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Journal articles on the topic 'Elegiac poetry, history and criticism'
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1
Callaghan, Madeleine. "Wordsworth, Shelley, and Hardy: The Inheritance of Loss." ELH 91, no. 1 (March 2024): 181–206. http://dx.doi.org/10.1353/elh.2024.a922013.
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Abstract: This article calls for a revaluation of Thomas Hardy's Poems of 1912–13 , viewing them as in dialogue with William Wordsworth's Lucy poems and Percy Bysshe Shelley's Jane poems. Though Poems of 1912–13 has been favored with a great deal of criticism that aims to come to terms with its manifold influences, the Romantic influence upon Hardy's collection has been overlooked. This article considers how Hardy brings Wordsworth and Shelley's sequences into conversation with his elegies to argue that Hardy reimagines both poets' sequences to create his poetry of mourning.
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Swift, L. A. "TELEPHUS ON PAROS: GENEALOGY AND MYTH IN THE ‘NEW ARCHILOCHUS’ POEM (P OXY. 4708)." Classical Quarterly 64, no. 2 (November 20, 2014): 433–47. http://dx.doi.org/10.1017/s0009838814000433.
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In recent years, our understanding of Archilochus has been transformed by the discovery of a major new fragment from the Oxyrhynchus collection (P Oxy.4708), first published by Dirk Obbink. The new poem is not only the most substantial of Archilochus' elegiac fragments, but more importantly it is the first example we have of the poet's use of myth, for the surviving section narrates a mythological theme: the defeat of the Achaeans at the hands of Telephus during their first attempt to reach Troy. Scholars have found the choice and handling of the myth surprising, and the role that Telephus plays within the poem has been a subject of controversy. Yet this debate has tended to dwell on the Telephus myth in its general form, rather than focussing on the details of how Archilochus presents him in this particular context. This article will explore the significance that Telephus could have had for a Parian audience, and will use this to investigate the political and rhetorical impact of his presentation within the poem. I will argue that Archilochus highlights the aspects of Telephus' story which connect him most closely with Parian local myth, and that he does so in order to enhance the poem's central message: criticism and implicit mockery of the mythological battle and, by implication, of contemporary Parian military strategy.
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Henderson, W. J. "Solon van Athene as ‘betrokke’ digter." Literator 9, no. 2 (May 7, 1988): 1–16. http://dx.doi.org/10.4102/lit.v9i2.845.
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Littérature engagée is an important component of contemporary literary creation and criticism. The present article examines this phenomenon in the surviving iambic and elegiac poetry of the Athenian statesman and poet, Solon (early 6th century B.C.), in order to offer comparative material to the modern student of the subject.
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Bowie, Ewen L. "Greek Table-Talk before Plato." Rhetorica 11, no. 4 (1993): 355–71. http://dx.doi.org/10.1525/rh.1993.11.4.355.
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Abstract: This essay analyses conversation at archaic and classical Greek banquets and symposia, using first epic, then elegiac and lyric poetry, and finally Old Comedy. Epic offers few topics, mostiy arising from the situation of a guest. Those of sympotic poetry, from which prose exchanges may cautiously be inferred, are more numerous:reflection, praise of the living and the dead, consolation of the bereaved, proclamations of likes and dislikes, declarations of love,narrative of one's own erotic experiences or (scandalously) of others',personal criticism and abuse, and the telling of fables. Many of these verbal interventions are competitive. Comedy reinforces the prevalence of an ethos of entertainment, corroborating the telling of fables and adding creditable anecdotes about one's career, singing skolia,and playing games of "comparisons" and riddles.
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Whitaker, Richard. "Did Gallus Write ‘Pastoral’ Elegies?" Classical Quarterly 38, no. 2 (December 1988): 454–58. http://dx.doi.org/10.1017/s000983880003706x.
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It has long been noticed that Virgil's Eclogue 10, in which Gal I us plays so prominent a rôle, contains a combination of pastoral and elegiac elements. But this prompts the question: who was responsible for this combination? Was the fusion of pastoral and erotic-elegiac detail Virgil's own, or did Gallus himself write love-elegies with a strong pastoral colouring, a type of poetry which Virgil then echoed in Eclogue 10?
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Skarbek-Kazanecki, Jan. "The Ancient Greek Symposion as Space for Philosophical Discourse: Xenophanes and Criticism of the Poetic Tradition." Tekstualia 1, no. 8 (September 15, 2022): 3–24. http://dx.doi.org/10.5604/01.3001.0015.9904.
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The aim of the present article is to discuss relations between archaic Greek philosophy and poetry through the example of Xenophanes of Colophon (sixth century BCE), the poet best known for a critique of traditional religion using anthropomorphic imagery. The initial problem lies in understanding the performative aspect in Xenophanes’ elegiac poems; analysis of fragments 1W and 2W has revealed that his literary output can be situated within the framework of the aristocratic symposium. This sympotic context determines the second question: how the poetic fragments fi t with those compositions in which Xenophanes attacks traditional beliefs and poetic ideas of Homer and Hesiod. As I suggest, the critique of traditional mythical narratives, and undermining other poets’ authority, can be interpreted as an expression of performative practices functioning at symposia of the archaic and classical epochs. By removing the division between “philosophy” and “poetry”, different aspects of Xenophanes’ fragments begin to coincide with the phenomenon of the ancient symposium, understood as a space for intellectual competition.
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Reynolds, R. Clay, and R. S. Gwynn. "New Expansive Poetry: Theory, Criticism, History." South Central Review 17, no. 3 (2000): 141. http://dx.doi.org/10.2307/3190100.
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Skarbek-Kazanecki, Jan. "Greek symposion as a space for philosophical discourse: Xenophanes and criticism of the poetic tradition." Tekstualia 1, no. 56 (July 21, 2019): 35–52. http://dx.doi.org/10.5604/01.3001.0013.3286.
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The aim of the present article is to discuss the relation between the philosophy and poetry in archaic Greece on the example of Xenophanes of Colophon (6th century BC), the poet best known for a critique of anthropomorphic imagery of the traditional religion. The initial problem lies in understanding the performative aspect of the elegiac poems of Xenophanes; analysis of the fragment 1W and 2W has revealed that the Xenophanes’ literary output can be situated within the framework of the aristocratic symposium. This sympotic context determines the second question, wiz. how the poetic fragments fi t with the Xenophanes’ compositions in which he attacks the traditional beliefs and poetic ideas of Homer or Hesiod. The particular focus has been on the fragments of elegies that are presumed to belong to the collection named Sylloi: as the author has suggested, the critique of traditional mythical narratives, as well as undermining the authority of other poets, can be interpreted as an expression of performative practices functioning at the symposia of the archaic and classical epochs. By removing the division between the „philosophy” and „poetry”, the different aspects of Xenophanes’ fragments start to coincide with the phenomenon of ancient symposium, understood as a space for the intellectual competition.
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Jacobs, Nicolas. "Celtic saga and the contexts of old English elegiac poetry." Etudes Celtiques 26, no. 1 (1989): 95–142. http://dx.doi.org/10.3406/ecelt.1989.1906.
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Copcea, Florian. "Un poet cathartic și oracular: Nicolae Dabija." Limba, literatura, folclor, no. 1 (August 2021): 39–42. http://dx.doi.org/10.52505/llf.2021.1.04.
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Nicolae Dabija, an assiduous promoter of the generation of poets also called the third eye (literary criticism attributes this phrase to him after the title of his debut volume – The Third Eye, Chisinau, 1975), is considered a living and mythical iconographer who, as no one else, in our immediate contemporaneity, sang the drama of the suffering of Bessarabia. He wrote a poem of „hymn, elegiac or monodic, programmatic messianic” nature, as the academician Mihai Cimpoi observes. His poetry, due to its certain value, always under the sign of sacrificial authorial identification, was favorably received, awarded and translated in many countries. Nicolae Dabija’s poems, unmistakable and memorial, do not belong only to the Romanian language on the left bank of the Prut, but to all those who are dominated by the boundlessness of the Romanian spirit.
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Faraone, Christopher. "Stanzaic Structure and Responsion in the Elegiac Poetry of Tyrtaeus." Mnemosyne 59, no. 1 (2006): 19–52. http://dx.doi.org/10.1163/156852506775455324.
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AbstractThis study seeks to revive, defend and further illustrate the suggestion of Weil (1862) (adopted by Rossi (1953/4)) that the longer fragments of Tyrtaeus (nos. 10-12 in West 1992) were composed in five-couplet units (Weil called them 'strophes' but I prefer 'stanzas') that either alternate between exhortation and meditation (e.g. 10.1-30 or 11.1-20) or contrast, for example, the defensive and offensive modes of hoplite warfare (11.21-38), men skilled and unskilled in warfare (12.1-20) or the differing honors that await those war-heroes who die on the battlefield and those who return home alive (12.21-30 and 35-44). These units, moreover, often display a kind of responsion (similar to that found in ancient Greek choral poetry), which allows the poet to draw attention to the stanzaic architecture of the poem and emphasize parallels and contrasts between the individual stanzas. Weil's theory, moreover, provides us with evidence of later re-performances of these poems, especially Tyrtaeus 12, where the transmitted text shows clear signs of a subsequent performance (perhaps in classical Athens as the Platonic paraphrases in the Laws suggest) by a poet who was ignorant or careless of the earlier archaic practice.
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سميسم, علي كاظم. "Political criticism in Al-Jawahiri's poetry." Kufa Journal of Arts 1, no. 30 (January 23, 2017): 175–216. http://dx.doi.org/10.36317/kaj/2016/v1.i30.6070.
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The Poetry of Al-Jwahiri is a document and a history. Since literature is the essence of history, we can find within it events, culture, thought, struggle of modern Iraq and the Arab region and the attempts of the living peoples in its march towards justice and freedom taking the most sophisticated steps overcoming the romantic tendency during his era. The document of Al-Jwahiri was mixed with an elevated art and a perfect well-formed language. He combined objectivity and aesthetics he also mixed his blood and pains, excitement with his carelessness as well as his hopes and wishes. He recorded history and participated in making history through subjective and objective methods. His poetry was imprinted in the imagination and thoughts of people. It was Al-Jwahiri who called for solving the problems of Iraq which he suffered from till our time. Policy and struggle is what made his poetry a burning type of poetry and elevated his severe criticism and the political attitude is what made Al-Jwahiri an alienated loner wondering the countries of the world.
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Schwarz, Egon. "Mass Emigration and Intellectual Exile from National Socialism: The Austrian Case." Austrian History Yearbook 27 (January 1996): 1–20. http://dx.doi.org/10.1017/s0067237800005798.
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History is made up of continuities and discontinuities. To do it justice it is necessary to take both of these ordering principles into account. Exile and banishment have always existed—mass expulsions and mass deportations have been recorded since Nebuchadnezzar's rule in the sixth century B.C. But, because of their power of expression and criticism, writers, intellectuals, and artists have been favorite targets for tyrants' wrath, and for those same reasons writers and intellectuals are the prime witnesses of the exile experience. Ovid's elegiac lament, Dante's bitter pride, Heine's poisoned homesickness, and Unamuno's scornful hatred are famous manifestations of the exile's state of mind.
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Myers, K. Sara. "The Poet and the Procuress: TheLenain Latin Love Elegy." Journal of Roman Studies 86 (November 1996): 1–21. http://dx.doi.org/10.2307/300420.
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This paper investigates the figure of thelenain the elegies of Tibullus (I.5; II.6), Propertius (IV.5), and Ovid (AmoresI.8). While each poet treats the character of thelenain importantly different ways, each has in common a deep interest in contrasting his own position as both lover and poet with the activities of thelena, a bawd or procuress. All three poets curse thelena, denouncing primarily her malevolent magical powers, hercarmina, which are directed against them and theircarmina. Thelenanot only preaches an erotic code which in its emphasis on remuneration and the denigration of poetry directly opposes that of the poet-lover, she also usurps his role as instructor and constructor of the elegiacpuella. It is the elegiac poet's prerogative to describe and construct the elegiac mistress. By usurping his role aspraeceptor, thelenathreatens the poet with both sexual and literary impotence. It is precisely because thelenachallenges the male poet-lover's control over these terms that she is such a potent enemy; the woman with a pen, as Pollack writes inThe Poetics of Sexual Myth, ‘threatens to undermine a system of signification that defines her both as vulnerable and as victim’. If the elegiac mistress can be said to play a more masterful role asdominain Roman love poetry than in conventional Roman ideology, it must nevertheless be qualified with the reminder that she only plays a role constructed for her by elegy's first-person narrator who demands complete control over the discourse of their relationship, of the rules of the amatory game.
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Driscoll, David F. "The Pleasures of Lyric in Plutarch’s Hierarchies of Taste." Mnemosyne 72, no. 5 (September 3, 2019): 803–26. http://dx.doi.org/10.1163/1568525x-12342566.
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AbstractIn his Quaestiones Convivales, a sympotic text recounting more than 75 purportedly historical banquets set in Rome and Greece, Plutarch represents intellectuals engaging with early lyric (melic, iambic, and elegiac poetry) as they express broader views about aesthetic taste. In contrast to Homeric poetry, which is commonly quoted by all characters in the symposium but proportionally more by lower-ranking participants, those who quote lyric appear to be exclusively individuals of higher status. The paper provides specific metrics that further illuminate this phenomenon, and it makes a number of suggestions regarding the relationship between literary taste and social status in Plutarch’s Quaestiones Convivales.
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Houston, John Porter. "French Romantic Poetry, Literary History, and the Newer Criticism." Romance Quarterly 34, no. 4 (November 1987): 389–95. http://dx.doi.org/10.1080/08831157.1987.11000479.
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Gildenhard, Ingo, and Andrew Zissos. "Inspirational Fictions: Autobiography and Generic Reflexivity in Ovid's Proems." Greece and Rome 47, no. 1 (April 2000): 67–79. http://dx.doi.org/10.1093/gr/47.1.67.
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When the first edition of theMetamorphosesappeared in the bookshops of Rome, Ovid had already made a name for himself in the literary circles of the city. His literary début, theAmoves, immediately established his reputation as a poetic Lothario, as it lured his tickled readers into a typically Ovidian world of free-wheeling elegiac love, light-hearted hedonism, and (more or less) adept adultery. Connoisseurs of elegiac poetry could then enjoy hisHeroides, vicariously sharing stirring emotional turmoil with various heroines of history and mythology, who were here given a literary forum for voicing bitter feelings of loss and deprivation and expressing their strong hostility towards the epic way of life. Of more practical application for the Roman lady of the world were his verses on toiletry, theMedicamina Faciei, and once Ovid had discovered his talent for didactic expositionà la mode Ovidienne, he blithely continued in that vein. In perusing the urbane and sophisticated lessons on love which the self-proclaimederotodidaskalospresented in hisArs Amatoria, his (male and female) audience could hone their own amatory skills, while at the same time experiencing true Barthianjouissancein the act of reading a work, which is, as a recent critic put it, ‘a poem about poetry, and sex, and poetry as sex’. And after these extensive sessions in poetic philandering, his readers, having become hopeless and desperate eros-addicts, surely welcomed the thoughtful antidote Ovid offered in the form of the therapeuticRemedia Amoris, a poem written with the expressed purpose of freeing the wretched lover from the baneful shackles of Cupid.
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Odnoral, Valeria. "The New Lyric Studies of the 21th Century: The Aesthetic and the Social in Poetry Criticism." Ideas and Ideals 13, no. 1-2 (March 19, 2021): 401–13. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-401-413.
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The article considers the problem of correlation of aesthetic form and social content in contemporary poetry through the prism of contemporary poetry criticism, in particular, the New Lyric Studies of 2008 (M. Perloff, Y. Prins, R. Terada, V. Jackson, etc.). A representation of the lyrics as a genre of poetry, in which historically structured subjectivism and identity of author are interrelated with poetic writing, is at the center of the New Lyric Studies. In this context the lyrics is relative and volatile but also is the closest genre to the poetic nature, that allows to merge an autonomous entity of poetry with ‘agendas’ in the poem, which were difficult to connect in either too formal or too contextual critical approaches to the poetry in the 20th century. This became possible in the conditions of New Lyric critics speaking up against a substitution of poetry and literary criticism for historical, anthropological and cultural criticism because of the high popularity of cultural studies in the 1990s and the ensuing incorporation of interdisciplinarity in literary studies. Despite the objective of New Lyric critics to revitalize a theoretical study of poetry in the spirit of academic criticism of the New Criticism, the modifications in the methods for producing, existence and broadcasting of poetry and therefore in poetry of the last 50 years, poetry itself prevented the New Lyric from becoming the regressive movement. Some representatives of the New Lyric Studies subsequently expressed the need to study poetry in terms of new historical poetics and to create different methods capable to analyze the relations between culture and poetic form – between the social and the aesthetic. Having considered advantages and limitations of the New Lyric studies in the context of contemporary poetry discourse, reflecting not only the nature of contemporary criticism, but also perhaps the history of poetry criticism of 20-21th centuries, which is the dynamical coexistence and the mutual succession of different movements, the author draws a conclusion that this movement defines the right vector for the reconciliation of the long-standing struggle of formalism and contextualism in the poetry criticism as well as social and aesthetic components which poetic work includes.
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Sorum, Eve. "Thomas Hardy’s Elegiac Prose and Poetry: Codes of Bereavement, by Galia Benziman." Victorian Studies 62, no. 1 (March 2020): 152–54. http://dx.doi.org/10.2979/victorianstudies.62.1.22.
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Zohar Weiman-Kelman. "Touching Time: Poetry, History, and the Erotics of Yiddish." Criticism 59, no. 1 (2017): 99. http://dx.doi.org/10.13110/criticism.59.1.0099.
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Muir, James. "Poetry and Philosophy: Plato’s Spirit and Literary Criticism." European Legacy 19, no. 3 (April 16, 2014): 403–6. http://dx.doi.org/10.1080/10848770.2014.898954.
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Holst-Warhaft, Gail. "The Poetics of Pain." Journal of World Literature 8, no. 1 (April 21, 2023): 104–22. http://dx.doi.org/10.1163/24056480-00801009.
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Abstract Modern Greek poetry has been influenced by a tradition of lament that is still practiced in rural Greece, and by the tragic events of modern Greek history. In contrast to the elegiac tradition, laments and their women practitioners ascribe a positive value to pain. Male poets of the generation of 1930 made use of the imagery of folk lament in their poetry, and women poets of the second half of the 20th century addressed the dead directly as their village counterparts still do. The Asia Minor catastrophe of 1922 dominated 20th-century modern Greek literature and drew on another traditional poetic form, the “lament for lost cities.” More recently, songwriters have mourned the political and economic tragedies of contemporary Greece in lyrics that seem much closer, in their expression of pain, to the tradition of lament than to elegy.
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Zahrah Hadi, Ghaidaa Abdul. "Criticism of Translation Problems in Ahmad Matar's Poetry." INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES & HUMANITIES 13, no. 02 (2023): 162–75. http://dx.doi.org/10.37648/ijrssh.v13i02.013.
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It is no secret to everyone that translation is very important in the exchange of cultures and sciences between different nations and civilizations. Today, it has become a bridge to pass the various sciences of poetry, history and culture from one language to another. Among the poets whose poetry was important in his translation was Ahmed Matar, whose poems were translated from Arabic into many languages, including Persian. Therefore, criticism of the translation of Ahmed Matar's poems was one of the important topics that must be taken into account in research and studies to show the importance of translation criticism in general, and criticism of translated poems by this poet in particular.
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Alonso Veloso, María José. "Dos silvas elegíacas de Quevedo: los lamentos por la tórtola y la mariposa." Calíope 26, no. 2 (November 2021): 275–99. http://dx.doi.org/10.5325/caliope.26.2.0275.
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Abstract This paper studies two funeral silvas of Quevedo, “Al tronco y a la fuente” y “Yace pintado amante”, dedicated to a dove and a butterfly, in order to argue the suitability of removing them from Melpómene muse and attaching them to his silva collection. There are reasons related to their textual transmission and editorial manipulation, but also to the elegiac tone that pervades many of Quevedo’s silvas. These poems imitate thematic variety of Statius’ silvas, in which epicedium prevails, but they instead disdain their heroic profiles. Finally, they share the spirit of epoch represented by “intimate elegy”, which heralds “modern” poetry.
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ABU-HAIDAR, J. A. "WHITHER THE CRITICISM OF CLASSICAL ARABIC POETRY?" Journal of Semitic Studies XL, no. 2 (1995): 259–81. http://dx.doi.org/10.1093/jss/xl.2.259.
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Berthoud, Luiza Esper. "Art History and Other Stories." ARS (São Paulo) 18, no. 38 (April 30, 2020): 197–217. http://dx.doi.org/10.11606/issn.2178-0447.ars.2020.162471.
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Through the analysis of one erroneous piece of art criticism, an essay by Goethe that re-imagines a lost ancient sculpture, I demonstrate the difficulty that the discipline of art history has with conceptualizing the experience of art making and how one ought to respond to it. I re-examine the relationship between art making and art appreciation informed by ideas such as the Aristotelian view of Poiesis, Iris Murdoch’s praise of art in an unreligious age, and Giorgio Agamben’s call for the unity between poetry and philosophy. I also argue that much of modern art criticism has forgotten Arts’ earlier conceptual vocation, and propose methods of appreciating art that are in themselves artistic.
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Markov, Alexander. "Contemporary Russian Poetry in the Period of Intense Events." Philosophy. Journal of the Higher School of Economics VI, no. 3 (September 30, 2022): 256–88. http://dx.doi.org/10.17323/2587-8719-2022-3-256-288.
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This article examines the impact of being inside the intense development of events on contemporary Russian poetry as a set of institutions of production and consumption of texts. We prove that under this influence of events, not only individual ways of texts' existence are changing, but also the very meaning of media and social contexts of poetry development. Poetry turns out to be an area not so much of comprehending current reality as differentiating the very modes of utterance that represent the actual state of affairs. Therefore, in the period of events, poetry partly returns to the representational principles of the old art, but there also appear new ways of poetry expansion, from illustrated publication to collaborations with intellectuals, commentators or artistic communities, which enable it to operate in the field of public discourse. The following shifts are taking place in Russian poetry now: (1) the rejection of reliance on former resources of relevance for the sake of establishing new infrastructures of social attention; (2) the creation of new forms of justification of poetic expression, different from previous criticism or statements; (3) the problematic action in the political field in differentiating figures of “proper” and “other”; (4) metacriticism of poetics as a figurative text structure, along with implicit indications of the limitations of figurative writing. As a result, in contemporary Russian poetry, the problematization of the other as unpredictable, dangerous, and yet necessary entirely coincides with the latest postcolonial, gender, and social criticism.
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Debrohun, Jeri Blair. "Redressing Elegy's Puella: Propertius IV and the Rhetoric of Fashion." Journal of Roman Studies 84 (November 1994): 41–63. http://dx.doi.org/10.2307/300869.
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Much recent criticism of Roman love elegy, especially Propertian love elegy, has been concerned with the exposure of elegy's ego and puella as poetic constructions whose ‘partially realistic’ characteristics and actions serve as metaphorical representations of the poet's writing practice and poetic ideals. As Duncan Kennedy has pointed out, however, this discourse of representation has already threatened to create its own limitations of applicability, as it privileges the ‘partial realism’ of love elegy's first-person narratives, in which an authorial male narrator (ego) writes of his female subject (puella), at the expense of the more openly unrealistic representational strategies of works such as Ovid's Heroides and Fasti or, the more immediate concern of this article, the fourth book of Propertius' elegies.
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Tapp. "Towards a Lyric Phenomenology: ‘The beginnings of truly human poetry’ and Zhukovskii's Elegiac Imagination." Slavonic and East European Review 97, no. 3 (2019): 401. http://dx.doi.org/10.5699/slaveasteurorev2.97.3.0401.
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Holmes, Nigel. "Gaudia nostra: a hexameter-ending in elegy." Classical Quarterly 45, no. 2 (December 1995): 500–503. http://dx.doi.org/10.1017/s000983880004355x.
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In an earlier article in Classical Quarterly, S. J. Harrison explored the varying frequency of hexameter-endings of the type discordia taetra, where a noun that ends in short a is followed by its epithet with the same termination. It appears from this that while most pre-Augustan poets allow a fairly high frequency of such verse-endings (e.g. Lucretius 1:130, Catullus 1:204), some Augustan poets and their imitators show a distinct tendency to avoid them (e.g. Vergil, Georgics 1:547), while some almost exclude them altogether (e.g. Ovid, Metamorphoses 1:4999, Statius, Thebaid 1:1948). The hexameters of elegiac poetry might be subject to the same restriction; the following are figures for elegy from Catullus to Martial.
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Hinds, Stephen. "Martial's Ovid / Ovid's Martial." Journal of Roman Studies 97 (November 2007): 113–54. http://dx.doi.org/10.3815/000000007784016098.
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This paper allows Ovid to shape a reading of Martial, and Martial to shape a reading of Ovid. It proceeds through close readings of some 40 epigrams, and is organized into three large sections respectively addressing receptions in Martial of Ovid's poetry of elegiac love (I), of exile (II), and of myth (III). The final section offers sustained discussion of Martial's early Apophoreta (Book 14) and Liber Spectaculorum. Issues addressed include genre, intertextuality, sexual vocabulary and euphemism, exile as a figure for status anxiety, the metapoetics of book production, ecphrastic movement between art and epigrammatic text, and the aesthetics of myth in the Roman arena.
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Fest, Bradley J., and Rachel Blau DuPlessis. "Something Worth Leaving in Shards: An Interview with Rachel Blau DuPlessis." boundary 2 50, no. 2 (May 1, 2023): 1–30. http://dx.doi.org/10.1215/01903659-10300579.
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Abstract This interview with poet, essayist, literary critic, and collagist Rachel Blau DuPlessis was conducted via email correspondence between June 11 and August 29, 2020. Author of over a dozen volumes of poetry and half a dozen books in modernist studies, poetics, and feminist criticism, DuPlessis reflects broadly on her career in this interview. She discusses the ongoing role of feminism in her writing and thought, the forms of the fold and the fragment, the relationship between her poetry and criticism, her work in and on the long poem, and her post-Drafts poetry, including her (at the time) most recent book, Late Work (2020). The interview concludes with a conversation about the relationship between poetry and theorizing practices and a meditation on writing during a global pandemic.
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Gagliardi, Paola. "Adonis and Augustan Poets." Acta Antiqua Academiae Scientiarum Hungaricae 58, no. 1-4 (December 2018): 741–52. http://dx.doi.org/10.1556/068.2018.58.1-4.42.
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Summary Adonis presents a special case of Romans' wide interest in Eastern religions during the Augustan age: he was brought to Rome by poets, and for this reason his ‘existence’ in Latin culture was exclusively literary. His worship never had the same importance as in Hellenistic Egypt, but the pathos of this figure, and his story of love and death aroused the interest of the elegiac poets, in particular, who used his exemplum to illustrate certain τόποι of their genre and to emphasize the originality of their poetry. Through the analysis of his treatment in Propertius and in Ovid a series of reflections on elegy's nature and sense can be reconstructed in an interesting dialogue between the two poets.
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Shnaweh, Lect Dr Masar Ghazi. "Significant cultural patterns and their references in the poetry of Safi al-Din al-Hilli." Thi Qar Arts Journal 2, no. 40 (December 27, 2022): 222–33. http://dx.doi.org/10.32792/tqartj.v2i40.377.
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The emergence of cultural criticism at the end of the last century brought about a qualitative leap in the field of critical practice as a whole, as we see a distinct shift from criticism of literature to criticism of culture, which has become a focused discourse in this field. Cultural criticism often embraces culture and never separates from it. Just as it takes from every science a party that combines contextual and systematic approaches, even theories of reading and reception, criticism of reader response and deconstruction, as it was based on psychology, sociology and history and relied on everything that would happen in addition to literature as a cultural phenomenon. It is striking that cultural criticism is based on a central idea that stems from and returns to, which is the criticism of fairness, especially the cultural defects that are implicit in every discourse or that are hidden behind the linguistic textual fabric. what they are.
Al-Hilli’s poetry conceals cultural patterns in which reality is critiqued from a behavioral, economic, political and religious point of view, providing the reader with an integrated picture of his society. We have relied on the categories of cultural criticism as a floating critical activity that refuses to fall under any approach, and uses procedural tools of various sources, which belong to different sciences such as anthropology, psychology, and history.
In order to answer the research questions and its problems, the research plan was as follows:
Introduction: I tried through it to provide an overview and familiarity with the subject and its basic forms.
The first requirement: the most important tributaries of cultural criticism and its background knowledge:
1: The concept of cultural pattern
2: systemic function
3: the cultural sentence
4: the cultural sentence
5: The total metaphor
* The second requirement: an overview of the social and poetic papers of the poet Safi al-Din al-Hilli (677-752 AH / 1277-1339 AD).
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Stanco, Michele. "Art and beauty. Linguistic versus psychological aesthetic theories." Recherches anglaises et nord-américaines 36, no. 1 (2003): 47–68. http://dx.doi.org/10.3406/ranam.2003.1668.
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In his dialogues Plato distinguished poetry as ‘inspiration from poetry as ‘technique’. Taking a hint from this archetypal distinction (as well as, inevitably, from the overstaying opposition between ‘idea’ and ‘matter’), the paper explores some of the most momentous phases in the history of criticism, from the earliest documents on poetry to the contemporary aesthetic debate. In so doing, it points to the irremediable and continuing dualism of a critical tradition, which has alternatively emphasised the ideal elements of beauty or the material constituents of art.
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Armstrong, Isobel. "The First Post: Victorian Poetry and Post-War Criticism." Journal of Victorian Culture 8, no. 2 (January 2003): 292–304. http://dx.doi.org/10.3366/jvc.2003.8.2.292.
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DAVIES MITCHELL, M. "Review. Apollinaire, Visual Poetry, and Art Criticism. Bohn, Willard." French Studies 48, no. 3 (July 1, 1994): 353. http://dx.doi.org/10.1093/fs/48.3.353.
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Wolwacz, Andrea Ferras. "TOM PAULIN'S POETRY OF TROUBLES." Organon 34, no. 67 (December 9, 2019): 1–23. http://dx.doi.org/10.22456/2238-8915.96943.
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This paper is part of my PhD thesis. It examines contemporary Northern Irish Literature written in English with the help of the theoretical approach of Irish Studies. It aims to introduce and make a critique of poetry written by Tom Paulin, a contemporary British poet who is regarded one of the major Protestant Irish writers to emerge from Ulster province. The thread pursued in this analysis relates to an investigation of how ideological discourses and the issues of identity are represented in the poet’s work. The author’s critical evaluation of existing ideologies and identities and his attempt to respond to them will also be analyzed. Four poems from three different collections are investigate. Paulin’s poems function as testimonies, denouncement and criticism of the Irish history.
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Elfenbein, Andrew. "Cognitive Science and the History of Reading." PMLA/Publications of the Modern Language Association of America 121, no. 2 (March 2006): 484–502. http://dx.doi.org/10.1632/003081206x129675.
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Cognitive psychologists studying the reading process have developed a detailed conceptual vocabulary for describing the microprocesses of reading. Modified for the purposes of literary criticism, this vocabulary provides a framework that has been missing from most literary-critical investigations of the history of literate practice. Such concepts as the production of a coherent memory representation, the limitations of working memory span, the relation between online and offline reading processes, the landscape model of comprehension, and the presence of standards of coherence allow for close attention to general patterns in reading and to the ways that individual readers modify them. The interpretation of Victorian responses to the poetry of Robert Browning provides a case study in the adaptation of cognitive models to the history of reading. Such an adaptation can reveal not only reading strategies used by historical readers but also those fostered by the discipline of literary criticism. (AE)
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Bula, Andrew. "Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya." Journal of Practical Studies in Education 2, no. 5 (August 6, 2021): 26–31. http://dx.doi.org/10.46809/jpse.v2i5.30.
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Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, which he completed in 1989, is a staggering 734-page document. Professor Akwanya has also taught many literature courses, namely: European Continental Literature, Studies in Drama, Modern Literary Theory, African Poetry, History of Theatre: Aeschylus to Shakespeare, European Theatre since Ibsen, English Literature Survey: the Beginnings, Semantics, History of the English Language, History of Criticism, Modern Discourse Analysis, Greek and Roman Literatures, Linguistics and the Teaching of Literature, Major Strands in Literary Criticism, Issues in Comparative Literature, Discourse Theory, English Poetry, English Drama, Modern British Literature, Comparative Studies in Poetry, Comparative Studies in Drama, Studies in African Drama, and Philosophy of Literature. A Fellow of Nigerian Academy of Letters, Akwanya’s open access works have been read over 109,478 times around the world. In this wide-ranging interview, he speaks to Andrew Bula, a young lecturer from Baze University, Abuja, shedding light on a variety of issues around which his life revolves.
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Vasilyeva, L. A. "“Mir Taqi Mir”. A fragment from the History of Urdu Poetry “Water of Life” of Muhammad Husayn Azad." Orientalistica 3, no. 5 (December 29, 2020): 1437–49. http://dx.doi.org/10.31696/2618-7043-2020-3-5-1437-1449.
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The article is a translation into Russian of the chapter from the “Water of Life” by Muhammad Husain Azad (1830–1910). This is the chapter about the greatest Urdu poet Mir Taki Mir (1713/1723(?)–1810 AD). The critical work by Azad, the “Water of Life” is considered as the first history of Urdu poetry written in Urdu. Azad was the first to see in this phenomenon a continuous process. The periods in the development of literature are interlinked. Azad identifies five major periods of Urdu poetry and briefly describes each of them. His work comprises biographical facts, characteristics, vivid word-portraits of outstanding Urdu poets and colourful historical anecdotes associated with them. The “Water of Life” had a very significant impact on contemporaries of Azad, as well as on the further development of literary-critical thought in Urdu. It set the standard for literary criticism for many decades. “Water of Life” had a significant impact on contemporaries, as well as on the further development of literary-critical thought in Urdu. It set the standard for literary criticism for many decades to come. Regardless that some historical dates and literary facts, as well as some important generalizations of the author, seem today at least controversial, still many Urdu literati and critics even nowadays fully rely upon the evaluation and criticism of famous poets as given by Azad.
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Nicolau, Felix. "El espejismo del Norte: los Geats y la pasión escandinava en la obra de Alejandro Busuioceanu." Swedish Journal of Romanian Studies 6, no. 1 (May 15, 2023): 349–60. http://dx.doi.org/10.35824/sjrs.v6i1.24972.
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One of the less discussed figures of the Romanian exile caused by the fraudulent establishment of communism in Romania is the polygraph Alexandru Busuioceanu, who wrote poetry in three languages, but also art criticism, literary criticism, and history. The present research is interested in the ideational intertwining of Busuioceanu's intellectual life. As regards his poetry, the volume “Poemas patéticos” of 1948 is analyzed in particular. The writer formulated bold hypotheses which he justified with erudite arguments. Busuioceanu's research, like his art, was carried out in several countries, so access to sources and linguistic context was unmediated. The scholarly legacy of Vasile Pârvan, whose disciple Busuioceanu was, proved also important for this work. Has this enormous intellectual cargo and capacity imprinted Busuioceanu´s creativity or did he preserve his pristine imagination and thinking?
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Tourmuzi, Lalu Muhamad Rusdi F., and Tatik Mariyatun Tasnimah. "KRITIK SASTRA ARAB ERA SHADR ISLAM." SHAWTUL ‘ARAB 1, no. 2 (April 24, 2022): 78–86. http://dx.doi.org/10.51192/sa.v1i2.322.
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This article aims to examine the development of literary criticism in the early era of Islam. The research method used by the researcher is the library method. Researchers look for data related to the content of the study, take notes, and collect data relating to the history of the development of literary criticism in the early era of Islam. As for the results of this study, the reader can find out what is relevant regarding the definition of criticism, the development of literary criticism, the purpose of poetry, and know the influence of Islam on Arabic literature Islam. This makes the writers of the present era know the traces of Muslim writers at the beginning of the development of Islam.
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Parina, Elena. "Textual Criticism and Text Reconstruction: Approaches to Early Russian and Welsh Poetry." Studia Celto-Slavica 5 (2010): 149–58. http://dx.doi.org/10.54586/iumu8654.
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The Tale of Igor’s Campaign and The Gododdin, two poetic texts crucially important for the history of Early Russian and Welsh literature respectively, have a very dark history. Both are preserved in only one reliable source and are supposed to be composed about 600 years before this edition or manuscript was created. Anna Dybo and John Koch however propose an attempt of reconstruction for the Ur-Text of these poetic masterpieces. In this article we compare the framework within which these reconstructions were created. Whereas Anna Dybo relies mainly on contemporary texts, John Koch in the absence of such monuments has to rely more on historical interpretation.
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Hendren, T. George. "Catullus’s Ameana Cycle as Literary Criticism." Mnemosyne 69, no. 2 (February 4, 2016): 262–75. http://dx.doi.org/10.1163/1568525x-12341769.
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This paper will reevaluate Catullus’s venom in poems 41 and 43 (the so-called ‘Ameana Cycle’) to show that his attacks on Ameana are in fact veiled criticisms of Mamurra’s loathsome poetry. Catullus’s descriptions of Ameana substantiate this reading: her physical features are disproportionate and ill suited to Roman conceptions of beauty, she is entirely without wit, and despite her patent imperfections, she has no idea how hideous she really is. The use of a poetic mistress in this manner has parallels within the Catullan corpus, and is also referenced in the work of Martial.
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Annabil, Muhammad Naufal, and Tatik Mariyatut Tasnimah. "KRITIK SASTRA ARAB ERA UMAWY DAN ABBASY." `A Jamiy : Jurnal Bahasa dan Sastra Arab 10, no. 2 (September 20, 2021): 245. http://dx.doi.org/10.31314/ajamiy.10.2.245-255.2021.
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This writing aims to examine the development of Umawy and Abbasy literary criticism. The method used in collecting data in this historical research is the literature method, the researcher looks for all the data related to this research and then records the data into a notebook. The method used in this research is descriptive qualitative method, this method uses interpretation through descriptive media. Meanwhile, the approach applied in this research is a historical approach, in which the researcher looks for history related to the development of literary criticism in Umawy and Abbasy The results of this study are that we can find out the definition and division of literary criticism, and find out about the purpose of prose and poetry Umawy or Abbasy. In addition, this research produces information about literary criticism in Umawi and Abbasy. In Umawy, literary criticism is still in a developmental stage, whereas in Abbasy, literary criticism is in a perfect state.
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Romanova, Alyona N. "Anna Gotovtseva, the interlocutor of poets." Literature at School, no. 2, 2020 (2020): 62–75. http://dx.doi.org/10.31862/0130-3414-2020-2-62-75.
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The article examines the history of the publication of some works by the little-known poetess of the first third of the 19th century Anna Gotovtseva, including her poem addressed to A.S. Pushkin, and poems by A.S. Pushkin and P.A. Vyazemsky, appealed to Gotovtseva. The author reveals some features of the historical and literary process, which influenced the poetic dialogue of writers, published in the “Northern Flowers” almanac, which marked the emergence of female professional poetry in the literature of the first third of the 19th century. A.I. Gotovtseva’s poems are analyzed in the context of the contemporary Russian poetry o that time, and the artistic originality of her works is revealed in comparison with the lyrics of poets of the elegiac romanticism. The author considers the influence of French writers such as Alphonse de Lamartin and Madame Janlis on the development of literary opinions and priorities of the provincial poetess, which predetermined the internal contradiction of the poetic dialogue between Pushkin and his admirer Anna Gotovtseva. The hypothesis about the indirect influence of “Note” by Janlis on the development of the controversy about women writers reflected both in the journalistic statements and in the artistic works by Pushkin and his contemporaries – men of letters – is tested in the article.
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Wright, Matthew. "POETS AND POETRY IN LATER GREEK COMEDY." Classical Quarterly 63, no. 2 (November 8, 2013): 603–22. http://dx.doi.org/10.1017/s000983881300013x.
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The comic dramatists of the fifth centuryb.c.were notable for their preoccupation with poetics – that is, their frequent references to their own poetry and that of others, their overt interest in the Athenian dramatic festivals and their adjudication, their penchant for parody and pastiche, and their habit of self-conscious reflection on the nature of good and bad poetry. I have already explored these matters at some length, in my study of the relationship between comedy and literary criticism in the period before Plato and Aristotle. This article continues the story into the fourth century and beyond, examining the presence and function of poetical and literary-critical discourse in what is normally called ‘middle’ and ‘new’ comedy.
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Bongers, Anna. "Remembering the Beginning: “All Electrons Are (Not) Alike” by Rosmarie Waldrop." aspeers: emerging voices in american studies 6 (2013): 25–39. http://dx.doi.org/10.54465/aspeers.06-04.
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Through a close reading of “All Electrons Are (Not) Alike,” the opening poem of Rosmarie Waldrop’s latest collection of prose poetry, Driven to Abstraction (2010), this paper shows how the poem deconstructs history and memory through criticism of language. Retelling the narration of the conquest of the Americas, “All Electrons Are (Not) Alike” calls into question the beginning of what was to become US American national identity. Putting Waldrop’s poem in the broader context of transnational criticism, I argue that its deconstructive poetic and philosophical use of language contributes to the transnational turn, helping to create the room that transnational criticism needs in order to come up with new, more appropriate ways of structuring literary studies.
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Chukwu, Mathias O., Kingsley O. Ugwuanyi, and Anenechukwu K. Amoke. "Texture in Okigbo’s poetry: An exploration of cohesion." IKENGA International Journal of Institute of African Studies 22, no. 3 (September 1, 2021): 1–19. http://dx.doi.org/10.53836/ijia/2021/22/3/001.
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Even among system texts, poetic language is unique. On the surface, the words appear disparate, resulting in the perceived difficulty associated with its study/analysis. Okigbo’s works have been criticised for their esotericism. Insights from the linguistic approach of cohesion, however, reveal that Okigbo’s poetic language is neither disparate nor deny access to the poetic text. Indeed, the words cohere, quite uniquely, sustaining ancient kinships and entering into new relationships, helping them to achieve texture. A(re)reading of Okigbo in light of this approach addresses the perceived opacity associated with his works and raises fresh questions on the traditional criticism of Okigbo, particularly the motif of the prodigal son. This study, therefore, explores the interpretive affordances of the notion of cohesion in selected poems by Okigbo. The overarching aim is to re-examine Okigbo’s works with the lens of cohesion, underpinned by the cohesion theory of Halliday and Hasan (1976/2013) in order to offer new insights into the interpretation and criticism of his poetry.