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Journal articles on the topic 'Elegy Written in a Country Churchyard'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Edgecombe, Rodney Stenning. "Gray's Elegy Written in a Country Churchyard." Explicator 59, no. 2 (2001): 76–78. http://dx.doi.org/10.1080/00144940109597088.

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2

VILLA JIMÉNEZ, Rosalía. "Efectos poéticos en “Elegy Written in a Country Churchyard” de Thomas Gray." Hikma 13 (October 1, 2014): 147. http://dx.doi.org/10.21071/hikma.v13i.5230.

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El objetivo que perseguimos en este trabajo es recalar en algunos aspectos de la obra poética del inglés Thomas Gray, tratando de interpretarlos a la luz de las propuestas de la comunicación cognitiva de Sperber y Wilson (1986; 1995) y su principio de Relevancia, que fue aplicado al campo de la traducción por Ernst-August Gutt (1991; 2005). Tal perspectiva pretende explicar el fenómeno de la traducción como un ejemplo de «semejanza interpretativa» en el traslado interlingüístico de un mensaje determinado, ejemplo de comunicación ostensiva inferencial. De forma más concreta, tratamos de dilucid

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3

García Peinado, M. A., and M. Vella Ramirez. "La Elegy Written in a Country Churchyard de Thomas Gray: Traducción Castellana." El Hilo de la Fabula, no. 4 (February 17, 2005): 84–91. http://dx.doi.org/10.14409/hf.v1i4.1768.

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4

Afini, Vivin. "THE LOWER CLASS IN THOMAS GRAY’S “ELEGY WRITTEN IN A COUNTRY CHURCHYARD”." Esteem Journal of English Education Study Programme 2, no. 2 (2019): 108. http://dx.doi.org/10.31851/esteem.v3i2.4583.

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5

Edgecombe, Rodney Stenning. "A Source for the Epitaph in Gray's “Elegy Written in a Country Churchyard”." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 16, no. 3 (2003): 18–19. http://dx.doi.org/10.1080/08957690309598208.

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6

Marangon, Giorgia. "The elegy written in a country churchyard de Thomas Gray en los Sepolcri de Foscolo a través de las traducciones de M. Cesarotti y G. Torelli." TRANS. Revista de Traductología, no. 10 (October 25, 2016): 137. http://dx.doi.org/10.24310/trans.2006.v0i10.1091.

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En este artículo se analizan las influencias que han tenido las traducciones italianas de M. Cesarotti y G. Torelli de la Elegy written in a Country Churchyard de Thomas Gray sobre el poema I Sepolcri de Ugo Foscolo. Un atento análisis temático y textual de la obra original de Gray y de las versiones traducidas de la misma con el “Carme” del poeta italiano pone de manifiesto la, a veces sorprendente, influencia de las temáticas sepulcrales tratadas por el inglés en la literatura y poesía no sólo italiana sino europea.

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7

Hidayati, Hidayati, Zuindra Zuindra, Mayasari Mayasari, Misla Geubrina, and Arifuddin Arifuddin. "The Poor in Thomas Gray’s Elegy Written in a Country Churchyard: Critical Discourse Analysis Approach." LANGUAGE LITERACY: Journal of Linguistics, Literature, and Language Teaching 2, no. 2 (2018): 85. http://dx.doi.org/10.30743/ll.v2i2.717.

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The research deals with the problems of poverty with the aim of revealing the situation of rural people experiencing various shortages throughout their daily needs. This poem is also a personal picture of the poet seeing by firsthand the situation of the marginalized people. Through critical discourse analysis by means of Van Dijk model consisting of three dimensions, namely text, social cognition and social context, the picture of the poor in the poem can be seen clearly. The data used are lines of Stanza No. 13 as a representation of the whole poem. The method used is descriptive qualitative

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8

VELLA RAMÍREZ, Mercedes. "Elegy written in a Country Churchyard de Thomas Gray: la traducción al castellano de Ángel Rupérez." Hikma 2, no. 2 (2003): 119. http://dx.doi.org/10.21071/hikma.v2i2.6766.

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De todas las traducciones al castellano de la conocida obra de Gray una de las más conocidas y acertadas es la de Angel Rupérez, realizada en versos alejandrinos; no obstante, una lectura atenta desvela que el traductor no siempre respeta la métrica. Así pués, y basándonos en esta premisa, intentaremos desvelar esos pequeños desajustes y ofrecer posibles alternativas que se ajusten a la métrica elegida por el traductor.

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9

Villa Jiménez, Rosalía. "«ELEGÍA DE T. GRAY, ESCRITA EN EL CEMENTERIO DE UNA IGLESIA DE ALDEA» (1843): ANÁLISIS PRAGMÁTICO-COGNITIVO." Entreculturas. Revista de traducción y comunicación intercultural, no. 9 (February 1, 2017): 181–97. http://dx.doi.org/10.24310/entreculturasertci.vi9.11262.

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En este trabajo se va a analizar la traducción del célebre poema prerromántico «Elegy Written in a Country Churchyard» de Thomas Gray, llevada a cabo por José de Urcullu, traductor de principios del siglo XIX. Para ello, se recurrirá al enfoque pragmático-cognitivo de la traducción propuesto por Ernst-August Gutt (1989), que radica en el Principio cognitivo de Relevancia de Dan Sperber y Deirdre Wilson (1986). En concreto, se estudiará aquellos recursos interpretativos a los que el traductor recurre para, primero, inferir y después, comunicar al receptor meta las mismas proposiciones y semejan

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10

Manugeren, M., Jumino Suhadi, and pardi pardi. "Literature as a Medium of Exposing Social Problem through Thomas Gray’s “Elegy Written in A Country Churchyard." Journal of Language and Literature 20, no. 1 (2020): 150–58. http://dx.doi.org/10.24071/joll.v20i1.2431.

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11

Morland, James. "‘Master Tommy Lucretius’: Thomas Gray’s Posthumous Life Writing and Conversing with the Dead in his Poetry to Richard West." European Journal of Life Writing 9 (July 6, 2020): LW&D19—LW&D34. http://dx.doi.org/10.21827/ejlw.9.36897.

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This article considers Thomas Gray’s use of Lucretius’ De Rerum Natura in his prolific period of writing following Richard West’s death. Gray claims himself as ‘Master Tommy Lucretius’ in reference to his Latin philosophical poem, De Principiis Cogitandi; this self-presentation as a Lucretian poet continues through his English poetry concerning West’s death. Gray’s reference to conversing with the dead in a letter to West suggests that Gray’s poetry concerning West can be considered a form of posthumous life writing in two specific senses: one as a continued memorializing West’s life by Gray,

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12

Derrida, Jacques. "Facsimile and transcription of: Poetry of twilight in Collins' ‘Ode to Evening’ and Gray's ‘Elegy written in a Country Churchyard’." Oxford Literary Review 25, no. 1 (2003): 7–37. http://dx.doi.org/10.3366/olr.2003.004.

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13

Mykytiuk, S. "“ELEGY WRITTEN IN A COUNTRY CHURCHYARD ” BY T. GRAY IN THE TRANSLATIONS BY V. A. ZHUKOVSKY OF 1802 AND 1839." International Humanitarian University Herald. Philology 3, no. 47 (2021): 39–42. http://dx.doi.org/10.32841/2409-1154.2021.47-3.9.

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14

Maroshi, V. V. "Gothic beetle: a comment on one of Pushkin’s allusions." Sibirskiy filologicheskiy zhurnal, no. 3 (2020): 66–79. http://dx.doi.org/10.17223/18137083/72/5.

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The paper deals with the beetle as a minor character of the seventh chapter of the novel “Eugene Onegin” and a literary allusion. It is syntactically and rhythmically highlighted in the text of the stanza. V. V. Nabokov was the first to try to set the origin of the character from English literature. The closest meaning of the allusion was a reference to V. A. Zhukovsky, with his surname associated with the beetle by its etymology and the appearance of a “buzzing beetle” in his translation of T. Gray’s “Elegy Written in a Country Churchyard.” The landscape of the 15th stanza of the novel is rep

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15

Rückert, George. "Translation as sentimental education: Zhukovskij’s Sel’skoe kladbishche." Sign Systems Studies 36, no. 2 (2008): 399–416. http://dx.doi.org/10.12697/sss.2008.36.2.07.

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Vasilij Zhukovskij’s Sel’skoe kladbische, a translation of Thomas Gray’s Elegy Written in a Country Churchyard, occupies a special place in Russian literary history. First published in 1802, it was so widely imitated by later Russian poets that it came to be regarded as a “landmark of Russian literature”, not only at a boundary between two cultures (English and Russian) but also at a boundary within Russian culture itself — the transition from Neoclassical to Romantic aesthetics. Zhukovskij’s translation of Gray can be read as the end result of a long process of personal education in the sign

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16

Garrison, James D. "Thomas Gray’s Elegy in Russian Translation." Babel. Revue internationale de la traduction / International Journal of Translation 51, no. 1 (2005): 49–61. http://dx.doi.org/10.1075/babel.51.1.04gar.

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Abstract Vasily Zhukovsky’s 1802 translation of Thomas Gray’s Elegy Written in a Country Churchyard, highly acclaimed in its time and since regarded as a crucial document for the study of Russian Romanticism, offers the reader of Gray an original but compelling approach to his most famous poem. Although generally faithful to the form and style of the English, Zhukovsky’s version nevertheless forecloses some possibilities of Gray’s poetic argument while creating others. By darkening the descriptive texture of the elegy, adding two crucial stanzas that weigh the significance of graveyard memoria

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17

Chesterton, G. K. "Elegy in a Country Churchyard." Chesterton Review 31, no. 1 (2005): 31. http://dx.doi.org/10.5840/chesterton2005311/254.

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18

Hendrix, Howard. "Elegy Written in a Country Schoolhouse." Boom 3, no. 1 (2013): 41–49. http://dx.doi.org/10.1525/boom.2013.3.1.41.

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Article examines the economic, environmental, social, and political factors involved in the closing of Auberry Elementary School in the Sierra Nevada foothills of Fresno County after the 2010–2011 school year. The closing of the school serves as a window onto the shifting landscape of the relationship between the private sector and the public good not only in Auberry but throughout California and the United States.

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19

Stroilova, Alevtina G., and Anna A. Makarova. "Russian Translations of Thomas Grey's Elegy Written in a Country Church-yard in 18th-19th Centuries." Procedia - Social and Behavioral Sciences 231 (October 2016): 187–94. http://dx.doi.org/10.1016/j.sbspro.2016.09.090.

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20

REYNOLDS, GUY. "“Sketches of Spain”: Richard Wright's Pagan Spain and African-American Representations of the Hispanic." Journal of American Studies 34, no. 3 (2000): 487–502. http://dx.doi.org/10.1017/s0021875851006462.

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At the start of Pagan Spain (1957), Richard Wright recalled a 1946 conversation with Gertrude Stein; she encouraged him to visit Spain: “ ‘You'll see what the Western world is made of. Spain is primitive, but lovely. ’ ” Wright meditated on his fascination with that country, an obsession rooted in the Civil War's political upheaval: “The fate of Spain hurt me, haunted me; I was never able to stifle a hunger to understand what had happened there and why” (PS, 10). Wright wrote as a leftist, as a political writer who had published anti-Franco articles. In his interest in Spain, and especially in

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21

Ufot, Bassey Garvey. "Phonology and Stylistics: A Phonaesthetic Study of Gray’s ‘Elegy Written in a Country Churchyard’." English Linguistics Research 2, no. 2 (2013). http://dx.doi.org/10.5430/elr.v2n2p110.

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22

Taljaard-Gilson, Gerda H. "Meditations in a churchyard: An exploration of Afrikaans graveyard poets and graveyard poetry." Literator 38, no. 1 (2017). http://dx.doi.org/10.4102/lit.v38i1.1315.

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The term ‘kerkhofgedig’ (‘churchyard poem’) does not feature in academic discussions on Afrikaans poetry, neither does it appear in Cloete’s authoritative work of reference, Literêre terme en teorieë (1992). There are mainly three reasons for this omission in Afrikaans literature. In the first place the Afrikaans word ‘elegie’ (elegy) has become a superordinate for most poems dealing with grief or melancholy about a certain event or condition, for example, a lamentation, obituary poem, dirge, requiem, et cetera. Secondly, graveyard poetry is associated with (English) poems and poets from the 1

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23

Kaur, Kairit. "Totentanz and Graveyard Poetry: about the Baltic German Reception of English Graveyard Poetry / Totentanz ja graveyard poetry: inglise kalmuluule baltisaksa retseptsioonist." Methis. Studia humaniora Estonica 17, no. 21/22 (2018). http://dx.doi.org/10.7592/methis.v17i21/22.14583.

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This paper explores the Baltic German reception of English graveyard poetry. The first translation of a graveyard poem was published in 1783 by Gottlieb Schlegel (Gray’s “Elegy”). Next, a poem by Elisa von der Recke is analysed in its dialogue with Blair’s “The Grave” and Schiller’s “Resignation”. The earliest and the most often talked about graveyard poem with the longest reception was Edward Young’s “Night-Thoughts”. Heinrich Mutschmann, professor for English at the University of Tartu, interpreted it as late as 1939.  Tõukudes ühest 1759. aastal Tallinnas trükitud matuseluuletus

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24

Verma, Rabindra Kumar. "Book Review." East European Journal of Psycholinguistics 7, no. 1 (2020). http://dx.doi.org/10.29038/eejpl.2020.7.1.kum.

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Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems. Cuttack: Vishvanatha Kaviraj Institute, 2020, ISBN: 978-81-943450-3-9, Paperback, pp. viii + 152. Like his earlier collection, The Door is Half Open, Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems has three sections consisting of forty-two poems of varied length and style, a detailed Glossary mainly on the proper nouns from Indian culture and tradition and seven Afterwords from the pens of the trained readers from different countries of four continents. The structure of the book is circular. The first poem “Snaps

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25

Neilsen Glenn, Lorri. "The Loseable World: Resonance, Creativity, and Resilience." M/C Journal 16, no. 1 (2013). http://dx.doi.org/10.5204/mcj.600.

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[Editors’ note: this lyric essay was presented as the keynote address at Edith Cowan University’s CREATEC symposium on the theme Catastrophe and Creativity in November 2012, and represents excerpts from the author’s publication Threading Light: Explorations in Loss and Poetry. Regina, SK: Hagios Press, 2011. Reproduced with the author’s permission].Essay and verse and anecdote are the ways I have chosen to apprentice myself to loss, grief, faith, memory, and the stories we use to tie and untie them. Cat’s cradle, Celtic lines, bends and hitches are familiar: however, when I write about loss, I

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