Academic literature on the topic 'English poetry English poetry English literature Desire in literature. Poets, English'
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Journal articles on the topic "English poetry English poetry English literature Desire in literature. Poets, English"
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Iansonas, Oleg E. "CHARLES TOMLINSON AS A TRANSLATOR OF POEMS BY FYODOR TYUTCHEV INTO ENGLISH." Вестник Пермского университета. Российская и зарубежная филология 12, no. 3 (2020): 132–39. http://dx.doi.org/10.17072/2073-6681-2020-3-132-139.
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The article deals with the translations of Fyodor Tyutchev’s poems into English made by the British poet and translator Charles Tomlinson (1927–2015). Poetic works present a serious challenge for those engaged in literary translation. Until the present day, the criteria for estimating the adequacy of poetic translation have been a question under discussion and deep consideration; the issue of poetic translation has been studied by both Russian and foreign scholars. In this regard, the works of Charles Tomlinson as a poetry translator from Russian into English offer new opportunities for a detailed study of his translation method, characterized by the desire to penetrate into the essence of the original works and preserve their lyrical and aesthetic components, as well as by Tomlinson’s intention to introduce Russian classical literature to English- speaking readers. The article analyzes in detail the main characteristics of literary and in particular poetic translation, shows different approaches to translating poetry and reveals both the specific features of translation transformations and the principles of their use. It also provides a comparative analysis of Tomlinson’s English translations of poems by Tyutchev, namely Silentium! and Spring, and the original texts. This study shows that the English poet often imparts his own unique and recognizable style to Tyutchev’s works, which is manifested in omitting repetitions and epithets in the original poems and adding new details to his translations. Tomlinson’s style can also be seen in the overcomplicated syntax of the transformed poems. On the other hand, there is a strong similarity between Tomlinson’s translations of Tyutchev’s famous poems and the original poetic works due to the translation transformations used. As the research reveals, modulations and transpositions are the most frequent transformations in Tomlinson’s modified versions of the original.
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Uniyal, Ranu. "Voices of Resolution and Resistance in Indian Women’s Poetry." Zeitschrift für Anglistik und Amerikanistik 66, no. 1 (2018): 11–17. http://dx.doi.org/10.1515/zaa-2018-0003.
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Abstract Contemporary Indian women’s writing is a challenge to existing male ethos and sexual ideology based on unequal power relations. Earlier domesticity and sexual relations were couched in silence and acceptance; today, they have become an intrinsic part of feminist discourse. Indian women poets converse in a language that threatens the status quo and propose to open up a separate space for those on the margins. The paper examines the essence of power dynamics in contemporary Indian women’s poetry in English. Poetry with its hidden metaphors and lilting images demonstrates an urge to dissolve the barrier between speech and silence. It also demands to be read differently. The desire to write leads to the ability to act with courage.
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Islam, Mohammad Shafiqul. "Bangladeshi Poets Writing in English." Journal of World Literature 6, no. 1 (2020): 65–83. http://dx.doi.org/10.1163/24056480-20201003.
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Abstract This article observes that Kaiser Haq has made an immense contribution to Bangladeshi poetry in English, leading the school of English poetry of the country from the front. A relatively new field, Bangladeshi writing in English has started becoming a part of world literature, and its scope, no doubt, is expanding rapidly. The article also focuses on the legacy of Bangladeshi writing in English to demonstrate how Bangladeshi poetry in English has simultaneously progressed. The article argues that Haq’s enormous contributions justify his position as the best English-language poet in Bangladesh. For his poetry, the poet takes material from his motherland and its rich culture, and his style, technique, and diction resonate with those of prominent poetic voices of the world. The article also sheds light on how Haq presents Bangladesh, depicting numerous shades of reality, and how he still dominates in the contemporary scene of Bangladeshi poetry in English.
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Nielsen, Rosemary M., and Robert H. Solomon. "Horace and Hopkins: The Point of Balance in Odes 3.1." Ramus 14, no. 1 (1985): 1–15. http://dx.doi.org/10.1017/s0048671x00005026.
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In May of 1868, less than two years after Gerard Manley Hopkins left the English Church to become a Roman Catholic and after eight months spent teaching at Newman's Oratory School in Birmingham, the classical scholar burned nearly all of his poetry; he called the act ‘the sacrifice of my innocents’. Austin Warren describes Hopkins as feeling caught through his life between conflicting desires to be a pdet and to be a saint. This strain and the anxieties it produced appear in his later poems, such as ‘The Wreck of the Deutschland’ and ‘Heaven Haven’, and in his journals and letters. In the latter he describes the emotional effect he wanted poems to have upon readers: some poems must, Hopkins asserted, ‘explode’ within the reader. Intensifying the psychological reaction of the readers of literature was one of Hopkins's aims when he created poetry, just as it was a goal when he wrote redactions of the speeches in Shakespeare's tragedies or when he chose from among variant readings for Greek drama. In September 1868, when he entered the priesthood as a Jesuit, Hopkins began a new life of personal intensity and, perhaps to his own surprise, a second poetic career. But a number of poems survived the destruction. One is his translation of Horace's Odes 3.1, the longer of the only two extant translations of complete Latin poems. As with A. E. Housman's sole surviving translation of a Latin ode, Horace's 4.7, this one reveals a profound identification with Horace, a subtle understanding of the original poem, and an intense revelation of the mind of the English writer during the period of translating. The emotional intensity, technical virtuosity and psychological richness of the translation make Hopkins's version of 3.1 a significant poem for scholars of English and classical poetry.
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Abdel-Daem, Mohamed Kamel. "Postcolonial Elements in Early English Poetry." Khazar Journal of Humanities and Social Sciences 17, no. 1 (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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Swann, Marjorie. "The Politics of Fairylore in Early Modern English Literature*." Renaissance Quarterly 53, no. 2 (2000): 449–73. http://dx.doi.org/10.2307/2901875.
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This essay argues that Stuart fairy poetry, rooted in Shakespeare's innovative representation of tiny, consumeristic fairies, attempts to indigenize new forms of elite material display. Rather than the fairies of popular tradition or courtly mythography, Stuart poets depict miniaturized Mabs and Oberons who are notable for their wardrobes, banquets, coaches, and the decor of their palaces. The fairy poetry of William Browne, Michael Drayton, and Robert Herrick must be interpreted not as playful escapism, but as a self-consciously politicized literary mode which reveals these writers’ deep ambivalence toward elite culture — and toward their own artistic role within that culture.
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Ramayya, Nisha. "Poetry in Expanded Translation: Audre Lorde, Theresa Hak Kyung Cha, Harryette Mullen, Don Mee Choi." English: Journal of the English Association 69, no. 267 (2020): 310–30. http://dx.doi.org/10.1093/english/efaa031.
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Abstract In this article, I discuss the politics and poetics of translation in the work of Audre Lorde, Theresa Hak Kyung Cha, Harryette Mullen, and Don Mee Choi, considering each poet's ideas about translation and translation practices, suggesting approaches to reading and thinking about their work in relation to translation and in relation to each other. I ask the following questions: in the selected poets' work, what are the relationships between the movement of people, the removal of dead bodies, and translation practices? How do the poets move between languages and literary forms, and what are the politics and poetics of their movements with regards to migration, dispossession, and death, as well as resistance, refusal, and rebirth? I select these poets because of the ways in which they confront relationships between the history of the English language and literature, imperialism and colonialism, racialisation and racism, gendered experiences and narratives, and their own poetic practices. These histories and experiences do not exist in isolation, nor do the poets attempt to circumscribe their approaches to language, representation, translation, and form from their lived experiences and everyday practices of survival and resistance. The selected poets’ work ranges in form, tone, and argument, but I argue that their refusal to circumscribe politics and poetics pertains to their subject positions and lived experiences as racialised and post/colonial women, and that this refusal is demonstrated in their diverse understandings of translation and translation practices.
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Sarah Lee, Sze Wah. "Anglo-French Poetic Exchanges in the Little Magazines, 1908–1914." Modernist Cultures 16, no. 3 (2021): 340–66. http://dx.doi.org/10.3366/mod.2021.0338.
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This article demonstrates the extent and significance of exchange between English and French poets in the years leading up to World War I, a crucial period for the development of modern Anglophone poetry. Through archival research, I trace the growing interest in French poetry of Imagist poets F. S. Flint, Ezra Pound and Richard Aldington, exhibited in various little magazines including the New Age, Poetry Review, Poetry and Drama, Poetry, the New Freewoman and the Egoist. Moreover, I show that such interest was reciprocated by contemporary French poets, notably Henri-Martin Barzun and Guillaume Apollinaire, who published works by English poets in their respective little magazines Poème et Drame and Les Soirées de Paris. This suggests that not only were modern English poets influenced by their French counterparts, but they were also given a voice in the Francophone artistic world, resulting in a unique moment of cross-channel poetic exchange before the war.
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Cui, Lifang, Gillian Hubbard, and Margaret Gleeson. "Teaching poetry to Chinese English majors: a review of articles from 2000-2013." English Teaching: Practice & Critique 14, no. 3 (2015): 270–84. http://dx.doi.org/10.1108/etpc-03-2015-0024.
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Purpose – The purpose of this paper is to survey and consider the implications of the literature justifying the value of teaching poetry. There has been a long tradition of literature education in the English departments of Chinese universities. English Poetry courses are offered within optional literature modules in senior stages of a BA in English language and literature. In 2000, the new national syllabus for tertiary English majors was issued. This syllabus has brought the teaching of English into line with the perceived practical needs of society. As a result, poetry courses have been under threat within the degree. A substantial number of university teachers have responded to this threat with articles arguing the value of teaching of poetry. Design/methodology/approach – The China National Knowledge Infrastructure (CNKI), the largest database of academic journals in China, reveals that from 2000 to 2013, 102 articles about teaching English poetry to Chinese people learning English as a foreign language were published in Chinese academic journals, of which 67 are concerned with English majors. This literature examines these 67 articles. Findings – These articles justify the purpose of teaching English poetry, evaluate the content of poetry courses and share pedagogical strategies. The issues within this discussion fall into three categories: why teach poetry; what to teach in poetry courses; and how to teach poetry. Because the commitment of Chinese teachers to sharing their beliefs about teaching English poetry is positioned in the context of increased advocacy for the creation of inter-disciplinary market-orientated graduates, discomfort, uncertainty and the desire for change emerge in this discussion. On the other hand, teachers looking for change express caution about the costs of changing pedagogical approaches on the development of the skills of close reading and analysis of poetical texts. Originality/value – This investigation of the local Chinese context resonates with and contributes to the wider discussion of the challenges faced by English literature teachers in both second- (L2) and first-language (L1) contexts and warrants examination. It is difficult to say in advance how far such knowledge could contribute to any policy decisions that may be made in the future, but it is important that the voice of teachers contributes to the larger international debate about the value of humanities in tertiary-level education.
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Bollig, Ben. "Recent English Translations of Poetry from Argentina: Contexts and Strategies." Translation and Literature 25, no. 1 (2016): 107–30. http://dx.doi.org/10.3366/tal.2016.0239.
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Poetry features prominently amongst the works published with the support of the Argentine Foreign Ministry's ‘Programa Sur de apoyo a las traducciones’, including collections by internationally feted writers such as Jorge Luis Borges, as well as what might be called ‘semi-canonical’ authors such as Alejandra Pizarnik and Juan Gelman, and contemporary poets, including Tamara Kamenszain and Mori Ponsowy. The article explores the roles that these publications suggest for the translator of poetry, from within the ‘Sur’ programme and beyond. The article asks, further, whether the differing circumstances of translation and publication are reflected in the translation strategies on display.
Dissertations / Theses on the topic "English poetry English poetry English literature Desire in literature. Poets, English"
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Cairns, Daniel. "As it likes you early modern desire and vestigial impersonal constructions /." Waltham, Mass. : Brandeis University, 2009. http://dcoll.brandeis.edu/handle/10192/23236.
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Gary, Barry. "Desire: An Essential Element in Wallace Stevens' Poetry." TopSCHOLAR®, 1988. https://digitalcommons.wku.edu/theses/2387.
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Man naturally pursues that which brings pleasure, and Wallace Stevens recognizes this inescapable desire, exploring it fully in his poetry, prose, and letters and depending upon it to build the foundation for many, if not most, of his major themes. For Stevens, one's world evolves through the use of poetry, and this world, complete with jubilations of fulfilled desire and frequent despair as illusions of fulfillment are destroyed, chronicles the life of every man. As a result, different kinds of desire and different attempts at satisfying these desires emerge as one reads Stevens--three of which will be advanced in this study.
The first, the desire for an ideal truth, takes an intellectual approach, searching for a clue to reality, for a "first idea." This ideal, though, in order to prove satisfactory to the intellect, needs to reconcile the apparent "war between the mind and sky." How do the realm of the imagination and the realm of reality work together? For Stevens, the attempt at an intersection often occurs in the realm of poetry, a world which provides a means of ordering the chaos of reality.
Stevens' investigation of human desire in this world is not limited to the intellect, however. At times the sensuous world itself provides the most appropriate objects for our desire. The wonders of our world, the mere experience of living, may provide needed stability in an otherwise precarious existence. Just as the jar placed in Tennessee gives order to the surrounding landscape, a life of observation and experience, established through the beautiful objects which are the focus of the lover's desire, attempts to provide an order.
The third, and perhaps the most interesting desire, occurs in the mind of the believer. Stevens recognizes the basic need for a deity; however, he also recognizes the origin of belief to be the collective creation of the myth-making force of a people, implying the ability to create new beliefs as unsatisfactory gods fade from importance. Stevens takes part in this recreation of myth through the emergence in his poetry of supreme fictions, possibilities he provides as examples of adequate beliefs.
This study, then, focuses on desire as a major thematic element in Wallace Stevens' poetry and emphasizes the role of desire in man's search for a harmonous existence with this world. In three major chapters the desire to reach an ideal truth through the blending of reality and Imagination, the desire to find pleasure in a world of objects, and the believer's creation and "decreation" of major fictions will be examined as key aspects of the essential element of desire in Wallace Stevens' poetry.
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McCaffery, Richard. "Poets as legislators : self, nation and possibility in World War Two Scottish poetry." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/7049/.
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This thesis is the first sustained critical and sociological reappraisal of the poetry produced by Scottish poets who came of age during World War Two and a selection of those who were old enough to have experienced the previous conflict whilst still responding in their art to World War Two. This thesis carves out a critical space for World War Two poetry beyond the poetry of pity and loss espoused by poets of World War One. It also takes into account the conditions and circumstances that mark out Scottish poetry of this conflict from English poetry of the same era, for programmatic, political, poetic and linguistic reasons as well as re-configuring the definition of World War Two poetry to encompass the experience of women poets. At the core of this thesis lies the idea that the Scottish poetry of World War Two was committed to something more than anti-fascism. These poets did not simply oppose a tyrannical, fascist force in their work, they were also developing ways in which their work and art could contribute to a better post-war Scottish society and in many ways espousing both internationalism and proto-transnationalism as well as anti-imperialism. All of these poets contributed in both practical and intellectual ways to post-war Scottish society. In this, this thesis takes its lead from Alice Templeton’s literary theory of a war poetry of ‘possibility’ that transcends both the trauma, witness and outrage of reactions to war. The cumulative effect of the work of these poets is a legislative and educational impact made on society, that poets could have a say in their work on how post-war society could be reconstructed in fairer and more equitable ways. This poetry is both modernist and romantic in the sense that it desires a change and sees life and potential that is being denied by imperial super-powers and structures while it invests the poet with an empowered voice. From the home-front to the front-line, diverse avenues of experience are treated as being of vital importance. The first chapter of this thesis explores the Elegies for the Dead in Cyrenaica and a number of folk songs by Hamish Henderson, to show his unique commitment to post-war Scotland in his folk-song work. Chapter two compares and contrasts the work of Alexander and Tom Scott, showing their range of reaction from the epic to the highly personal elegy. The thesis then moves into an analysis both of George Campbell Hay’s war poetry, which sympathised with the native Arab populations during the desert war, and the work of Sorley MacLean, who found his political certainties shaken. From this point the thesis explores the anti-heroic work of Edwin Morgan and Robert Garioch as well as the political and personal reasons for refusal of conscription expounded by Douglas Young and Norman MacCaig. The thesis closes with a discussion of women’s experience and poetry of World War Two, and an in-depth a look at the major influential figures on the poets of this time, Hugh MacDiarmid and Edwin Muir. Between these figures we shall see a range of experiences, but each poet is united in their struggle, dramatized in their work, for a better post-War Scotland, a drive which this thesis explores and discusses for the first time in detail.
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Hokama, Rhema. "Poetry, Desire, and Devotional Performance From Shakespeare to Milton, 1609-1667." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:23845451.
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Poetry, Desire, and Devotional Performance from Shakespeare to Milton, 1609-1667 documents and analyzes the ways post-Reformation devotional and worship practices inflected early modern English poetic conceptions of erotic desire and intimacy. My study focuses on two specific Reformation religious developments—the official Anglican ceremonialism of the state church and the popular Reformed predestinarianism—each of which enjoyed a widespread following during the roughly sixty years bracketed by the lives of Shakespeare and Milton. While religious historians often treat state-sanctioned worship and popular divinity as contradictory or antagonistic, I demonstrate that both cultural arenas reveal one important commonality: each sought to prioritize the body as the most important means for externally verifying inner devotional affect.
Whether sanctioned by the state church or only informally practiced, post-Reformation English devotional practices embodied the seventeenth-century’s deep suspicion of outward signs of inner affect—one that that coexisted with an equally powerful impulse to venerate those very outward markers of grace. In a religious culture that regarded outward performance as devotionally suspect, the body and the senses nevertheless remained vital to the way individuals could outwardly demonstrate and interpret their inward affect.
I maintain that outward devotional performance did more than provide the material and external scaffolding by which individuals could conceptualize their relationship with God. Moreover, it provided early modern thinkers and poets with a lexicon and a conceptual apparatus for describing and interpreting devotional intention and access within the context of a wide range of earthly entanglements and fleshly negotiations. Most significantly, the religious developments of the English Reformation informed the way poets conceptualized access within decidedly secular, earthly, and erotic relationships—shaping the way English men and women read and interpreted the impulses and desires of both others and themselves. My project examines the role of the body—desired and desiring—at the crossroads of both erotic and devotional life in the poetry of Shakespeare, Donne, Greville, Herrick, and Milton. In these poems, God, dead wives, standoffish mistresses, exes, whores, homoerotic boy lovers, and even Satan play distinct parts as both antagonists and objects of longing.
Within the space of a few decades of the early seventeenth-century century, the absolutism that characterized nearly every aspect of English religious life opened possibilities for thinking about the role of the body in matters both spiritual and secular that emerged not in opposition to, but as a direct result of, the limitations placed on the ways individuals could conceive of and express their most powerful desires. These articulations of devotional longing—whether for earthly lovers or for God—were enabled precisely by the spiritual and psychological constraints posed by the ever tightening restrictions on public worship and prayer.<br>English
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Kawalit, Alia'. "Across the walls (poetry collection) ; Home, alienation and re-homing in four migrant poets in London (dissertation)." Thesis, University of Kent, 2015. https://kar.kent.ac.uk/49231/.
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This thesis investigates contemporary poetry of migrants and expatriates in the United Kingdom. The thesis starts with a collection of my poems that emerges as a correspondence to changing locations from Jordan, my homeland, to England, the host land. The second part is a dissertation that studies the work of four poets: Merle Collins and her Rotten Pomerack (1992); Amjad Nasser and Shepherd of Solitude (2009); Fathieh Saudi and Daughter of the Thames (2009); Sofia Buchuck and Orange Nights in Autumn (2008). The approach taken in this dissertation is through giving special attention to political context and to the ways in which Collins, Nasser, Saudi and Buchuck reflect it in their poems. In addition, the study shows how both Saudi and Buhcuck use poetry as a means of renewing identity and creating a new homeland. The study also includes personal interviews with Saudi and Buchuck that tell about the difficulties and opportunities faced by migrant poets. Both the critical and creative work offer insights into different experiences with location which result in various poetic expressions and definitions of host land, homeland, and home.
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Karadas, Firat. "Imagination, Metaphor And Mythopoeia In The Poetry Of Three Major English Romantic Poets." Phd thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/3/12608579/index.pdf.
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This thesis studies metaphor, myth and their imaginative aspects in the poetry of William Wordsworth, Percy Bysshe Shelley and John Keats. The thesis argues that a comprehensive understanding of metaphor and myth cannot be done in the works of these poets without seeing them as faces of the same coin, and taking into consideration the role of the creating subject and its imagination in their production. Relying on Kantian, Romantic, and modern Neo-Kantian ideas of imagination, metaphor and myth, the study tries to indicate that imagination is an inherently metaphorizing and mythologizing faculty because the act of perception is an act of giving form to natural phenomena and seeing similitude in dissimilitude, which are basically metaphorical and mythological acts. In its form-giving activity the imagination of the speaking subjects of the poems studied in this thesis sees objects of nature as spiritual, animate or divine beings and thus transforms them into the alien territory of myth. This thesis analyzes myth and metaphor mainly in two regards: first, myth and metaphor are handled as inborn aspects of imagination and perception, and the interaction between nature and imagination are presented as the origin of all mythology<br>second, to show how myth is something that is re-created time and again by poetic imagination, Romantic mythography and re-creation of precursor mythologies are analyzed. In both regards, poetic imagination appears as a formative power that constructs, defamiliarizes and re-creates via mythologization and metaphorization.
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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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Williams, Todd Owen. "Poetic Renewal and Reparation in the Classroom: Poetry Therapy, Psychoanalysis, and Pedagogy with Three Victorian Poets." [Kent, Ohio] : Kent State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1194103428.
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Thesis (Ph.D.)--Kent State University, 2007.<br>Title from author submission page (viewed Sept. 14, 2009 ) Advisor: Mark Bracher. Keywords: poetry therapy, psychoanalysis, Victorian poetry, pre-Raphaelite. Includes bibliographical references (p. )
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Chatfield, Thomas Edward Francis. "Beyond realism and postmordernism : towards a post-Christian morality in the works of Philip Larkin, Kingsley Amis and Martin Amis." Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:1db4198a-56e4-417d-b5e5-eb6586a6d7d6.
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This thesis evaluates and re-evaluates the relationship between the works of Philip Larkin, Kingsley Amis and Martin Amis through a detailed examination of their published works, and attempts to locate this relationship in the context of the central moral uncertainties of post-1945 British fiction. Most previous critical studies of these authors have tended to discuss the relationship between Kingsley Amis and Martin Amis in terms of an opposition between the father's realism and the son's postmodernism, and have debated Philip Larkin's influence upon Martin Amis only tangentially. Against this trend, this thesis argues that these three authors share a commitment to literature as a public, moral act, and, in particular, that their works share the intention of articulating a number of closely related secular 'human values' which map out a potential post-Christian morality in British society. The thesis also examines a common tension within their oeuvres inimical to such hopes - the fear that the possibilities of rational self-scrutiny and of becoming 'less deceived' have been discredited by the history of the twentieth century, and that this history instead evidences the dominance of irrational and self-destructive tendencies in the human. These fears, it is further claimed, are implicated in the works of all three authors in a tendency towards the construction of Edenic myths, deterministic simplifications, and despairing devaluations of the value of human life. Overall, this thesis makes the case for the significance of the common concerns of Martin Amis, Kingsley Amis and Philip Larkin's works in the context of contemporary literary studies: their efforts to create in art an unpretentiously 'public space' for the address of burning moral and existential issues, and their unresolved struggles with the question of what it might mean to live a good life in a society which no longer possesses religion as a common moral language.
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Cook, Jessica Lauren. "Material and Textual Spaces in the Poetry of Montagu, Leapor, Barbauld, and Robinson." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5205.
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Women Poets and Place in Eighteenth-Century Poetry considers how four women poets of the long eighteenth century--Lady Mary Wortley Montagu, Mary Leapor, Anna Letitia Barbauld, and Mary Robinson--construct various places in their poetry, whether the London social milieu or provincial England. I argue that the act of place making, or investing a location with meaning, through poetry is also a way of writing a place for themselves in the literary public sphere and in literary history. Despite the fact that more women wrote poetry than in any other genre in the period, women poets remain a relatively understudied area in eighteenth-century scholarship. My research is informed by place theory as defined by the fields of Human Geography and Ecocriticism; I consider how the poem reproduces material space and the nonhuman environment, as well as how place effectively shapes the individual. These four poets represent the gamut of career choices in this era, participating in manuscript and print culture, writing for hire and for leisure, publishing by subscription and through metropolitan booksellers. Each of these textual spaces serves as an illustration of how the poet's place, both geographically and socially speaking, influences the medium of circulation for the poetic text and the authorial persona she constructs in the process. By charting how each of these four poets approaches place--whether as the subject of their poetry or the poetic space itself--I argue that they offer us a way to destabilize and diversify the literary landscape of eighteenth-century poetry.
Books on the topic "English poetry English poetry English literature Desire in literature. Poets, English"
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Agard, John, and Grace Nichols. A Caribbean dozen: Poems from Caribbean poets. Candlewick Press, 1994.
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Echoes of desire: English Petrarchism and its counterdiscourses. Cornell University Press, 1995.
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Benjamin, Britten. Benjamin Britten's poets: The poetry he set to music. Carcanet, 1996.
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Boris, Ford, ed. Benjamin Britten's poets: The poetry he set to music. Carcanet, 1994.
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Handley, Graham. Brodie's notes on English coursework: Modern poetry. Pan Books, 1991.
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Greene, Richard. Mary Leapor: A study in Eighteenth-Century women's poetry. Clarendon Press, 1993.
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Cunningham, Valentine. Victorian poetry now: Poets, poems, poetics. Wiley-Blackwell, 2011.
Find full textBook chapters on the topic "English poetry English poetry English literature Desire in literature. Poets, English"
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Pulham, Patricia. "Statuephilia and the Love of the Impossible." In The Sculptural Body in Victorian Literature. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693429.003.0004.
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This chapter considers how sculpture channels Edmund Gosse’s homoerotic desire for the sculptor Hamo Thornycroft, enabling the memorialisation of their relationship in his poetry and prose. It then proceeds to explore how sculpture facilitates complex vortices of libidinal energies in poems by Oscar Wilde and Olive Custance. It argues that Wilde’s ‘Charmides’ (1881) enables a phantasmatic congress between Wilde and his dead ‘beloved’, the poet John Keats, and that a similar process is at work in Olive Custance’s statue poems, which are in dialogue with Wilde’s own life and poetry. Drawing on the work of French and English Parnassian poets, Custance’s poems additionally develop a sculptural aesthetic that expresses a complicated negotiation of her ambiguous sexuality.
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Jahner, Jennifer. "Coda." In Literature and Law in the Era of Magna Carta. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198847724.003.0006.
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The conclusion to the book expands the terrain of “jurisdictional poetics” to include both contemporary and medieval poetry. It begins with the work of Carter Revard, Osage poet and medievalist, whose discovery of the scribe of Harley 2253 has fundamentally shaped contemporary scholarship on legal and literary copying in later medieval England. His poem “Starring America” provides an entry point into the tensions between epic and local histories that resonate as well in a set of cross-Channel satires that date to the time of the Second Barons’ War. The coda examines the earliest surviving Middle English sirventes, “Richard of Almaigne,” alongside two French satires on the English revolt, the Pais aus Englois and La chartre de la pais aus Englois. In both cases, language difference serves as a synecdoche for territorial dominion, parsing the boundaries between political desire and legal authority.
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McRae, Andrew. "Welcoming the King." In Stuart Succession Literature. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198778172.003.0010.
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The seventeenth century was the great age of English panegyric, and no events stimulated writers of this genre more than royal successions. This chapter considers panegyric as a dynamic form of political expression: poems, at their best, engaged with contemporary debates about the authority of the monarchy and relations between subjects and their rulers. The chapter focuses on panegyrics produced for the three Stuart reigns that began with monarchs arriving in England from elsewhere: those of James I in 1603, Charles II in 1660, and William III and Mary II in 1688–9. The chapter argues that the century’s manifold political changes placed intense strains on panegyric, and concludes by considering two poets who, under conditions of intense personal pressure, openly rejected it. Despite their different politics, George Wither and Aphra Behn both reflect valuably upon the limitations of this vital genre of political literature.
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Halmi, Nicholas. "Byron and Weltliteratur." In Byron and Marginality. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474439411.003.0002.
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The ageing Goethe was fascinated with Byron whom he called the greatest poetic talent. Though suspicious of Byron’s Philhellenism, Goethe found in Byron an openness to encounter non-English cultures, an attentiveness to national histories and in interest in the relationship of the individual to social life. Byron’s self-contextualising, self-historicising narrative poems constitute a parallel to Goethe’s own literary campaigns for cross-cultural engagement in the 1810s and 1820s and, despite Byron’s alienation from England, offer hope for the prospects of what Goethe was to call “world literature”.
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McCloskey, Deirdre Nansen. "Irish [and English and American] Poets, Learn Your Trade." In Power, Prose, and Purse. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190873455.003.0015.
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he puzzle is why poetry has so little contact with the business of ordinary life. Robert Frost is an exception, but even so ideological a poet as Auden refrains from being bleared with trade. Yeats in particular, a conservative, disdained trade, though urging poets to learn theirs. The very word “poetry,” of course, is from “thing made,” and the puzzle deepens. St. Thomas Aquinas had raised making by people to the dignity of God’s making, at least poetically. And yet. We have The Oxford Book of Love Poetry and The Oxford Book of the Sea, with battles and botanical observations (“Nothing gold can stay”), and yet the economy, even after the invention of economics by the Scots in the eighteenth century, is set aside. It has left poets and their readers in law and literature and politics proud to be thus ignorant. The sacred and the profane in fact are entangled.
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Elsky, Stephanie. "Performing Custom." In Custom, Common Law, and the Constitution of English Renaissance Literature. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198861430.003.0005.
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Chapter 4 focuses on the relationship between writing and authority within common law. It argues that Philip Sidney’s Old Arcadia reflects on debates about whether to codify England’s unwritten customs that were taking place during this period. He makes use of the tension those debates generate to explore the nature of Renaissance authorship. From the idea of unwritten custom, rooted in practice and performance rather than code and decree, Sidney develops an authorial persona that runs counter to our usual association of the Renaissance artist with loss and melancholy: the aporia or doubt that Sidney’s narrator creates throughout the prose romance and within its pastoral poetry allows him to construct a notion of authorship based on custom and rooted in a connection to an inaccessible past that, ironically, he has no desire to recuperate.
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West, John. "‘A great Romance feigned to raise wonder’." In Stuart Succession Literature. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198778172.003.0007.
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Historians have recently explored afresh the conflict and uncertainty surrounding the succession of William and Mary of Orange to the English throne. But literary criticism has offered relatively little analysis of its poetry. This chapter sets examples of verse panegyric on the succession alongside pamphlet literature, particularly focusing on a neglected succession poem by Elkanah Settle. The chapter argues that imagery of literature—poetry, fiction, and romance—in pamphlet polemic registered an understanding of the succession as an event that was either a remarkable true fiction or an illegal fabrication. This alignment of literary invention and constitutional innovation affected panegyric negatively because poets were unable or unwilling to use the form to offer advice to the new regime. A reading of A View of the Times by Settle shows a novel though ultimately frustrated attempt to retrieve for panegyric a role in shaping rather than merely reflecting contemporary politics.
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Alsyouf, Amjad. "Cento as a creative writing approach to language learning." In Literature in language learning: new approaches. Research-publishing.net, 2020. http://dx.doi.org/10.14705/rpnet.2020.43.1093.
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Creative writing can be both an effective and attractive English learning activity at university departments where students speak English as a Second Language (ESL). Language skill courses might not be always effective enough in improving learners’ communicative skills and motivating them to learn, particularly when adopting old style grammar-translation based methods. Involving creative writing as a method to teach language can play a significant role in prompting the students to improve their communicative skills. This study proposes employing a creative writing course as a new method to address L2 learners lacking motivation. It particularly relies on using cento poetry as a teaching activity. A cento is a poem made up of lines the learner selects from different poems by one or more poets. The learner consequently has to read several poems, understand their linguistic structures, and grasp the meaning of their vocabulary to begin writing their own work. It is against this background that this study examines the advantages of using cento poetry in ESL classes aiming to enhance language learning.
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Smith, Nigel. "The European Marvell." In Texts and readers in the Age of Marvell. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526113894.003.0010.
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This chapter investigates Marvell’s poetry in the context of three aspects of seventeenth-century European poetry and in light of Marvell’s own connections with the continental Europe of his lifetime, and his interest in European literature in Latin and the vernacular languages. The chapter argues that our understanding of Marvell is far better served by regarding his enterprises as poet, prose writer, and political agent as a part of the particular literary power relationships and the political role of literature that pertained in continental Europe, in many ways differing from English situations. Topics discussed include the patronage and veneration of European poets, the cross-lingual arenas of poetic contest in times of international conflict, and the broader significance of the appeal to Marvell of European poetry, exemplified in the case of the Spanish poet Luis de Góngora y Argote.
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Harrison, Stephen, and Fiona Macintosh. "Introduction." In Seamus Heaney and the Classics. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198805656.003.0001.
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The recent death of Seamus Heaney is an appropriate point to honour the great Irish poet’s major contribution to classical reception in modern poetry in English; this is the first volume to be dedicated to that subject, though occasional essays have appeared in the past. The volume comprises literary criticism by scholars of classical reception and literature in English, from both Classics and English, and has some input from critics who are also poets and from theatre practitioners on their interpretations and productions of Heaney’s versions of Greek drama; it combines well-known names with some early-career contributors, and friends and collaborators of Heaney with those who admired him from afar. The papers focus on two main areas: Heaney’s fascination with Greek drama and myth, shown primarily in his two Sophoclean versions but also in his engagement in other poems with Hesiod, with Aeschylus’ Agamemnon and with myths such as that of Antaeus, and his interest in Latin poetry, primarily in Virgil but also in Horace; a version of an Horatian ode was famously the vehicle of Heaney’s comment on 11 September 2001 in ‘Anything Can Happen’ (District and Circle, 2006).
Conference papers on the topic "English poetry English poetry English literature Desire in literature. Poets, English"
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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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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.