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Relevant bibliographies by topics / English poetry English language Religious poetry, English

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Academic literature on the topic 'English poetry English language Religious poetry, English'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "English poetry English language Religious poetry, English"

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Abdel-Daem, Mohamed Kamel. "Postcolonial Elements in Early English Poetry." Khazar Journal of Humanities and Social Sciences 17, no. 1 (April 2014): 25–41. http://dx.doi.org/10.5782/2223-2621.2014.17.1.25.

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In this article, the writer highlights certain elements in Anglo-Saxon and Anglo-Norman verse, that can unsurprisingly be a precursor of postcolonial writing. These marks are: heroic spirit, religious devotion, chivalric pride and elegiac vein. All these topics were nothing but aids to the early English poets' attempt to coin a unified English identity. This study manifestly assumes that nineteenth and twentieth century, imperial England had once been a colonized nation that produced postcolonial culture and literature. This article proposes that postcolonialism is not restricted just to modern times; postcolonial literature often emerged where conflicts occurred. The study also hints at the impact of postcolonial elements( race, religion, language) on English poetry.

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Lutz, Angelika. "Æthelweard's Chronicon and Old English poetry." Anglo-Saxon England 29 (January 2000): 177–214. http://dx.doi.org/10.1017/s0263675100002453.

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The author of the Chronicon Æthelweardi is commonly identified with the ealdor-man of the western shires who signed charters from 973–98 and played an important political role particularly in King Æthelred's England. Ealdorman Æthelweard is also known as the patron of Abbot Ælfric, as the addressee of Ælfric's famous preface to his translation of Genesis and of his Old English preface to his Lives of Saints; that is, we know him as a person who took great interest in religious texts written in or translated into the vernacular. The Chronicon was written in Latin, although it was mainly based on the Anglo-Saxon Chronicle. The reason for his choice of language may be determined from the prologue to his Chronicon, from which it becomes clear that he wrote it for his kinswoman Mathilda (949–1011), abbess of Essen, whose grandmother Eadgyth, daughter of King Edward the Elder, had been married to Emperor Otto I. We may assume that Mathilda's native tongue was Old Saxon, a variety of Low German that was closely related to West Saxon English.

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Yang, Liu. "Cultural loss in the English translation of Chinese poetry." Babel. Revue internationale de la traduction / International Journal of Translation 56, no. 2 (August 13, 2010): 168–85. http://dx.doi.org/10.1075/babel.56.2.05liu.

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Translation is to reproduce the meaning and style of a source language text in a target language text in consideration of the cultural differences. Because of dramatic differences between the cultures, translators have to sacrifice something, such as time, religious connotation, and the wording of the original poem to obtain its aesthetic value and its original beauty. In this paper the author examines the poetry translation focusing on the basic concepts of cultural translation and the difficulties of Chinese poetry translation, and special attentions are paid on losses and the strategies in the translation. Beginning from the basic concepts of cultural translation, the paper expounds the essence of the cultural translation in order to lay a sound foundation for the following analysis of the poetry translation. In Part 2, the paper points out the difficulties of Chinese poetry translation that arise from the differences between Chinese and English cultures .Part 3 is a tentative analysis of the losses in the English translation of Chinese poetry and categorizes the losses into four groups:the loss of time;the loss of religious connotation ;the loss in wording; the loss of allusion. To address the losses, the author proposes several strategies such as free translation , transfer of allusion and annotation.

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Szaruga (Wirpsza), Leszek (Aleksander). "On various kinds of involvement of Avant-Garde." Tekstualia 4, no. 59 (December 20, 2019): 173–90. http://dx.doi.org/10.5604/01.3001.0013.6443.

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The article analyses selected poems and tractates of poetry, with a special focus on the solutions regarding versifi cation, rhythm, and language (dialectological structures, syntactical forms and neologisms characteristic of poetic writing in Polish and Russian, as well as the contexts of English and German languages). Because the author attempts to distinguish the specifi city of poetry and the most important areas of literary biography in selected areas, he asks what the ways of poetry are, trying to present his point of view about the intellectual climate of the end of the 19th century, when the refl ection of language was the strongest and fundamental sign to identity. Besides, he shows what happened in the poetry of Marinetti, Majakowski, Benn, Brecht, Becher, Pound, Jasieński, Brzechwa, and Czyżewski. The article deals with the problem of historical, sociological, political, cultural and religious dialogue in poetry. The dialogue is dedicated to the search of a new language of expression. The author presents what the status of the poetry is at the beginning of the 20th century and what are the ways of poetry spreading and using language as a medium not only of communication, but also an identifi cation of unbelievable, impossibility, and as a consequence what are the strategies in poetry in addition to language (Russian and Polish, but also English and German). All of these paradigms determined functions of lyrics, which can be named an intertextual creativity. The author tries to answer the fundamental question about human condition and identity, the meaning of poetic sign, individual human possibilities towards history and politics, as well as the ways of using different connections with literature, art, religion (especially mysticism), philosophy and intertextual components which described the worldview of poetry.

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Witalisz, Władysław. "“I cluppe and I cusse as I wood wore”: Erotic Imagery in Middle English Mystical Writings." Text Matters, no. 3 (November 1, 2013): 58–70. http://dx.doi.org/10.2478/texmat-2013-0026.

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The mutual influences of the medieval discourse of courtly love and the literary visions of divine love have long been recognized by readers of medieval lyrical poetry and devotional writings. They are especially visible in the affinities between the language used to construct the picture of the ideal courtly lady and the images of the Virgin Mary. Praises of Mary’s physical beauty, strewn with erotic implications, are an example of a strictly male eroticization of the medieval Marian discourse, rooted in Bernard of Clairvaux’s allegorical reading of the Song of Songs, where Mary is imagined as the Bride of the poem, whose “breasts are like two young roes that are twins” (Cant. of Cant. 4:5). Glimpses of medieval female erotic imagination, also employed to express religious meanings, can be found in the writings of the mystical tradition: in England in the books of visions of Margery Kempe, in the anonymous seers of the fourteenth century, and, to some extent, in Julian of Norwich. Though subdued by patriarchal politics and edited by male amanuenses, the female voice can still be heard in the extant texts as it speaks of mystical experience by reference to bodily, somatic and, sometimes, erotic sensations in a manner different from the sensual implications found in the poetry of Marian adoration. The bliss of mystic elation, the ultimate union with God, is, in at least one mystical text, confidently metaphorized as an ecstatic, physical union with the human figure of Christ hanging on the cross.

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Morris, James W. "Qur'an Translation and the Challenges of Communication: Towards a ‘Literal’ Study-Version of the Qur'an." Journal of Qur'anic Studies 2, no. 2 (October 2000): 53–67. http://dx.doi.org/10.3366/jqs.2000.2.2.53.

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The concerns and observations outlined in this paper are largely the result of teaching and otherwise attempting to communicate the Qur'an and its meaning to English-speaking undergraduates and others with no first-hand knowledge of the Arabic Qur'an. Among the many possible aims of Qur'an translations (e.g. conveying the music or poetic impact of the Arabic recitation, providing a captivating and pleasing text for ritual purposes [cf. The King James Bible], preserving the jafrī/mathematical dimensions of the Arabic calligraphy, etc.) one important need – especially in contexts relating to Islamic Studies – is to provide a more ‘literal’ version of the Qur'an that would help the non-Arabist reader to grasp the inner connections between the Qur'anic text itself and the multiple dimensions of its inspiration and impact in all the relevant areas of the Islamic humanities; not only in subsequent literary interpretations and elaborations (the Arabic religious and legal sciences, philosophy, cosmology, spirituality, ‘sectarian’ readings), but also in other aesthetic domains (poetry, music, architecture, visual arts). Such a version clearly does not yet exist (in any major European language, to the best of my knowledge). This paper reviews a number of fundamental considerations which should be kept in mind in the process of creating a serious student's English version of the Qur'an, more accurately conveying the actual meanings and structures of the original Arabic.

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Joby, Christopher. "The Theology of Poems on the Lord's Supper by the Dutch Calvinist, Constantijn Huygens (1596–1687)." Scottish Journal of Theology 65, no. 2 (March 27, 2012): 127–44. http://dx.doi.org/10.1017/s0036930612000014.

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AbstractIn this article, I provide a detailed analysis of the poems on the Lord's Supper by the Dutch statesman and man of letters, Constantijn Huygens (1596–1687). Between 1642 and 1684, he wrote eighteen poems on this subject, sixteen in Dutch and two in Latin. The type of poem varies from pithy epigrams to sonnets, through to longer poems over fifty lines in length, replete with well-conceived poetic tropes. To date, these poems have received little scholarly attention. Huygens was a lifelong member of the Reformed church and his poetry considers themes which are central to Reformed theology, such as human sin, divine grace and human gratitude. In his poetry, he recognises that he is a sinner and that it is not sufficient merely to ask for divine forgiveness, and then sin again. He acknowledges the need to intend to change his ways, but also recognises that he can only do this with divine assistance. Huygens published most of these poems and although such a public acknowledgement of sin may seem strange to us, there is a sense in which he was performing a public act of confession, to make common cause with his fellow believers, and also perhaps to encourage them to do the same. Much of the poetry considers the ontology and efficacy of the Lord's Supper. As well as exploring familiar tropes such as the sacrament as a feast and a pledge for God's promises, Huygens also asks about the very nature of the bread and wine of the sacrament. We might expect him to ascribe little or no value to the elements themselves, beyond, to use Brian Gerrish's phrase, ‘presenting what they represent’. poetry. However, at some points, the language Huygens uses to refer to the elements, such as ‘holy bread’ and ‘healing dew’, suggests something more is at stake. Some may dismiss such phrases as mere lyrical flourish, but I argue that they point to a central tension inherent within Reformed eucharistic theology between sign and signified and, furthermore, that this poetry offers us the opportunity to explore that tension. Huygens’ poems bear comparison with the best English-language religious poetry of the seventeenth century, and remind us that poetry as well as prose can offer us valuable theological insight.

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Sokoloff, Michael. "A New Dictionary of Samaritan Aramaic." Aramaic Studies 1, no. 1 (2003): 67–107. http://dx.doi.org/10.1163/000000003780094126.

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Abstract Samaritan Aramaic was the spoken and literary language of the Samaritan community in Eretz Israel in the first millennium C.E. until it was replaced by Arabic. The major literary remains of the dialect are a Targum to the Pentateuch, liturgical poetry, and a collection of midrashim. Tal's dictionary is the first attempt to organize the vocabulary of these texts, and his work should be commended. Unfortunately, in spite of the long period during which it was written, the dictionary suffers from a variety of defects which make its use difficult for the reader: Order of entries by roots; only partial use of English as target language along side Hebrew; inconsistencies in translation of quotations in parallel entries; inordinate number of errors in orthography; insufficient use of existing dictionaries of other Aramaic dialects.

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Bhreathnach, Edel. "The mendicant orders and vernacular Irish learning in the late medieval period." Irish Historical Studies 37, no. 147 (May 2011): 357–75. http://dx.doi.org/10.1017/s0021121400002704.

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The significant contribution of the mendicant orders, and especially the Franciscans, to medieval European and English literature has for long been a subject of much detailed examination by scholars. It has been argued that the spiritual ethos and style of communication to society of the Franciscans, articulated by St Francis himself, brought about a greater use of vernacular languages throughout Europe in lyrical poetry and preaching and in catechetical and devotional texts. While earlier religious communities had fostered certain types of texts, such as exegetical works and saints’ lives, the new orders of friars had a greater impact on a wider section of society.

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Proskurina, A. V. "The Concept of Body and Soul in the Old English Tradition." Critique and Semiotics 38, no. 2 (2020): 237–55. http://dx.doi.org/10.25205/2307-1737-2020-2-237-255.

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The author examines the 10 th century ancient English poem Soul and Body through the prism of the soul, spirit and body in the Old English tradition, which has survived in two versions. The first, which was part of the poetry book Exeter Book, is a short version of the conversion of the unfortunate soul to the flesh. The second version is an expanded version of the poem, listed in the Vercelli Book along with Christian sermons and poems, also represents the con- version of the tormented soul to the flesh, as well as a monologue of the saved soul. However, unfortunately, the speech of the redeemed soul was not fully preserved due to damage to the Vercelli Book collection. This article provides an author's translation of the second version of the poem. The article focuses on the dualism of René Descartes. Thus, an extended version of the Old English poem Soul and Body precedes the dualism of René Descartes, whose main ideas are the duality of the ideal and the material, the independence of the soul and body. The philosophy of René Descartes is to accept a common source – God as the creator who forms these two independent principles that we find in this poem. The spirit, as shown in the work, is the divine principle in man, created in the image and likeness of God, and appears as the highest part of the soul, and the soul, in turn, is the immortal spiritual principle. In the framework of the Judeo- Christian culture, a central doctrine of the presence of the soul arose, suggesting the elevation of man over all other living beings due to the presence of it. According to religious ideology, a person’s position in the dolly and mountain worlds directly depends on the purity of the believer’s soul, on his refusal from sinful thoughts and deeds. As soon as the Judeo-Christian teaching is fixed as the main religion, a person endowed with a soul is considered as the only ration- al creature created in the image and likeness of God. The existence of the soul is not limited only to the Judeo-Christian idea of the world around us, for example, the Quran also contains the idea of the unity of man and soul, and, undoubtedly, the soul of a righteous Muslim ascends to heaven after death.

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Dissertations / Theses on the topic "English poetry English language Religious poetry, English"

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Tocheva, Polya. "The Language of Man and the Language of God in George Herbert's Religious Poetry." Fogler Library, University of Maine, 2003. http://www.library.umaine.edu/theses/pdf/TochevaP2003.pdf.

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Buckner, Elisabeth. "Superior Instants: Religious Concerns in the Poetry of Emily Dickinson." TopSCHOLAR®, 1985. https://digitalcommons.wku.edu/theses/2195.

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When I decided to write a thesis on Emily Dickinson's poetry, my intention was to show that she did, indeed, implement a concrete philosophy into her poetry. However, after several months of research, I realized that this poet's philosophy was ongoing and sometimes inconsistent. Emily Dickinson never discovered the answers to all of her religious and spiritual questions although she devoted her entire life to that pursuit. What Dickinson did discover was that orthodox religion had no place in her heart or mind and she must make her own choices where God was concerned. Immortality was an intense fascination to Emily, and many of her poems are related to that subject. In fact, the majority of Dickinson's poems deal, in some way, with spirituality. Emily Dickinson is a poet who deserves to be studied on the basis of her philosophical pursuits as well as her style. Dickinson scholarship has improved in the past several decades; however, Emily Dickinson has yet to receive the attention she deserves as a philosopher and thinker.

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Workman, Jameson Samuel. "Chaucerian metapoetics and the philosophy of poetry." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:8cf424fd-124c-4cb0-9143-e436c5e3c2da.

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This thesis places Chaucer within the tradition of philosophical poetry that begins in Plato and extends through classical and medieval Latin culture. In this Platonic tradition, poetry is a self-reflexive epistemological practice that interrogates the conditions of art in general. As such, poetry as metapoetics takes itself as its own object of inquiry in order to reinforce and generate its own definitions without regard to extrinsic considerations. It attempts to create a poetic-knowledge proper instead of one that is dependant on other modes for meaning. The particular manner in which this is expressed is according to the idea of the loss of the Golden Age. In the Augustinian context of Chaucer’s poetry, language, in its literal and historical signifying functions is an effect of the noetic fall and a deformation of an earlier symbolism. The Chaucerian poems this thesis considers concern themselves with the solution to a historical literary lament for language’s fall, a solution that suggests that the instability in language can be overcome with reference to what has been lost in language. The chapters are organized to reflect the medieval Neoplatonic ascensus. The first chapter concerns the Pardoner’s Old Man and his relationship to the literary history of Tithonus in which the renewing of youth is ironically promoted in order to perpetually delay eternity and make the current world co-eternal to the coming world. In the Miller’s Tale, more aggressive narrative strategies deploy the machinery of atheism in order to make a god-less universe the sufficient grounds for the transformation of a fallen and contingent world into the only world whatsoever. The Manciple’s Tale’s opposite strategy leaves the world intact in its current state and instead makes divine beings human. Phoebus expatriates to earth and attempts to co-mingle it with heaven in order to unify art and history into a single monistic experience. Finally, the Nun’s Priest’s Tale acts as ars poetica for the entire Chaucerian Performance and undercuts the naturalistic strategies of the first three poems by a long experiment in the philosophical conflict between art and history. By imagining art and history as epistemologically antagonistic it attempts to subdue in a definitive manner poetic strategies that would imagine human history as the necessary knowledge-condition for poetic language.

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Newnum, Anna Kristina Stenson. "The poetry of religion and the prose of life: from evangelicalism to immanence in British women's writing, 1835-1925." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/5819.

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The Poetry of Religion and the Prose of Life: From Evangelicalism to Immanence in British Women's Writing, 1835-1925&" traces a tradition of religious women poets and women's poetic communities engaged in generic and theological exploration that I argue was intimately intertwined with their social activism. This project brings together recent debates about gender and secularization in sociology, social history, and anthropology of religion, contending that Victorian and early-twentieth-century women poets from a variety of religious affiliations offer an alternative path into modernity that embraces the public value of both poetry and religious discourse, thus questioning straightforward narratives of British secularization and poetic privatization during the nineteenth century. These writers, including contributors to The Christian Lady's Magazine, Grace Aguilar, Dora Greenwell, Alice Meynell, Eva Gore-Booth, and Evelyn Underhill, turned to social engagement and immanence, a theory of divinity within the world rather than above and apart from it, to bridge a widening gap between religious doctrine and poetic theory. Appropriating the growing interest in immanent theology within British Christianity allowed women to write about the small, the domestic, the human, and the everyday while exploring the divine presence in them, thus elevating and publicly revealing experiences traditionally allocated to women's private lives. Just as the women in this study questioned the distinction between the divine and the everyday, they also blurred the generic boundaries of poetry and theological prose. As lyric poetry was increasingly identified with private experience, they used literary experimentation across the genres of poetry and theological prose to engage public debates on a surprisingly large number of issues from factory reform, to mental disability, to urban poverty, to women's suffrage, to pacifism. This project includes four chapters, each of which examines a female poet or a poetic community of women connected through the publishing world. The first two chapters focus on tensions among commitments to poetry, religion, and social reform within Anglicanism. Trapped between the desire to encounter a transcendent God and the desire to celebrate earthly ephemera and improve earthly conditions, these poets demonstrate the tension from which a poetics of immanence arose. My third and fourth chapters follow the extension of immanence in late-nineteenth-century Catholic verse and early-twentieth-century mystical verse. These writers used a growing theological emphasis on immanence to justify poetry that relied on female experience, to suggest that the divine was at home in the constantly evolving natural and social worlds, and to illustrate God's equal proximity to the mundane and the marginalized, inspiring challenges to social and institutional hierarchies.

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Beahm, Brittany. ""To take posesion of the crown" : forms, themes, and politics in Julia Palmer's centuries /." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd1771.pdf.

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Hand, Jessica Danielle. "God Made the Apples, We Made the Bites." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/english_theses/108.

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These poems trace different manifestations of religion, particularly Christianity in the Bible Belt, and the effect upon families and relationships. Issues of war, death, illness, and sexuality also permeate these lyrical narratives.

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Hopkins, Stephen Chase Evans. "Solving the Old English Exodus: An Active Problem Solving Approach to the Poem." Miami University Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1303488106.

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Soud, William David. "Toward a divinised poetics : God, self, and poeisis in W.B. Yeats, David Jones, and T.S. Eliot." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:331a692d-a40c-4d30-a05b-f0d224eb0055.

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This thesis examines the traces of theological and broader religious discourses in selected works of three major twentieth-century poets. Each of the texts examined in this thesis encodes within its poetics a distinct, theologically derived conception of the ontological status of the self in relation to the Absolute. Yeats primarily envisions the relation as one of essential identity, Jones regards it as defined by alterity, and Eliot depicts it as dialectical and paradoxical. Critics have underestimated the impact on Yeats’s late work of his final and most sustained engagement with Indic traditions, which issued from his friendship and collaboration with Shri Purohit Swami. Though Yeats projected Theosophical notions on the Indic texts and traditions he studied with Purohit, he successfully incorporated principles of Classical Yoga and Tantra into his later poetry. Much of Yeats’s late poetics reflects his struggle to situate the individuated self ontologically in light of traditions that devalue that self in favor of an impersonal, cosmic subjectivity. David Jones’s The Anathemata encodes a religious position opposed to that of Yeats. For Jones, a devout Roman Catholic committed to the bodily, God is Wholly Other. The self is fallen and circumscribed, and must connect with the divine chiefly through the mediation of the sacraments. In The Anathemata, the poet functions as a kind of lay priest attempting sacramentally to recuperate sacred signs. Because, according to Jones’s exoteric theology, the self must love God through fellow creatures, The Anathemata is not only circular, forming a verbal templum around the Cross; it is also built of massive, rich elaborations of creaturely detail, including highly embroidered and historicized voices and discourses. Critics have long noted the influence of Christian mystical texts on Eliot’s Four Quartets, but some have also detected a countercurrent within the later three Quartets, one that resists the timeless even as the poem valorizes transcending time. This tension, central to Four Quartets, reflects Eliot’s engagement with the dialectical theology of Karl Barth. Eliot’s deployment of paradox and negation does not merely echo the apophatic theology of the mystical texts that figure in the poem; it also reflects the discursive strategies of Barth’s theology. The self in Four Quartets is dialectical and paradoxical: suspended between time and eternity, it can transcend its own finitude only by embracing it.

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Updegraff, Derek Kramer Johanna Ingrid. ""Fore ðære mærðe mod astige" two new perspectives on the Old English Gifts of men /." Diss., Columbia, Mo. : University of Missouri--Columbia, 2008. http://hdl.handle.net/10355/5623.

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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on October 6, 2009). Thesis advisor: Dr. Johanna Kramer. Vita. Includes bibliographical references.

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Langdell, Sebastian James. "Religious reform, transnational poetics, and literary tradition in the work of Thomas Hoccleve." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a2e8eb46-5d08-405d-baa9-24e0400a47d8.

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This study considers Thomas Hoccleve’s role, throughout his works, as a “religious” writer: as an individual who engages seriously with the dynamics of heresy and ecclesiastical reform, who contributes to traditions of vernacular devotional writing, and who raises the question of how Christianity manifests on personal as well as political levels – and in environments that are at once London-based, national, and international. The chapters focus, respectively, on the role of reading and moralization in the Series; the language of “vice and virtue” in the Epistle of Cupid; the moral version of Chaucer introduced in the Regiment of Princes; the construction of the Hoccleve persona in the Regiment; and the representation of the Eucharist throughout Hoccleve’s works. One main focus of the study is Hoccleve’s mediating influence in presenting a moral version of Chaucer in his Regiment. This study argues that Hoccleve’s Chaucer is not a pre-established artifact, but rather a Hocclevian invention, and it indicates the transnational literary, political, and religious contexts that align in Hoccleve’s presentation of his poetic predecessor. Rather than posit the Hoccleve-Chaucer relationship as one of Oedipal anxiety, as other critics have done, this study indicates the way in which Hoccleve’s Chaucer evolves in response to poetic anxiety not towards Chaucer himself, but rather towards an increasingly restrictive intellectual and ecclesiastical climate. This thesis contributes to the recently revitalized critical dialogue surrounding the role and function of fifteenth-century English literature, and the effect on poetry of heresy, the church’s response to heresy, and ecclesiastical reform both in England and in Europe. It also advances critical narratives regarding Hoccleve’s response to contemporary French poetry; the role of confession, sacramental discourse, and devotional images in Hoccleve’s work; and Hoccleve’s impact on literary tradition.

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Books on the topic "English poetry English language Religious poetry, English"

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Allegories of war: Language and violence in Old English poetry. Ann Arbor: University of Michigan Press, 1989.

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Epic God-talk: Paradise lost and the grammar of religious language. Jefferson, N.C: McFarland, 1986.

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The language of poetry as a form of prayer: The theo-poetic aesthetics of Gerard Manley Hopkins. Lewiston, N.Y: Edwin Mellen Press, 2008.

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Agari, Masahiko. Formula, rhetoric, and the word: Studies in Milton's epic style. Berne: Peter Lang, 1997.

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Teresa. The complete poetry of St. Teresa of Avila: A bilingual edition. New Orleans: University Press of the South, 1996.

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Schaefer, Fern. Then and now. [S.l.]: F. Schaefer, 1986.

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Milton and the preaching arts. Cambridge, UK: James Clarke, 2001.

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Milton and the preaching arts. Pittsburgh: Duquesne University Press, 2001.

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Haynes, John. African poetry and the English language. Basingstoke (England): Macmillan, 1987.

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John, Haynes. African poetry and the English language. London: Macmillan Publishers, 1987.

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Book chapters on the topic "English poetry English language Religious poetry, English"

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Thorne, Sara. "The language of literature — poetry." In Mastering Advanced English Language, 307–25. London: Macmillan Education UK, 1997. http://dx.doi.org/10.1007/978-1-349-13645-2_14.

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Horobin, Simon. "Middle English Language and Poetry." In A Companion to Medieval Poetry, 181–95. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319095.ch10.

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Blakesley, Jacob S. D. "English-Language Poet-Translators." In A Sociological Approach to Poetry Translation, 49–87. New York : Routledge, 2018. | Series: Routledge advances in translation and interpreting studies ; 37: Routledge, 2018. http://dx.doi.org/10.4324/9780429462511-3.

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Jeffries, Lesley. "Twentieth-Century Poetry in English." In The Language of Twentieth-Century Poetry, 4–21. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-23000-6_2.

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Graham, Peter W. "Byron, Orwell, politics and the English language." In Byron: The Poetry of Politics and the Politics of Poetry, 69–79. Burlington, VT : Ashgate, [2016] | Series: Publications of the: Routledge, 2016. http://dx.doi.org/10.4324/9781315570686-7.

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Lester, G. A. "Old English Poetic Diction." In The Language of Old and Middle English Poetry, 47–66. London: Macmillan Education UK, 1996. http://dx.doi.org/10.1007/978-1-349-24561-1_4.

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Lester, G. A. "Middle English Poetic Diction." In The Language of Old and Middle English Poetry, 88–106. London: Macmillan Education UK, 1996. http://dx.doi.org/10.1007/978-1-349-24561-1_6.

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Driver, Martha W. "Poetry as Prayer: John Audelay’s ‘Salutation to St Bridget’." In Middle English Religious Writing in Practice, 91–112. Turnhout: Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.lmems.1.101538.

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Dance, Richard. "The Old English Language and the Alliterative Tradition." In A Companion to Medieval Poetry, 34–50. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319095.ch2.

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Lester, G. A. "Old English Verse: Structure and Organisation." In The Language of Old and Middle English Poetry, 67–87. London: Macmillan Education UK, 1996. http://dx.doi.org/10.1007/978-1-349-24561-1_5.

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Conference papers on the topic "English poetry English language Religious poetry, English"

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Kaplan Karabina, Sema. "Implementıng Poetry As An Extracurrıcular Actıvıty In Teaching English As A Foreign Language." In International Academic Conference on Teaching, Learning and Education. Global, 2019. http://dx.doi.org/10.33422/tleconf.2019.09.573.

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Lu, Jie. "The Inevitability and Roots of Variation in Literature Translation ——from the English Version of Xue Tao’s Poetry by Genevieve Wimsatt." In Annual International Conference on Language, Literature & Linguistics (L3 2016). Global Science & Technology Forum ( GSTF ), 2016. http://dx.doi.org/10.5176/2251-3566_l316.5.

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Hock, Hans Henrich. "Foreigners, Brahmins, Poets, or What? The Sociolinguistics of the Sanskrit “Renaissance”." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.2-3.

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Abstract:

A puzzle in the sociolinguistic history of Sanskrit is that texts with authenticated dates first appear in the 2nd century CE, after five centuries of exclusively Prakrit inscriptions. Various hypotheses have tried to account for this fact. Senart (1886) proposed that Sanskrit gained wider currency through Buddhists and Jains. Franke (1902) claimed that Sanskrit died out in India and was artificially reintroduced. Lévi (1902) argued for usurpation of Sanskrit by the Kshatrapas, foreign rulers who employed brahmins in administrative positions. Pisani (1955) instead viewed the “Sanskrit Renaissance” as the brahmins’ attempt to combat these foreign invaders. Ostler (2005) attributed the victory of Sanskrit to its ‘cultivated, self-conscious charm’; his acknowledgment of prior Sanskrit use by brahmins and kshatriyas suggests that he did not consider the victory a sudden event. The hypothesis that the early-CE public appearance of Sanskrit was a sudden event is revived by Pollock (1996, 2006). He argues that Sanskrit was originally confined to ‘sacerdotal’ contexts; that it never was a natural spoken language, as shown by its inability to communicate childhood experiences; and that ‘the epigraphic record (thin though admittedly it is) suggests … that [tribal chiefs] help[ed] create’ a new political civilization, the “Sanskrit Cosmopolis”, ‘by employing Sanskrit in a hitherto unprecedented way’. Crucial in his argument is the claim that kāvya literature was a foundational characteristic of this new civilization and that kāvya has no significant antecedents. I show that Pollock’s arguments are problematic. He ignores evidence for a continuous non-sacerdotal use of Sanskrit, as in the epics and fables. The employment of nursery words like tāta ‘daddy’/tata ‘sonny’ (also used as general terms of endearment), or ambā/ambikā ‘mommy; mother’ attest to Sanskrit’s ability to communicate childhood experiences. Kāvya, the foundation of Pollock’s “Sanskrit Cosmopolis”, has antecedents in earlier Sanskrit (and Pali). Most important, Pollock fails to show how his powerful political-poetic kāvya tradition could have arisen ex nihilo. To produce their poetry, the poets would have had to draw on a living, spoken language with all its different uses, and that language must have been current in a larger linguistic community beyond the poets, whether that community was restricted to brahmins (as commonly assumed) or also included kshatriyas (as suggested by Ostler). I conclude by considering implications for the “Sanskritization” of Southeast Asia and the possible parallel of modern “Indian English” literature.

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