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Journal articles on the topic 'Elizabeth Poets'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Taylor, Ellen Maureen. "Personal Geographies: Poetic Lineage of American Poets Elizabeth Coatsworth and Kate Barnes." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 2 (2016): 111–27. http://dx.doi.org/10.4312/elope.13.2.111-127.

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This paper examines the relationship between two 20th-century American poets, Elizabeth Coatsworth and her daughter, Kate Barnes. Both women mined their physical and personal geographies to create their work; both labored in the shadows of domineering literary husbands. Elizabeth’s early poetry is economical in language, following literary conventions shaped by Eastern poets and Imagists of her era. Kate’s work echoes her mother’s painterly eye, yet is informed by the feminist poetry of her generation. Their dynamic relationship as mother and daughter, both struggling with service to the preva

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2

Butler, Katherine. "“By Instruments her Powers Appeare”: Music and Authority in the Reign of Queen Elizabeth I." Renaissance Quarterly 65, no. 2 (2012): 353–84. http://dx.doi.org/10.1086/667255.

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Queen Elizabeth I’s musical talents and the elaborate music of her courtly entertainments are widely acknowledged. However, while the effect of Elizabeth’s gender on her authority as a ruler has been the subject of much historical research, the impact of this musical activity on the creation and representation of her authority has not been recognized. Gender stereotypes were both exploited and subverted as music became a symbol and tool of Elizabeth’s queenship. Poets and courtiers drew inspiration from Elizabeth’s music-making, combining traditional notions of the erotic power of female music

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3

Louis, Margot K. "Enlarging the Heart: L. E. L.'s “The Improvisatrice,” Hemans's “Properzia Rossi,” and Barrett Browning's Aurora Leigh." Victorian Literature and Culture 26, no. 1 (1998): 1–17. http://dx.doi.org/10.1017/s1060150300002242.

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Elizabeth barrett browning's relation to her female predecessors was complex, conflicted, and rewarding. In Aurora Leigh we see both the heroine and her creator grow from poets who attempt to prove themselves in traditionally masculine terms, into poets who engage with a feminine tradition of sentimental verse which they resist and criticize but nevertheless find of essential value. Only by viewing the poem against the backdrop of the sentimental tradition can we fully appreciate Barrett Browning's challenge to the cult of privacy and the doctrine of separate spheres, her dual emphasis on poet

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4

Wakefield, Gordon S. "God and Some English Poets 15. Elizabeth Jennings." Expository Times 109, no. 1 (1997): 10–14. http://dx.doi.org/10.1177/001452469710900104.

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5

Gashi, Syzana Kurtaj. "Browning’s and Serembe’s Love Poems." SEEU Review 15, no. 2 (2020): 31–41. http://dx.doi.org/10.2478/seeur-2020-0015.

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Abstract Browning’s and Serembe’s love poems will be analyzed in this research paper in order to illustrate how they reflected their efforts to present the idea of love in their poetry. In the ‘By the Fire-Side’, one of the major poems of Robert Browning during the thesaurus of the British Victorian period and Zef Serembe’s ‘Song for Longing’, considered by many to rank among the best love poems of Rilindja (Renaissance) poets in the nineteenth century Albania. The two poets, do not consider the idea of love in the abstract term. They include love by referring to the specific details, Browning

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6

Haft, Adele J. "The Poet As Map-Maker: The Cartographic Inspiration and Influence of Elizabeth Bishop’s “The Map”." Cartographic Perspectives, no. 38 (March 1, 2001): 37–65. http://dx.doi.org/10.14714/cp38.794.

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New Year’s Eve of 1934 found Elizabeth Bishop recuperating from the flu. Out of her isolation, the recently orphaned 23-year-old created “The Map.” Inspired by a map’s depiction of the North Atlantic, Bishop’s exquisite poem alludes in part to the “seashore towns” and coastal waters of her childhood home, Nova Scotia. A seminal twentieth-century poem about maps, Bishop’s “The Map” has inspired a host of other mappoems since it opened her Pulitzer prize-winning collection, Poems: North & South—A Cold Spring, in 1955. My paper, the third in a series advocating the use of poetry in the teachi

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7

Baldock, Sophie. "‘Our Looks, Two Looks’: Miniature Portraits in the Letters of Elizabeth Bishop and Robert Lowell." Review of English Studies 71, no. 300 (2019): 528–53. http://dx.doi.org/10.1093/res/hgz097.

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Abstract This article examines parallels between the exchange of miniature portraits in late eighteenth-century letters and the exchange of photographs and keepsakes in the twentieth-century correspondence of American poets Elizabeth Bishop and Robert Lowell. Drawing on theories of the miniature in Susan Stewart’s work, alongside art-historical and literary-critical accounts of the practice of exchanging miniature portraits in letters, the article builds on arguments that portraits go hand-in-hand with the genre of letter writing. I argue that previous criticism of the Bishop-Lowell correspond

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McIntosh, Hugh. "Conventions of Closeness: Realism and the Creative Friendship of Elizabeth Bishop and Robert Lowell." PMLA/Publications of the Modern Language Association of America 127, no. 2 (2012): 231–47. http://dx.doi.org/10.1632/pmla.2012.127.2.231.

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While it has been productive to consider the creative friendship of Elizabeth Bishop and Robert Lowell as grounded in a “shared experience of outsider-hood,” their correspondence and the poems they inspired each other to write reveal a shared attraction to conventional imagery of communal belonging—national allegiance, heterosexual domesticity, and nostalgia for the classical realism of nineteenth-century novels. Bishop and Lowell were a queer couple for many reasons, but I argue that their conflation of conventionality and social critique resonates strongly with recent theories of countercult

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9

Wilson, Richard. "A BLOODY QUESTION: THE POLITICS OF VENUS AND ADONIS." Religion and the Arts 5, no. 3 (2001): 297–316. http://dx.doi.org/10.1163/15685290152813671.

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AbstractIn 1588, Burghley drafted a "Bloody Question" for Catholics: "If the Pope were to send over an army, whose side would you be on: the Pope's or the Queen's?" What the iconography of Venus and Adonis suggests is that the poem is a critique of the martyr's course pursued by Southwell and also of the persecution brought on by Queen Elizabeth. Southwell was a cousin of Shakespeare and addressed his preface to St. Peter's Complaint to "Master W. S." (as only later appeared in the 1616 edition published on the continent). The preface clearly alludes to Venus and Adonis, The Rape of Lucrece an

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10

Wróbel, Elżbieta. "„Ta gorsza” – czyli o kilku wierszach Elżbiety Szemplińskiej." Poznańskie Studia Polonistyczne. Seria Literacka, no. 32 (October 2, 2018): 95–111. http://dx.doi.org/10.14746/pspsl.2018.32.5.

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In the article, the author brings back the forgotten poet of the interwar period Elizabeth Szemplińska. The starting point of the discussion is the political and social situation that occurred in Poland in the thirties. The economic crisis, from which the whole of Europe was struggling from, favored radicalization among the Polish intelligence. Szemplińska openly admitted to her communist sympathies. The article remembers young poets from the Quadriga group, one of whom was also Nina Rydzewska. The group suggested the slogan „poetry socialized” showing the misery and suffering of the lowest so

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11

Friedman, Susan Stanford. "Gender and Genre Anxiety: Elizabeth Barrett Browning and H. D. as Epic Poets." Tulsa Studies in Women's Literature 5, no. 2 (1986): 203. http://dx.doi.org/10.2307/463995.

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12

Bonasera, Carmen. "Bodies and self-disclosure in American female confessional poetry." European Journal of Life Writing 10 (July 9, 2021): SV33—SV56. http://dx.doi.org/10.21827/ejlw.10.37638.

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Far from being a mere thematic device, the body plays a crucial role in poetry, especially for modern women poets. The inward turn to an intimate autobiographical dimension, which is commonly seen as characteristic of female writing, usually complies with the requests of feminist theorists, urging writers to reconquer their identity through the assertion of their bodies. However, inscribing the body in verse is often problematic, since it frequently emerges from a complicated interaction between positive self-redefinition, life writing, and the confession of trauma. This is especially true for

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13

Moore, Natasha. "Epic and Novel." Nineteenth-Century Literature 68, no. 3 (2013): 396–422. http://dx.doi.org/10.1525/ncl.2013.68.3.396.

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This essay explores a peculiarly Victorian solution to what was perceived, in the middle of the nineteenth century, as a peculiarly Victorian problem: the fragmentation and miscellaneousness of the modern world. Seeking to apprehend the multiplicity and chaos of contemporary social, intellectual, political, and economic life, and to furnish it with a coherence that was threatened by encroaching religious uncertainty, Victorian poets turned to the resources of genre as a means of accommodating the heterogeneity of the age. In particular, by devising ways of fusing the conventions of the traditi

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Al-Harby, Nesreen. "Coronavirus Apocalypse: A Representation of Despair and Resilience." Arab World English Journal For Translation and Literary Studies 5, no. 3 (2021): 55.—69. http://dx.doi.org/10.24093/awejtls/vol5no3.5.

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This paper explores Mathias Besong’s My Struggle with COVID-19 (2020), Nikita Gill’s Love in the Time of Coronavirus (2020), and Elizabeth Mitchell’s The Doctor and Apocalypse (2020) and focusses on how these poems illustrate authors’ reactions to the spread of coronavirus. Therefore, it engages genre theory and argues that the examined verse adopts features and themes of post-apocalyptic literature. The research employs a comparative approach that divides the poems into three categories: the poetry of despair, the poetry of hope, and the ambivalent poetry that depicts responses to the pandemi

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15

Byrd, Deborah. "Combating an Alien Tyranny: Elizabeth Barrett Browning's Evolution as a Feminist Poet." Browning Institute Studies 15 (1987): 23–41. http://dx.doi.org/10.1017/s0092472500001802.

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The drama of woman lies in this conflict between the fundamental aspirations of every subject (ego) – who always regards the self as the essential – and the compulsions of a situation in which she is the inessential. (Simone de Beauvoir xxxiv)The name [of poet]Is royal, and to sign it like a queenIs what I dare not, – though some royal bloodWould seem to tingle in me now and then,With sense of power and ache.Aurora Leigh I. (934–38)'Tis Antidote to turn –To Tomes of solid Witchraft –(Emily Dickinson, #593)“Speed and energy, forthrightness and complete self-confidence – these are the qualities

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16

Munich, Adrienne Auslander. "Robert Browning's Poetics of Appropriation." Browning Institute Studies 15 (1987): 69–77. http://dx.doi.org/10.1017/s0092472500001838.

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So compelling has been Robert Browning's voice in the literary canon that it has almost drowned out the Other voice of Elizabeth Barrett Barrett. One of the most impressive pleas to reevaluate the influence between this formidable and formidably married couple came from Flavia Alaya, who documented the mutuality of their political opinions and their shared fascination with the rescue theme. More recently, responding to the feminist wave of reevaluations of all poetic relations, of silences as well as voices, U. C. Knoepflmacher and Nina Auerbach presented some ways we might read the two poets

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17

Guimarães, Paula. "‘A FONDNESS FOR BEING SAD’: SOME PORTUGUESE SOURCES FOR ELIZABETH BARRETT BROWNING’S POETICS OF MELANCHOLY IN SONNETS FROM THE PORTUGUESE (1850)." Diacrítica 31, no. 2 (2018): 23. http://dx.doi.org/10.21814/diacritica.230.

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In seeing melancholy as the antithesis of poetic creativity, the Victorians often broke with the traditional Renaissance and Romantic attitudes of equating melancholy moods with artistic or poetic genius. This article proposes to explore how, initially viewed as an emotional and ‘depressed’ woman poet, Elizabeth Barrett Browning tried to resist and escape the sickening disempowerment or abandonment which had affected poets such as Felicia Hemans and Letitia Landon, and engage in a new poetics of melancholy in Sonnets from the Portuguese (1850). It demonstrates how the poet plays this poetics o

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18

Stauffer, Andrew M. "Robert Browning and “The King is Cold”: A New Poem." Victorian Literature and Culture 26, no. 2 (1998): 465–73. http://dx.doi.org/10.1017/s1060150300002515.

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By February of 1858, the American abolitionist community had at least twice been exposed to a poem — attributed to Robert Browning — entitled “The King is Cold.” It appeared in January in the National Anti-Slavery Standard, a weekly newspaper published in New York City, and, one month later, it was reprinted in William Garrison's Boston paper, the Liberator. Yet aside from this brief record of publication, the poem has left no discernible traces, either before or since. The oddly one-sided (i.e., American) appearances of “The King is Cold” surely contributed to its being overlooked by generati

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19

FELDMAN, JESSICA R. "““A Talent for the Disagreeable””: Elizabeth Stoddard Writes The Morgesons." Nineteenth-Century Literature 58, no. 2 (2003): 202–29. http://dx.doi.org/10.1525/ncl.2003.58.2.202.

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ABSTRACT Jessica R. Feldman, ““A Talent for the Disagreeable””: Elizabeth Stod-dard Writes The Morgesons (pp.202––229) Critics have tended to read Elizabeth Stoddard's bewildering first novel, The Morgesons (1862), as a Bildungsroman——anautobiographical portrait of the artist as a young woman in early-nineteenth-century New England——or as an instance of female Gothic, proto-regionalism, or sentimentalism. Such interpretations, often focusing on the narrative arc of Cassandra Morgeson's self-empowerment, tend to ignore the novel's less comforting messages along with its painful, mysteriously aw

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20

Cervo, Nathan. "Chiarini's Retort to Zanella: Browning's Italian Critics." Browning Institute Studies 14 (1986): 119–24. http://dx.doi.org/10.1017/s0092472500003485.

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Giuseppe Chiarini was an Italian poet, translator, and critic. In 1874 he sent a copy of his Poesie to Robert Browning. Among the English poets Chiarini translated were Wordsworth, Elizabeth Barrett Browning, Shelley, Tennyson, Swinburne, and Robert Browning. As an example of the liberties he took with Italian metrics in order to render the gusto of Browning's rollicking manner, I cite the first stanza of “Up at a Villa – Down in the City” (“Su in Villa e Giù in Città”):S' i' avessi denari, se n'avessiAbbastanza e d'avanzo, la mia casaSarebbe al certo alla città, giù in piazza.Oh dolce vita, o

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21

Farhana, Jannatul. "Revolutionary Poetic Voices of Victorian Period: A Comparative Study between Elizabeth Barrette Browning and Christina Rossetti." English Language and Literature Studies 6, no. 1 (2016): 69. http://dx.doi.org/10.5539/ells.v6n1p69.

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<p>This article is an attempt to provide a comparative study between Elizabeth Barrette Browning and Christina Rossetti, two famous authors in the Victorian period. As the first female poet Browning throws a challenge by dismantling and mingling the form of epic and novel in her famous creation <em>Aurora Leigh. </em>This epic structurally and thematically offers a new form that questions the contemporary prejudices about women. Being influenced and inspired by Browning, Rossetti shows her mastery on sonnets in <em>Monna Innominata: A Sonnet of Sonnets</em>. Diver

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22

Prins, Yopie. "“LADY'S GREEK” (WITH THE ACCENTS): A METRICAL TRANSLATION OF EURIPIDES BY A. MARY F. ROBINSON." Victorian Literature and Culture 34, no. 2 (2006): 591–618. http://dx.doi.org/10.1017/s1060150306051333.

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How to map women's poetry at the end of the nineteenth century was a question already posed by Vita Sackville-West in 1929, in her essay, “The Women Poets of the 'Seventies.” She speculated that the 1870s “perhaps might prove the genesis of the literary woman's emancipation,” as a time of transition when “women with a taste for literature” could follow the lead of Victorian poetesses like Elizabeth Barrett Browning, while also leading women's poetry forward into the future (111). According to Sackville-West, “Mrs. Browning” seemed an exemplary woman of letters to this generation, because “she

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23

Evans, Robert C., and Steven W. May. "The Elizabethan Courtier Poets: The Poems and Their Contexts." Sixteenth Century Journal 24, no. 1 (1993): 188. http://dx.doi.org/10.2307/2541859.

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24

Prescott, Anne Lake, and Steven W. May. "The Elizabethan Courtier Poets: The Poems and Their Contexts." Sixteenth Century Journal 32, no. 1 (2001): 303. http://dx.doi.org/10.2307/2671497.

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25

Rowe, Nicholas. "Review: The Elizabethan Courtier Poets: The Poems and Their Contexts." Literature & History 2, no. 2 (1993): 92–93. http://dx.doi.org/10.1177/030619739300200215.

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26

Hulse, Clark. "MAY, Steven.The Elizabethan Courtier Poets: The Poems and Their Contexts." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 6, no. 4 (1993): 226–29. http://dx.doi.org/10.1080/0895769x.1993.10542852.

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27

Equestri, Alice. "Writers and readers in early modern Italianate verse narratives." Cahiers Élisabéthains: A Journal of English Renaissance Studies 97, no. 1 (2018): 20–38. http://dx.doi.org/10.1177/0184767818788881.

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The article considers some examples from the often overlooked genre of Elizabethan verse translations of Italian novellas, concentrating in particular on the poems where the flow of the narration is interrupted by interpolated speeches, namely letters. I consider how epistolary correspondence in these stories often brings about violent outcomes, how the rhetoric of letters can complicate the reader’s interpretation and how the poets describe the material actions of writing and reading. Paratextual epistolary material is also analysed to determine the authors’ purpose.

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Green, Lawrence D. "The Elizabethan Courtier Poets: The Poems and Their Contexts Steven W. May." Huntington Library Quarterly 55, no. 4 (1992): 643–45. http://dx.doi.org/10.2307/3817638.

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29

Marotti, Arthur F. "The Elizabethan Courtier Poets: The Poems and Their Contexts. Steven W. May." Modern Philology 90, no. 4 (1993): 537–39. http://dx.doi.org/10.1086/392106.

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30

White, R. S. "The Elizabethan Courtier Poets: The Poems and Their Contexts (review)." Parergon 18, no. 2 (2001): 253–54. http://dx.doi.org/10.1353/pgn.2001.0011.

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31

Alexander, E. "Elizabeth Alexander: Two Poems." Literary Imagination 8, no. 2 (2006): 277. http://dx.doi.org/10.1093/litimag/8.2.277.

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32

Bastos, Iris De Fátima Guerreiro. "Drummond e Bishop: O gauche em tradução." Tradterm 22 (December 17, 2013): 147. http://dx.doi.org/10.11606/issn.2317-9511.tradterm.2013.69123.

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O escritor Carlos Drummond de Andrade, considerado um dos mais importantes poetas brasileiros de todos os tempos, possui uma enorme fortuna crítica no território nacional, porém os estudos sobre a tradução de seus poemas ainda são pouco numerosos. Sua obra, entretanto, foi traduzida para mais de dez línguas distintas. Pensando nisso e partindo do pressuposto de que ao longo de seus mais de 20 livros de poesia publicados no país, sua personalidade enquanto poeta se configura naquilo que chamamos aqui de “poética do <em>gauche</em>”, este trabalho discute, a partir do estudo comparat

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33

Baxter, Jamie Reid. "Elizabeth Melville, Lady Culross: new light from Fife." Innes Review 68, no. 1 (2017): 38–77. http://dx.doi.org/10.3366/inr.2017.0129.

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The largest single manuscript collection of the spiritual poetry of Elizabeth Melville, Lady Culross (fl. 1599–1631) is anonymous and undated. Its contents give every sign of being carefully ordered, and open with a sonnet incorporating the name Issobell Cor as the anagram SOB SILLE COR, followed by a dixain on the acrostic ISABELL COR. This article overturns earlier interpretations of these technical devices by identifying the addressee of the poems as the hitherto unnoticed Isobell Cor, wife of Robert Lumsden, laird of Airdrie in the East Neuk of Fife. Isobell Cor's background and her person

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34

Vendler, Helen. "The Poems of Elizabeth Bishop." Critical Inquiry 13, no. 4 (1987): 825–38. http://dx.doi.org/10.1086/448422.

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35

MARTÍN MARTÍNEZ, MACARENA. "CORPOREAL ACTIVISM IN ELIZABETH ACEVEDO’S THE POET X: TOWARDS A SELF-APPROPRIATION OF US AFRO-LATINAS’ BODIES." Revista de Estudios Norteamericanos, no. 25 (2021): 1–23. http://dx.doi.org/10.12795/ren.2021.i25.01.

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Scholars have typically studied Chicanas/Latinas in the US and African American women separately. However, this paper explores both the cultural appropriation of Afro-Latinas’ bodies in the US and the strategies they employed to reclaim their bodies and agencies through Elizabeth Acevedo’s novel, The Poet X. The protagonist’s body is simultaneously and paradoxically hyper-sexualized by racist discourses, and called to chastity by the patriarchal Catholic doctrine presiding over her Dominican community. Nevertheless, I argue that the protagonist makes her body a site of activism as she re-appro

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36

Bush, Ann Marie. "Time and Uncertainty in Elizabeth Bishop's Poems." KronoScope 3, no. 2 (2003): 199–215. http://dx.doi.org/10.1163/156852403322849242.

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AbstractBishop's poems often link the sense of time to specific emotional tones and levels of awareness of varying degrees. In particular, the poems demonstrate not only the forward movement of linear time, but also the merger of present and past to brighten feelings of loss and to provide a sense of security that counters feelings of uncertainty common in a world where change occurs over time. Feelings of anxiety over loss and uncertainty reside in the poems, but at the same time, a positive feeling of well-being (outright joy or peace and solace) surfaces as the speaker intertwines comfortin

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37

Ellis, J. "AUBADE AND ELEGY: ELIZABETH BISHOP'S LOVE POEMS." English 60, no. 229 (2010): 161–79. http://dx.doi.org/10.1093/english/efq018.

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Vieira, Miriam de Paiva. "Écfrase arquitetônica: um modelo interpretativo." Aletria: Revista de Estudos de Literatura 27, no. 2 (2017): 241–60. http://dx.doi.org/10.17851/2317-2096.27.2.241-260.

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A écfrase é um dos possíveis procedimentos midiáticos que trata do cruzar de fronteiras entre a literatura e a arquitetura. O objetivo deste ensaio é apresentar um modelo interpretativo para a tipologia écfrase arquitetônica. Tal modelo será ilustrado pelas biografias romanceadas inspiradas na vida e obra da poeta Elizabeth Bishop e da arquiteta autodidata Lota Macedo Soares, intituladas Flores raras e banalíssimas: a história de Lota de Macedo Soares e Elizabeth Bishop (1995), de Carmen Oliveira, e A arte de perder (2011), de Michael Sledge.

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39

Gibson, K. "John Dowland and the Elizabethan courtier poets." Early Music 41, no. 2 (2013): 239–53. http://dx.doi.org/10.1093/em/cat024.

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Sobral, Rafael de Arruda. "Carta para N. Y." Revista Letras Raras 8, no. 2 (2019): 212–13. http://dx.doi.org/10.35572/rlr.v8i2.1333.

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Elizabeth Bishop (1911-1979) é uma poeta norte-americana também conhecida por ter vivido no Brasil durante parte de sua vida, onde escreveu algumas de suas obras e traduziu textos de escritora/es brasileira/os do português para o inglês.

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Helle, A. "The Poetics of Enclosure: American Women Poets from Dickinson to Dove; Marianne Moore, Elizabeth Bishop, and May Swenson: The Feminist Poetics of Self-Restraint; Of Women, Poetry, and Power: Strategies of Address in Dickinson, Miles, Brooks, Lorde, and Angelou." American Literature 78, no. 3 (2006): 645–47. http://dx.doi.org/10.1215/00029831-2006-041.

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42

Neimneh, Shadi, and Amneh Abussamen. "A Sociopolitical Ecofeminist Reading of Selected Animal Poems by Elizabeth Bishop." Advances in Language and Literary Studies 9, no. 1 (2018): 141. http://dx.doi.org/10.7575/aiac.alls.v.9n.1p.141.

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This article examines the sociopolitical vision of some of Elizabeth Bishop’s poems from an ecofeminist critical perspective. Bishop, a twentieth-century American poet, uses animals and natural elements to manifest her attachment to nature (and women by implication), thus reflecting an oppressed feminist voice through the theme of abused, weak nature. By relating Bishop’s poems to W. B. Yeats’s poem Leda and the Swan, we foreground an ecofeminist relation between the Greek myth Yeats employed and Bishop’s poems. Our contribution lies in the multilayered pattern of ecofeminist defense this arti

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GARCÍA CALDERÓN, Ángeles. "Un círculo filosófico-literario de finales del XVII en Inglaterra: textos representativos." Hikma 9 (October 1, 2010): 87. http://dx.doi.org/10.21071/hikma.v9i.5269.

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Trabajo que analiza la actividad del círculo intelectual agrupado en torno a Mary Astell; se trata normalmente de poetas, aunque también las hay que se dedican a la medicina o a la lengua: Lady Mary Chudleigh, Elizabeth Thomas, Judith Drake, Elizabeth Elstob y Lady Mary Wortley Montagu. Asimismo, se estudia brevemente como miembro de pleno derecho de este grupo al clérigo y filósofo inglés John Norris, que mantuvo una importante correspondencia con Astell. Un sucinto análisis de la figura de cada miembro da paso a una muestra de su obra, consistente generalmente en un poema, representativo de

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Dally, Peter. "Elizabeth Barrett Browning (1806–1861)." Journal of Medical Biography 1, no. 2 (1993): 102–7. http://dx.doi.org/10.1177/096777209300100206.

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Elizabeth Barrett was regarded by her father as “a prodigy of intellectual powers and acquirements”, and a chronic invalid. Then in 1846, at the age of 40, Elizabeth secretly married and eloped with Robert Browning, and thereafter she ceased to exist for her father. Marriage transformed her at first; she became well and active, produced a healthy son, and wrote her best poems. But increasingly she missed her father and waited impatiently for his forgiveness. He never forgave her, and slowly she relapsed into invalidism. His death ended her hopes; she wasted away and died three years later in 1

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GREEN, FIONA. "Elizabeth Bishop in Brazil and the New Yorker." Journal of American Studies 46, no. 4 (2012): 803–29. http://dx.doi.org/10.1017/s0021875812001235.

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This article reads Elizabeth Bishop's poems of the 1950s in their first publishing context, the New Yorker magazine, and in relation to their scene of production, the economic and architectural environments of mid-century Brazil. The New Yorker had an important mediating function in relation to Bishop's own role as cultural go-between, and remains a crucial interpretative context for her poetry's characteristic provisionality and self-ironies. In specifying these material aspects of the outside world in which the Brazil poems were accommodated – the buildings in which they were written and the

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Cruz, Alexandre Carlos da. "Tradução Poética e Representatividade LGBTQIA: Elizabeth Bishop por Paulo Henriques Britto." Tradterm 35 (June 30, 2020): 138–63. http://dx.doi.org/10.11606/issn.2317-9511.v35i0p138-163.

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este artigo tem como objetivo refletir sobre a representatividade LGBTQIA na poesia traduzida no Brasil e com isso entender qual a contribuição do(a) tradutor(a) neste processo. Para isso, escolhemos analisar as traduções feitas pelo tradutor brasileiro Paulo Henriques Britto para dois poemas da poeta norte-americana Elizabeth Bishop que apresentam teor homoafetivo. Em Banho de Xampu, a poeta apresenta uma narrativa escrita no início de seu relacionamento amoroso com a arquiteta brasileira Lota de Macedo Soares; já É Maravilhoso Despertar Juntas é um dos mais significativos poemas escritos por

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Viljoen, H. "Nederland(s) en sy (Suid-) Afrikaanse metafore." Literator 15, no. 3 (1994): 1–20. http://dx.doi.org/10.4102/lit.v15i3.674.

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Afrikaans metaphors for Dutch and the NetherlandsThere seems to be an irrepressible urge to metaphorize the relation between the Netherlands and South Africa in the Afrikaans popular imagination, perhaps in order to bridge the growing separation between the two countries. Four complexes of such metaphors, window, family relations, root and landscape, are briefly analysed, with most emphasis on the last category. From a handful of Afrikaans poems since 1950, and especially from poems by Elizabeth Eybers, Lina Spies and Marlene van Niekerk, it seems possible to reconstruct a descriptive system t

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Lewis, Linda M. "Elizabeth Barrett Browning: A Poet's Quest for Ultimate Reality." Ultimate Reality and Meaning 28, no. 1 (2005): 4–20. http://dx.doi.org/10.3138/uram.28.1.4.

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Kaminski-Jones, Rhys. "Elizabeth Edwards's Richard Llwyd: Beaumaris Bay and Other Poems." Romanticism 26, no. 3 (2020): 305–6. http://dx.doi.org/10.3366/rom.2020.0481.

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Cope, Jonas. "Scrapped Sentiment: Letitia Landon and Fisher's Drawing Room Scrap-Book, 1832–1837." Romanticism 25, no. 2 (2019): 190–204. http://dx.doi.org/10.3366/rom.2019.0419.

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This essay examines several ‘companion poems’ that Letitia Elizabeth Landon (L. E. L.) wrote for the literary annual Fisher's Drawing Room Scrap-Book between 1832 and 1838. Each of these poems was designed to ‘complement’ the visual content of an engraving with which the poem was paired. Most of the poems are written in the first person. The ‘I’ that speaks each one seems motivated by a particular set of ideological allegiances that clash with the apparent ideological allegiances of other ‘I's. No attempt is made to account for the discrepancies. I argue that the companion poems ultimately sho

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