helen Ross and Cornelis Plug, The Mystery of the Moon Illusion: Exploring Size Perception. By Klaus Hentschel 233Matthew R. Edwards (ed.), Pushing Gravity: New Perspectives on Le Sage's Theory of Gravitation. By Friedrich Steinle 234Ernest B. Hook (ed.), Prematurity in Scientific Discovery: On Resistance and Neglect. By Alex Dolby 235John Waller, Fabulous Science: Fact and Fiction in the History of Scientific Discovery. By Alex Dolby 236Rosalind Williams, Retooling: A Historian Confronts Technological Change. By Keith Vernon 237Colin Divall and Andrew Scott, Making Histories in Transport Museums. By Anthony Coulls 238

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Journal articles on the topic 'Donne, John - poetry'

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