Journal articles on the topic 'English poetry English poetry English literature Desire in literature. Poets, English'

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

This study has attempted to examine the value of night in English poetry of the Romantic period (1757–1822). It has aimed to establish how the writers of English poetry of the Romantic period highlight the value of night and images of nature involved in creating this value, while also realising the importance of night in life, according to the poems examined in this study. Three poems of the English poetry of the Romantic period (1757–1822), were used as data for the current study. The poems were analysed quantitatively – the occurrence of the expressions, words and phrases highlighting the value of night were recorded. Results showed that the poets highlight the value of night as an image of nature. Besides, the poets believe that night is a sign of beauty and tranquillity in human life.

Abstract This article and accompanying table provide an overview and catalogue of a large number of experimental translation methods that have been used by avantgarde poets. Poetic/experimental translation as defined and explored herein is a form of translation in which the aesthetic and execution of the translator is as important as that of the perceived intention of the original writer. The article’s seven-section table gives a definition of each method, and gives examples and expositions of a range of particular poets' work. The table of translation methods recognizes and explores the fact that of all forms of writing, poetry concerns itself with the ‘how it is said’ more than any other. The table outlines many different methods of translation, looking at how meaning, rhyme, sound, form, constraint, or style can be translated by the experimental writer when translating one or more source texts. These individual, intellectual, and aesthetic choices made by a wide range of poets are collated and detailed in seven discrete-yet-overlapping areas.

Abstract Between 1741 and 1750 Robert Lowth, Oxford’s fifth chair of poetry, presented a series of groundbreaking lectures that reimagined the Hebrew Bible as literature, emphasizing its artful formal qualities. Today he is best known for rediscovering the parallelism of ancient Hebrew poetry, which he imagined as originating in the responsive singing of the seraphim. At a time when the divine authority of the Bible was waning, the reclassification of large swaths of prophecy as poetry helped Lowth extol the human figure of the prophet as a literary genius. Lowth idealized the prophetic-poetic text as “strong”: artful, controlled, ordered, and balanced. He responded to an anxiety about the place of the Bible and biblical prophecy in eighteenth-century English society by disavowing or minimizing the irregularities, stutters, and fissures in prophecy. But by introducing prophecy into poetry, Lowth—with much ambivalence—also ushered more passion, enthusiasm, and subjectivity into neoclassical English poetry. Despite his attempts to minimize the formal and theological weaknesses he found in the prophetic text, his scholarly project also transmitted them into English literature, allowing Romantic poets like William Blake to draw on biblical prophetic weaknesses in constructing their own complex prophetic positions.

Poetry of the Ugandans are analysed in an article in the context of the use of devices of comic in the East African English-language poetry. The critical-realistic and enlightener tendencies that were eagerly apprehended by most East African authors in the 1960s have not allowed them going beyond the direct criticism of damning poetry to this day as well, although point-by-point attempts to use humour and satire when contemplating socio-political issues, do occur throughout the sixty-year existence of East Africa English-language poetry. The dilogy by Okot p’Bitek, Timothy Wangusa and Taban Lo Liyong are clear examples of such attempts made in Uganda literature. At the same time, the three authors use fundamentally different techniques of comic, when portraying modern reality, both purely African and universal human.

Scottish literature is not characterized by having been written in a single, evolving language such as is familiar in a lineage of English literature, English being the common language, notwithstanding the writer’s nationality. Rather, Scottish literature is informed by the understanding that literary expression arises in more than one language and, in Scotland, is created by writers most often working in at least two languages, with new work being published in Gaelic, Scots and English. This essay concerns the issue of multilingualism in Scottish literature, particularly poetry, offering a reading of Scotland’s work which sees this as a distinctive cultural characteristic, as well as a rehearsing of Scotland’s history of multilingual literature. It focuses on a small number of modern Scottish poets, such as George Campbell and Hay Aonghas MacNeacail, whose bilingual (sometimes trilingual) work shows this, challenging assumptions of unitary defi nition.

The return of Macau to the People’s Republic of China was nearly fifteen years ago but only recently have researchers been interested in studying the impact of the handover. This article reflects on the literature of Macao, focusing on texts exploring the displacement of poets from Portugal, Australia, and China to Macau. Poetry has been a crucial form of production that has showcased the social changes of this multicultural place. Although it is difficult to characterize a specific Macao way of life, during the transition period between 1987 and 1999, many poets sought to show the conflicts that occurred in the development of this special administrative region. This article attempts to analyze and characterize literary representations of recent Macao poetry published in Chinese, English, and Portuguese languages in order to define differences as well as a common sensibility.

This paper examines some tenets in the Andalusian and Romantic poetry and shows how poets such as Ibrahim Ibn Khafāja (1058-1138) and William Wordsworth (1770 –1850) used nature as a motif in their poetry. Relying on a historical approach, this paper links smaller features such as themes and literary devices in the Andalusian and Romantic poetry with larger features, including genre, traditions, and cultural system. I argue that the emphasis on both the larger and smaller features of poetry creates what Franco Moretti calls “distant reading.” Comparing and contrasting Ibn Khafāja’s “the Mountain” and Wordsworth’s “the Daffodils,” for instance, introduces nature as a recurrent theme in both Andalusian and Romantic literary traditions, reinforcing Johann Wolfgang Goethe’s description of poetry as a common possession of humanity” (Goethe 229). In addition to that, comparing the images and themes in both the Andalusian and Romantic poetry not only shows internally linked meanings, but it creates what Cesar Domínguez, et al, call “a space for polyglottism, multidisciplinarity, scholarly collaboration” (75). Reading these works and movements closely and distantly serves as a cross-cultural dialogue between the Arabic and English poetic conventions. While Ibn Khafāja and Wordsworth lived in different places and times, wrote in different languages, and did not have the same socio-political circumstances, their poems show the richness and multiplicity of the historical experience of world literature.

This essay focuses on a pivotal (if understudied) moment in the history of the translation and reception of Sanskrit erotic poetry in the West – a moment which sees the percolation of this classical poetry from the scholarly sphere to that of non-specialist literature. I argue that a crucial agent in the dissemination and inclusion of Sanskrit erotic poems in the canon of Western lyric poetry was the English poet Edward Powys Mathers (1892–1939), a self-professed second-hand translator of ‘Eastern’ literature, as well as the author of original verses, which he smuggled as translations. Using Black Marigolds (a 1919 English version of the Caurapañcāśikā) as a case study, I show how Powys Mathers’ renderings – which combined the practices of second-hand and pseudo-translation – are intertextually dense poems. On the one hand, Black Marigolds shows in watermark the intermediary French translation; on the other, it functions as a hall of mirrors which reflects, magnifies and distorts the emotional and aesthetic dimensions of both the classical/Eastern and modern/Western literary world. What does the transformation of the Caurapañcāśikā into a successful piece of modern(ist) lyric poetry tell us about the relationship that Western readers wished (and often still wish) to have with ‘Eastern’ poetry? Furthermore, which conceptual tools can we mobilize to ‘make sense’ of these non-scholarly translations of classical Sanskrit poems and ‘take seriously’ their many layers of textual and contextual meaning?

AbstractThis essay offers a philological career of the term world poetry as poets and scholars employed it and close cognates across the twentieth century (the century in which it first appeared). This career emphasizes trajectories in three of the West’s imperial language formations—poésie mondiale in French, poesía mundial in Spanish, and world poetry in English—but also highlights kindred trajectories in non-Western languages, such as sheʿr-e jahān in Persian and shiʿr fi al-ʿalam in Arabic. Corroborating Édouard Glissant’s claim that “the amassing of commonplaces is, perhaps, the right approach to my real subject—the entanglements of worldwide relation,” the essay argues for an understanding of world poetry as the accumulated philological history of poetic folkways, habits of use, sociological institutions, formations, and conjunctures that group around the term itself.

Chinese classical literature has attracted much attention in the Western world. As an important part of Chinese classical literature, Du Fu’s poetry, also as an important carrier, plays a great role in the international communication of cultural confidence. In recent years, some domestic research institutions and scholars have also written literature reviews on the research progress of Du Fu, but few works of literature comprehensively review related western research results. With the combination of big data and visualization tools, this study uses the title keyword “Du Fu Poetry” to search the English literature of Google scholar. VOSviewer is used to make visual analysis and draw a knowledge map from the aspects of literature quantity, authors, research institutions, co-citation, keyword clustering, etc., to analyze the research situation and hotspots of the Western study of Du’s poetry. The following conclusions are drawn: 1) In recent decades, western translation of Du Fu’s poetry have emerged constantly, attracting more and more famous international publishing houses to cooperate; 2) The study of Du’s poetry abroad mainly focuses on the English translation of Du’s poetry as well as the interpretation and evaluation of poets' thoughts; 3) The study of Du’s poetry abroad ignores the dynamic study of Du's poetry development, and there are some obvious cultural errors or omissions in translation. In a word, this study objectively reflects the development, theme and hotspots of modern western Du Fu poetry research, which has certain significance for fully understanding the general situation of Du Fu research field in Western countries and help to deepen Du Fu’s research.

In an interview in 1971 Tom Raworth states ‘I don't really see any reason for a term like “English poet”’ and throughout his career Raworth has resisted such simple national classifications. His work is often discussed in relation to the strong relationship he fostered with American poets and poetics. Raworth, for many, exemplifies the transatlantic conversation that flourished during the 1960s onward. He was influenced by numerous schools of American poetry and would in turn act as an influence to many American writers. As Ted Berrigan states ‘he's as good as we are, & rude a thing as it is to say, we don't expect that, from English poets today, (I wonder is he better?)’. However, considering Raworth's mother was Irish and that since 1990 Raworth himself has travelled under an Irish passport this simple duality of British / American does not go far enough in exploring Raworth's complex national poetic identity. Using a combination of contextual and biographical information alongside close readings of a number of collected and uncollected poems this essay explores the influence Ireland, its culture, religion and history, has had on Raworth's upbringing, his sense of national identity and his poetry.

Literature is usually taught using primary sources written in the language of the literature being taught. This pedagogical proposal is based on translations of literature, advanced as a didactic element enhancing literature lessons. More specifically, this work focuses on English literature translated into Spanish and published in the Cordovan journal Cántico, in order to explore how the translations of international works can be valuable elements in the teaching of Literature. To achieve these objectives some of the translations of the English works appearing in Cántico are studied: two fragments of John Milton, a poem by Dylan Thomas, and another poem by T.S. Eliot. The final conclusion drawn is that the interpretation of the original poems, their poets, and their context, as well as a presentation of the context in which these poems were translated, are pedagogical undertakings that enhance the teaching of foreign literature, and literature in general.

This essay offers the first English-language translations of Amharic poetry written by Ethiopian immigrants to the United States. Following an introduction to the Amharic language and the central place of poetry in Ethiopian literature and cultural life, the author discusses the work of four poets. The poems of Tewodros Abebe, Amha Asfaw, Alemayehu Gebrehiwot, and Alemtsehay Wedajo make creative use of Ethiopian verbal constructions reminiscent of traditional war songs and verbal interrogations used in legal contexts. Many of the poems speak eloquently of the personal losses Ethiopians have suffered as a result of their departure from their homeland. The essay includes biographical and ethnographic details about the individual poets and various influences on their compositions. (April 2009)

Although Poul Anderson is best known for his prose, he dabbled in poetry all his life, and his historical interests led him to become a major—if unacknowledged— contributor to the twentieth-century alliterative revival. This revival, most often associated with British poets such as W. H. Auden, J. R. R. Tolkien, and C. S. Lewis, attempted to adapt medieval Germanic alliterative meter into modern English. Yet Anderson, a firmly libertarian Enlightenment-style writer, imbued his alliterative poetry with a rationalistic spirit that implicitly accepted (with appropriate qualifications) a narrative of historical progress. This article analyzes the alliterative verse that Anderson wrote and uncovers how the demands of the pulp market shaped what poetry he could produce.

Abstract This essay examines how translingual poetry by immigrant Romanian writers who live in or travel to the United States requires a transnational community framing rather than a national one and raises new questions about cultural and linguistic identity formation that reflect on both national and world literature issues. This analysis of the Romanian-American contemporary poets Mihaela Moscaliuc, Andrei Guruianu, Claudia Serea, and Aura Maru uses literary and rhetorical translingual theory to show that the “national literature” framing is no longer sufficient to address works created between two languages in a globalized world—Romanian and English, in this case. Born between two cultures and languages, their poetry does not belong entirely to either. In its turn, the national framing—both the Romanian and the American one—can become more porous and inclusive if read through a sociolinguistic “regime of mobility” (Blommaert) lens that gives a more powerful voice to migrant writers.

This article examines the ways in which changes in Marian theology and the defaming and execution of two of Henry viii’s queens affected early modern literary representations of female power. It argues that, through the translations of Thomas Wyatt, Petrarchan poetry entered into a world of state-sponsored iconoclasm, a world where images of the sacred feminine, once revered, could be destroyed, and queens, once exalted as beloveds, could quickly be reduced to “whores” and executed. The first part of the article considers Wyatt’s “Whoso list to hunt,” a translation of Petrarch’s “Rime 190,” as a lens for examining the female body as both object of desire and site of violent destruction. The second part of the article considers English Petrarchism late in the reign of Elizabeth i, examining how John Donne’s “Love’s Progress” and Edmund Spenser’s The Faerie Queene (Book ii) construct violent fantasies of male control over the powerful female.

More literary critics outside Belgium and the Netherlands have written about Theo van Doesburg than from inside these countries. The first important monograph on him appeared in English - Theo van Doesburg - Propagandist and Practitioner of the Avant-Garde, 1909-1923, by Hannah Hedrick. Van Doesburg’s poetry developed in the direction of concrete poetry - the type of poetry in which the spatial, acoustic and visual characteristics of language are maximally utilized towards the creation of the poem. Word as sound and as image is foregrounded in concrete poetry, while the imaging of persons and subjective experience is eliminated as far as possible. The anecdotal or the epic component of the concrete poem is minimal and the language of this sort of poem has been reduced to the minimum. In the spirit of the theory of concrete poetry Van Doesburg advocates the liberation of art from all the commitments imposed upon it. That with which Van Doesburg began was continued by other poets, especially in Germanic literature by poets of the so-called neo-realism.

The article focuses on Cristina Campo’s poetry translations in the context of her literary choices infl uenced by her predilection to metaphysical literature. The category of metaphysical literature can be understood, fi rst of all, as related to metaphysical English poets like John Donne, George Herbert, Richard Crashaw, and Henry Vaughan. Metaphysical were also those authors whose writings defi ed the categories of space and time, and transcended the temporal and geographical limits. One of the greatest Campo’s fascinations from that perspective was the poetry of William Carlos Williams, as well as other authors that entered in her category of imperdonabili. Campo’s translational activity followed a well-delineated path related strictly to her metaphysical inclinations and manifested certain traits of the tendency to establish the personalized canon of real and worthwhile literature that at the same time opposed the mainstream literary choices of that time

This paper aims at analyzing Shadad Zeest Hashmi’s poem ‘You are chained’ with a special focus on the foreground. The tools of foregrounding i.e. parallelism and deviation are surfaced that attract the attention of the reader for hidden messages related to the socio-political scenario of Pakistan, Kashmir, and India. Thus the miserable plight of the Kashmiris is encompassed through stylistic devices which are peculiar to Hashmi’s poetry. Foregrounding is the tool through which one can analyze a piece of literature having so many deviations and code-switching. The main aim of the study is to bring to the fore the local poets writing in English. The research is based on this intention to strike the attention of new researchers to criticize as well as to appreciate our local poets for their encouragement. On the other hand, research on Pakistani literature in English is an emerging area of investigation that is why, it is hoped, that this paper will prove to be an encouraging step ahead for future scholars.

Romantic poetry was especially concerned with the themes of country life which is also known as pastoral poetry; moreover it also employed mythological and fantastic settings. Romanticism focuses more on the individual than society. The Romantics were fascinated especially by the individual imagination and individual consciousness. “Melancholy” was quite the exhortation for the Romantic poets. A firm loosening of the persistent rules of artistic expression, during earlier times, was observed in the Romantic era.
 In English literature, modernism has its roots in 19th and 20th century; the age was characterised by an unexpected and sudden release from conventional ways of viewing the world and interacting with it. Individualism and Experimentation, which were often heartily discouraged in the past, became the modern virtues. The modernist period in English literature was an intuitive response towards the prevailing aesthetics and culture of the Victorians culture of the 19th century. At the turn of the twentieth century, artists and intellectuals blamed the writers of earlier generation for misleading the society, thereby resulting in a dead end. They had the ability to predict hence they could foresee that world events were escalating into a mysterious territory.

The Austrian-born translators Herberth and Marlys Herlitschka exercised considerable influence over the reception of British modernist literature in German-speaking nations. From the 1920s to the 1960s they undertook translations of challenging modernist works, including the poetry of Yeats and the novels of Lawrence and Woolf. This article surveys their lives and work, with a focus on their post-war rendering of Woolf's final novel, Between the Acts. Here the Herlitschkas' translational choices reveal a desire for reconciliation and effect a softening of the political jaggedness of Woolf's Blitz-era narrative, to emphasize instead the formalist experimentalism which had characterized pre-war modernism. The Herlitschkas' translation of Woolf can be read as an act both of nostalgia and rehabilitation, and also as an image of their understanding of what ‘modernism’ – the modernism which they helped to create – should look like.

Seen in the broader context of European modernism, British modernist literature stands out through the limited role of collective avant-gardes and the conservative or reactionary politics of the writers who make up the canon of modernist poetry. This article explores how these peculiarities are replicated in the use of traditional poetic forms (metres in particular) in the works of W.B. Yeats (1865–1939), Ezra Pound (1885–1972) and T.S. Eliot (1888–1965). As modernist (rather than avant-garde) writers, those poets rejected or backed away from free verse and simultaneously cultivated forms that harked back to older and less insular poetic traditions than the ones that dominated mainstream English poetry in the Victorian period.

This paper analyzes some of the poems from Laxmi Pd. Devkota’s Bhikhari, one of the popular compilations of Nepali poetry. Devkota is primarily a humanist poet. He is also the leading Nepali poet who popularized Romantic poetry in Nepali literature. In Bhikhari, Devkota seems more like a ‘romantic humanist’. The paper tries to trace the root of ‘humanism’ in general, and how English Romantic poets accommodated it in their Romantic philosophy later in the 19th century. In short, humanism believes that individuals have everything they need to grow and develop to their fullest potential. This article is a reading of Devkota’s some of the poems from his collection Bhikhari from the perspective of humanism.

In an effort to capture how Orientalist translations, imitations and criticism of Asian poetry came to inform the idealization of lyric as a universal genre, this paper focuses on the practice of poetic metre in the nineteenth century. How did Victorian conceptions of recitational communities, bounded by shared ‘national’ metres, square against the wealth of translated works that were a major component of Victorian print culture? The amateur Orientalist Ebenezer Pocock explained various metres and musical practices associated with ‘Persian lyrics’ in his book Flowers of the East (1833) and offered equivalent metres in English before replicating these shared English/Persian metres in his own imitative poem ‘The Khanjgaruh: A Fragment’. This article sketches how Pocock's casting of this hybrid material in metres that would already have been recognizable to his English readers seems to have the intended effect of both orienting his work towards his domestic audience and grounding such a flexible approach within the Persian tradition itself. Pocock's poem sits amongst a range of accompanying materials including translations of Sa‘dī and scholarly essays on comparative philology and Persian literary history. Each of these different pieces supports the collection's greater effort – best encapsulated by ‘The Khanjgaruh’ – to both remember and imagine the shared poetic history between Asia and Europe. Pocock's writing thus emblemizes how the nineteenth-century ‘West–East lyric’ was a product of both historical and philological recovering as well as the willed creation of poets and poetry enthusiasts. As a category, lyric performs a binding function in Pocock's work to pull together a linguistically and professionally diverse community of writers.

AbstractThe histories of Australian Aboriginal and African American peoples have been disregarded for more than two centuries. In the 1960s, Aboriginal and African American civil rights activists addressed this neglect. Each endeavoured to write a critical version of history that included their people(s). This article highlights the role of Aboriginal Australian poet Oodgeroo Noonuccal (formerly Kath Walker) (1920–93) and African American poet Sonia Sanchez (born 1934) in reviving their peoples’ history. Using Deleuze and Guattari's concept of ‘minor literature’, the essay shows how these poets deterritorialise the English language and English poetry and exploit their own poetries as counter-histories to record milestone events in the history of their peoples. It will also highlight the importance of these accounts in this ‘history war’. It examines selected poems from Oodgeroo's My People: A Kath Walker Collection and Sanchez's Home Coming and We A BaddDDD People to demonstrate that similarities in their poetic themes are the result of a common awareness of a global movement of black resistance. This shared awareness is significant despite the fact that the poets have different ethnicities and little direct literary impact upon each other.

This essay focuses on André du Bouchet (1924–2001) and Heather Dohollau (1925–2013), a Welsh poet who lived most of her life in France and is only published in French. Poised as they are between French and English, these poets are uniquely placed to participate in current reassessments of language and bilingualism. Both poets were translators and relied on the experience of linguistic defamiliarization in their poetic practice. They view poetry as the translation of a language into, and out of, itself. By drawing attention to language in its materiality, and to the poem as a visual form, their poetics of ‘difficulty’ (Dohollau) or ‘surprise’ (du Bouchet) compels the Francophone reader to adopt a foreign perspective on his or her own language. Poetry is thus reinvented as the idiome dreamt of by Derrida: a defamiliarizing other language, potentially able to translate otherness in its own terms.

One of the most important poets of postwar Hungarian literature, János Pilinszky’s (1921-1981) poetry represents the problems of connecting with the Other, the imprints of Second World War trauma and the struggle with God’s distance and silence. Although, unlike the case of most of his contemporaries in Eastern bloc Hungary, his poetry has been translated into several languages, he is hardly known in English-speaking countries. The metaphysically accented lyrical worldview and creator-centered aesthetics—which shows parallels with the Christian poetry of Michael Edwards—of this Hungarian poet are difficult to link or to bring into discourse. On the occasion of the most recent publication (Pilinszky 2019) of Pilinszky’s non-literary publications which are practically unknown to non-Hungarian scholars, I attempt to outline the major attributes of Pilinszky’s poetry and aesthetics in order to highlight—with a mystical approach in mind—the intertwining presence of said lyre and aesthetics in his poem, In memoriam F. M. Dosztojevszkij [‘In Memoriam F. M. Dostoevsky’].

Stylistics is a term that refers to the relation between linguistics and literature. One linguistic technique in stylistics to be applied in literature is a deviation, which means, put, neglecting some of the rules of a language in a piece of literary work. Such negligence, of course, aims at achieving a range of freedom for the writer to deal with the manoeuvring ideas he/she wants to put forward. This paper attempts to study graphological and grammatical deviation in selected English postmodern poems. It hypothesizes that English postmodern poets use graphological and grammatical deviation in their poems to attract their audience. It, therefore, is an attempt to apply these particular types of deviation to the selected poems. The topic is covered through eight sections. Section one presents the introduction concerning the difference between everyday and poetic language. The second section involves definitions of deviation. The third one is about deviation in the sense of poetry. Style and stylistics as two different terms are presented in section four. In the fifth one, graphological deviations are shown with examples. Grammatical deviation and examples are presented in section six. Section seven exhibits the plan of the research. Section eight concerns the analysis of the poems. The paper ends with the conclusions and the list of the references used. Keywords: deviation, graphological, grammatical, poems, postmodern, negligence.

History is the witness of the immense influence literature exercises upon the nations. Percy Byssey Shelley and Mir Gul Khan Naseer, the two great names in the history of English and Balochi literature simultaneously, played an important role in the emancipation of society. Both the poets were against the bogus system of caste, color and creed, suppressing the masses. They were highly against social stratification and feudalism and raised their voice dauntlessly against the prevalent injustice. They are termed as poets of resistance who expressed repulsion against the corrupt social, political and religious scenario. Both the poets were termed as champions of liberty and had the creed to promote social, political and religious reforms. Anon they realized the ineffectiveness of their efforts. Finally, they strove to transform the individuals through their incredible poetry where a profusion of gorgeous verse along with brilliant imagery enchants the readers.

A different name than English literature, ‘Anglo-Indian Literature’, was given to the body of literature in English that emerged on account of the British interaction with India unlike the case with their interaction with America or Australia or New Zealand. Even the Indians’ contributions (translations as well as creative pieces in English) were classed under the caption ‘Anglo-Indian’ initially but later a different name, ‘Indo-Anglian’, was conceived for the growing variety and volume of writings in English by the Indians. However, unlike the former the latter has not found a favour with the compilers of English dictionaries. With the passage of time the fine line of demarcation drawn on the basis of subject matter and author’s point of view has disappeared and currently even Anglo-Indians’ writings are classed as ‘Indo-Anglian’. Besides contemplating on various connotations of the term ‘Indo-Anglian’ the article discusses the related issues such as: the etymology of the term, fixing the name of its coiner and the date of its first use. In contrast to the opinions of the historians and critics like K R S Iyengar, G P Sarma, M K Naik, Daniela Rogobete, Sachidananda Mohanty, Dilip Chatterjee and Gayatri Chakravorty Spivak it has been brought to light that the term ‘Indo-Anglian’ was first used in 1880 by James Payn to refer to the Indians’ writings in English rather pejoratively. However, Iyengar used it in a positive sense though he himself gave it up soon. The reasons for the wide acceptance of the term, sometimes also for the authors of the sub-continent, by the members of academia all over the world, despite its rejection by Sahitya Akademi (the national body of letters in India), have also been contemplated on. 
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What are the conditions under which poetry of the periphery produces a poetico-discursive event with the power to affect Eurocentric letters? Using insights from global literature theorists such as Franco Moretti and Roberto Schwarz as well as analysis proper to translation practice I aim to test the argument that ‘minor’ style may become an affect of distinction precisely because it embodies material features of the proletarised literary margins. To this end, I translate and read the ode to Helen (of Troy) by Greek lyrical poet Helias Layios alongside and against poetry retellings of The Iliad by H.D. and Christopher Logue. The analysis, forming integral part of the translation brief, brings to light the full extent of Layios’s achievement in its capacity to affect the lyrical range achieved in English by the two other poets within the subgenre of creative rewritings of the classics. Taken as a sample of minor poetry with global resonance, it is shown to provide ammunition for the extension of literary relevance that is translation’s glocality mandate.

Abstract The following article deals with the transformation of the Petrachan idea of love in the work of Lady Mary Wroth (1587-1631), the first woman poet to write a secular sonnet sequence in English literature, Pamphilia to Amphilanthus. The author of the article discusses the literary and historical context of the work, the position of female poets in early modern England and then focuses on the main differences in Wroth’s treatment of the topic of heterosexual love: the reversal of gender roles, i.e., the woman being the “active” speaker of the sonnets; the de-objectifying of the lover and the perspective of love understood not as a possessive power struggle, but as an experience of togetherness, based on the gradual interpenetration of two equal partners.

The article discusses the use of the authentic film at the lessons of English to expand the vocabulary of students. Working with the vocabulary of the feature film "Dead Poets Society" allows to see the possibilities of using each of the three functional styles - official, scientific and poetic styles. Lexical analysis of the speech of the main characters of the film - the official and scientific language of the director and teachers of the school and the poetic language of the teacher of literature Keating - helps to reveal the character of each personage. Particular attention is paid to Latinisms in the speech of teachers, as an element of the academic tradition in European culture, as well as the language of fiction prose and poetry, which is included in the film through quoting poems by romantic poets. Contrasting the dry, "dead" language of the director and his supporters and Keating's "living word" creates dramatic tension and helps to better understand the essence of the depicted conflict. As a consolidation of the studied vocabulary, written creative work is proposed, expanding not only the lexical reserve, but also the general cultural training of students.

The threads binding the poetry of Vladimir Vysotsky with Russian and foreign literature have a diverse character – some convergences, similarities of his works to those of other authors can be identifi ed in the content, the subject, and the metre of the poems. Some of the literary associations are easily detectable for any recipient, others are more diffi cult to fi nd. The article focuses on the identifi ed links between the works of Vysotsky and those of foreign authors such as Pierre-Jean de Béranger, Robert Burns, and Bertolt Brecht. The convergences observed between Vysotsky’s and de Béranger’s poems, in the subject, form, and metre, indicate the affi nity of the way of thinking and ideals, as well as both poets’ love of freedom, despite the 150 year gap between their birth dates. The presented links with literature of the 18th, 19th, and 20th century widen the opportunities for interpreting the works of Vladimir Vysotsky.

An unexpected failure of the Allied forces and a monumental victory for the Turks, the Gallipoli Campaign (1915) is thought to be the first notable experience for Australians and New Zealanders on their way to identify themselves as nations free from the British Empire. For the war-weary Turks, too, the victory in Gallipoli was the beginning of their transformation from a wreck of an empire to a modern republic. Despite the existence of a substantial body of research on the military, political, and historical aspects of the campaign, studies on the literature of Gallipoli are very few and often deal with canonised poets such as Rupert Brooke or national concerns through a single perspective. Aiming to bring to light underappreciated poets from Gallipoli, this paper is a comparative study of less known poems in English and Turkish from Gallipoli. While doing this, the study traces the signs of the nation-building processes of Australia, New Zealand, and Turkey with emphasis on national identity. To this end, the paper examines a number of Gallipoli poems in English and Turkish that were composed by combatant or non-combatant poets by using close reading analysis in search of shifts in discourse and tone. The study also underlines how poets from the two sides identified themselves and the ways the campaign is reflected in these poems. At length, the study shows that Gallipoli poems display similar attitudes towards the idea of belonging to an empire although they differ in the way warfare is perceived. With emphasis on less known poems and as one of the very few comparative studies of the poetry of the Gallipoli Campaign, this paper will contribute to the current research into the legacy and literature of the First World War.

In this paper, I analyze Russian translations and close imitations of Spanish Romancero poetry composed between 1789 and the 1930s, as well as Russian original poems of the same period marked by “Spanish” motifs. I discuss the Spanish romance as an international European genre, and show how this verse form’s distinctive features were transferred into Russian poetry and how the Russian version – or, rather, several Russian versions – of this form came into being. I pay special attention to the genesis of the stanza composed of a regular sequence of feminine (F) and masculine (m) clausulae FFFm. In Johann Gottfried Herder’s Der Cid, this clausula pattern was combined with unrhymed trochaic tetrameters, but, in early twentieth-century Russia, it emancipated from this metrical form, having retained the semantic leitmotifs of the Spanish romance, as well as its “Spanish” theme. I contextualize other translation equivalents of romance verse and compare them to the original Spanish verse form. I show (1) which forms poets used in translating romance verse and how those forms correlate (formally and functionally) with the original meter. Further, I discuss (2) when and how the trochaic tetrameters rhyming on even lines (XRXR) – originally used in translations of Spanish romances in German and English poetry – became the equivalent of romance verse in the Russian tradition. Finally, I demonstrate (3) how, in Konstantin Balmont’s translations of Spanish poetry, the FFFm clausula pattern lost its connection with trochee. After Balmont, other poets of the Silver Age of Russian literature started using it in original non-trochaic compositions to express “Spanish” semantics.

The issue of “creative” translation and interpretation between English and Serbian literary expression, based on the correspondence of two poets, is the starting point for this essay. The basis of the discussion are the lyrics about Byzantium by Ivan V. Lalić, translated and prepared by Charles Simic. Examples of the letters are taken from the book “A view across the ocean: The correspondence of Ivan V. Lalić and Charles Simic 1969–1996,” edited by Svetlana Šeatović Dimitrijević. In preparing this correspondence, a private and authentic world has come to light, and a “surplus of meaning” as the key for understanding the relation between the two poets, who built a friendship in a “scarce time” and kept their presence of mind. This essay presents a critical review of a dialogue about creativity, which forges a bond between Serbian and American literature through the letters of the two poets. The second part of the essay provides a cultural and literary analysis of Simic’s critical interpretation of the reconstructed Byzantium myth in the poetry of Lalić.

Divan literature is described as "a certain tradition literature with its rules and boundaries" in the most general form. These rules and boundaries have enabled the formation of common expressions in religion and in Sufi intellection in particular and in poetry by the influence of Persian literature, and they have made it traditional in time. In this context, in classical Turkish poetry, whose male poets are predominant in quality and quantity, patriarchal rhetoric presents an outlook that its frame has been established by common tropes, metaphors, poetic themes and in short by similar imaginations and ideas.Our work aims to reveal the distinctive way of the voice of female divan poets in the Ottoman poetry, which, when viewed from the outside, gives a completely male voice and perspective in the first place. In this respect, the divan of Lady Mihri (died after 1512), Lady Leyla (died in 1848) and Lady Şeref (1809-1861) were chosen and examined.Extended English abstract is in the end of PDF (TURKISH) file. ÖzetDivan edebiyatı en genel şekliyle “ Kuralları ve sınırları belli bir gelenek edebiyatı” olarak tanımlanır. Bu kural ve sınırlar zaman içinde başta din ve tasavvuf anlayışı olmak üzere, Fars edebiyatının da tesiriyle şiirde ortak ifade biçimlerinin belirmesini ve bunun gelenekselleşmesini sağlamıştır. Bu bağlamda nitelik ve nicelik olarak ağırlığını erkek şairlerin oluşturduğu klasik Türk şiirinde ataerkil söylem, ortak mecazlar, metaforlar, mazmunlar, kısacası benzer hayal ve imgelerle çerçevesi belirlenmiş bir görünüm arz eder. Çalışmamız, dıştan bakıldığında ilk etapta tamamen erkek sesini ve bakış açısını verdiğini düşündüren Osmanlı şiirinde, kadın divan şairlerinin sesinin ayırıcı yönünü, farklı ifade biçimlerini ortaya koymayı hedeflemektedir. Bu konuda Mihrî Hatun (ölm. 1512 sonrası), Leyla Hanım (ölm.1848) ve Şeref Hanım (1809-1861)’ın divanları seçilerek incelenmiştir.