Academic literature on the topic 'English poetry History and criticism'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'English poetry History and criticism.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "English poetry History and criticism"
1
Bula, Andrew. "Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya." Journal of Practical Studies in Education 2, no. 5 (August 6, 2021): 26–31. http://dx.doi.org/10.46809/jpse.v2i5.30.
Full textAbstract:
Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, which he completed in 1989, is a staggering 734-page document. Professor Akwanya has also taught many literature courses, namely: European Continental Literature, Studies in Drama, Modern Literary Theory, African Poetry, History of Theatre: Aeschylus to Shakespeare, European Theatre since Ibsen, English Literature Survey: the Beginnings, Semantics, History of the English Language, History of Criticism, Modern Discourse Analysis, Greek and Roman Literatures, Linguistics and the Teaching of Literature, Major Strands in Literary Criticism, Issues in Comparative Literature, Discourse Theory, English Poetry, English Drama, Modern British Literature, Comparative Studies in Poetry, Comparative Studies in Drama, Studies in African Drama, and Philosophy of Literature. A Fellow of Nigerian Academy of Letters, Akwanya’s open access works have been read over 109,478 times around the world. In this wide-ranging interview, he speaks to Andrew Bula, a young lecturer from Baze University, Abuja, shedding light on a variety of issues around which his life revolves.
2
Wolwacz, Andrea Ferras. "TOM PAULIN'S POETRY OF TROUBLES." Organon 34, no. 67 (December 9, 2019): 1–23. http://dx.doi.org/10.22456/2238-8915.96943.
Full textAbstract:
This paper is part of my PhD thesis. It examines contemporary Northern Irish Literature written in English with the help of the theoretical approach of Irish Studies. It aims to introduce and make a critique of poetry written by Tom Paulin, a contemporary British poet who is regarded one of the major Protestant Irish writers to emerge from Ulster province. The thread pursued in this analysis relates to an investigation of how ideological discourses and the issues of identity are represented in the poet’s work. The author’s critical evaluation of existing ideologies and identities and his attempt to respond to them will also be analyzed. Four poems from three different collections are investigate. Paulin’s poems function as testimonies, denouncement and criticism of the Irish history.
3
Indira Utojo, Hertin, and Oom Rohmah Syamsudin. "The Meaning of Survival in the Poetry of Jacob Isaac, and its Semantics Learning Implementation." INFERENCE: Journal of English Language Teaching 5, no. 2 (December 14, 2022): 170. http://dx.doi.org/10.30998/inference.v5i2.10736.
Full textAbstract:
<p>The social, political, and economy atmosphere of a country often evokes the desire of literary activists to express their imagination, feelings, ideology in the form of social, political and cultural criticism through art, including poetry. Likewise, Jacob Isaac, a Bachelor and Master of Arts, as well as Doctor of English Literature, who was born in Kerala, South India, expresses imagination, feelings, ideology by creating the English poetry. In this research, the research writer chose three poetry written by Jacob Isaac as data sources entitled Indifference, Neural Mapping, Aging Liberty. The objective of this research is to describe the meaning of (1) survival in the above poetry; and (2) its implementation in English semantics learning. The research writer uses a qualitative research method and triadic semiotic model of Charles Sanders Peirce, consists of (1) representamen consists of rhyme form and sound, syntactic, semantic, pragmatic relates to deixis, figurative and isotopy aspects); (2) interpretant consists of the biography of Jacob Isaac, history of India, social, political and cultural background aspects). The goal using interpretant is in order to get the research results more objective. This research was conducted from March to May 2021.</p>
4
Huisman, Rosemary. "Facing the Eternal Desert: Sociotemporal Values in Old English Poetry." KronoScope 17, no. 2 (September 6, 2017): 231–53. http://dx.doi.org/10.1163/15685241-12341385.
Full textAbstract:
Abstract Time is a singular noun, but includes a multiplicity of temporalities, including what J. T. Fraser has termed sociotemporality. In this paper, I discuss facing the urgency of time in a narrative dominated by sociotemporality, that of the Old English poem Beowulf, and suggest how criticism of the narrative structure of Beowulf has derived from a monovalent understanding of narrative time. Moreover, in recognizing sociotemporality as dominant in the organization of the poem, the modern reader can gain greater access to what was valued in the social context of its response to “the urgency of time.”
5
Mehl, Scott. "Early Twentieth-Century Terms for New Verse Forms (‘free verse’ and others) in Japanese and Arabic." Studia Metrica et Poetica 2, no. 1 (July 7, 2015): 81–106. http://dx.doi.org/10.12697/smp.2015.2.1.04.
Full textAbstract:
In the first half of the twentieth century, when Japanese and Arabic poets began writing free-verse poetry, many terms were proposed as labels for the new form. In addition to the calques on “free verse,” neologisms were created to name the new poetry. What is striking is that, in these two quite different literary spheres, a number of the proposed neologisms were the same: for example, in both Japanese and Arabic the terms prose poetry, modern poetry, and colloquial poetry were proposed (among others) as alternatives to the label free poetry. This essay provides an annotated list of the neologisms in Japanese and Arabic, with a list of English terms for comparison; and by referring to the contemporary Japanese and Arabic criticism on the topic of poetic innovation, this essay attempts to explain the similarity between the Japanese and Arabic neologisms. In short, the Japanese and Arabophone arguments in favour of adapting the free-verse form were based on similar premises regarding modernity, freedom, and a vision of literary history that was rooted in an evolutionary theory of genre development.
6
Huisman, Rosemary. "The discipline of English Literature from the perspective of SFL register." Language, Context and Text 1, no. 1 (February 4, 2019): 102–20. http://dx.doi.org/10.1075/langct.00005.hui.
Full textAbstract:
AbstractThe paper first traces the history and elaboration of the tertiary discipline English Literature through the 19th and 20th centuries to the present day, with special focus on the axiology, the values, given to the discipline and with a brief account of literary criticism and literary theory. It then refers to the work on registerial cartography in systemic functional linguistics (SFL) and explores the register of the contemporary discipline in first-order field of activity and second-order field of experience, with examples from the language of webpages and exam papers of Australian universities. It continues with a brief overview of the author’s own work using SFL in the study ofthe poeticandthe narrativein English poetry and prose fiction of different historical periods and concludes with a caveat on the central disciplinary process, that of interpretation.
7
Milne, Drew. "Cheerful History: the Political Theatre of John McGrath." New Theatre Quarterly 18, no. 4 (November 2002): 313–24. http://dx.doi.org/10.1017/s0266464x02000428.
Full textAbstract:
In this essay, Drew Milne suggests affinities between the dramatization of history in the work of John McGrath and Karl Marx. He shows how both Marx and McGrath refused to mourn the histories of Germany and Scotland as tragedies, but that differences emerge in the politics of McGrath's radical populism – differences apparent in McGrath's use of music, historical quotation, and direct address. McGrath's layered theatricality engages audience sympathies in ways that emphasize awkward parallels between modern and pre-modern Scotland, and this can lead to unreconciled tensions between nationalism and socialism which are constitutive of McGrath's plays. Drew Milne is the Judith E. Wilson Lecturer in Drama and Poetry, Faculty of English, University of Cambridge, and a Fellow of Trinity Hall. He has published various articles on drama and performance, including essays on the work of August Boal, Samuel Beckett, and Harold Pinter, and is currently completing a book entitled Performance Criticism.
8
Burney, Fatima. "Strategies of Sound and Stringing in Ebenezer Pocock's West–East Verse." Comparative Critical Studies 17, no. 2 (June 2020): 319–36. http://dx.doi.org/10.3366/ccs.2020.0365.
Full textAbstract:
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.
9
JONES-KATZ, GREGORY. "“THE BRIDES OF DECONSTRUCTION AND CRITICISM” AND THE TRANSFORMATION OF FEMINISM IN THE NORTH AMERICAN ACADEMY." Modern Intellectual History 17, no. 2 (June 28, 2018): 413–42. http://dx.doi.org/10.1017/s1479244318000318.
Full textAbstract:
“The Brides of Deconstruction and Criticism,” an informal group of feminist literary critics active at Yale University during the 1970s, were inspired by second-wave feminist curriculum, activities, and thought, as well as by the politics of the women's and gay liberation movements, in their effort to intervene into patterns of female effacement and marginalization. By the early 1980s, while helping direct deconstructive reading away from the self-subversiveness of French and English prose and poetry, the Brides made groundbreaking contributions to—and in several cases founded—fields of scholarly inquiry. During the late 1980s, these feminist deconstructionists, having overcome resistance from within Yale's English Department and elsewhere, used their works as social and political acts to help pave the way for the successes of cultural studies in the North American academy. Far from a supplément to what Barbara Johnson boldly called the “Male School,” the Brides of Deconstruction and Criticism arguably were the Yale school. Examining the distinct but interrelated projects of Yale's feminist deconstructive moment and how local and contingent events as well as the national climate, rather than the importation of so-called French theory, informed this moment gives us a clearer rendering of the story of deconstruction.
10
Bolker, Jamie M. "William Falconer and the Rhetoric of the Sea." Eighteenth-Century Life 47, no. 2 (April 1, 2023): 166–87. http://dx.doi.org/10.1215/00982601-10394936.
Full textAbstract:
This essay explores how William Falconer's A Universal Dictionary of the Marine exemplifies the “rhetoric of the sea,” which operates according to an inclusive approach to maritime knowledge, which maritime authors adopted in an effort to translate into writing a unique, physical practice at sea. Since maritime practice involved diverse processes in an environment that could not be controlled, maritime and navigation books thereby contained diverse styles and forms, from poetry, to criticism, to illustrations, to definitions, in an effort to reflect the diversity, and experience, of the sea itself. This essay places Falconer's Dictionary (1769) into a longer history of maritime and navigation books, especially dictionaries, including John Smith's Seaman's Grammar and Dictionary (1626), and the development of specialized dictionaries in English. Building on developments in “blue ecocriticism,” this essay concludes by suggesting that the eighteenth-century rhetoric of the sea provides us an understanding of the semantic and physical power of the world's oceans.
Dissertations / Theses on the topic "English poetry History and criticism"
1
Kokotailo, Philip 1955. "Appreciating the present : Smith, Sutherland, Frye, and Pacey as historians of English-Canadian poetry." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39772.
Full textAbstract:
This thesis argues that as historians of English-Canadian poetry, A. J. M. Smith, John Sutherland, Northrop Frye, and Desmond Pacey explicitly promote the value of past conflict reconciled into present harmony. They do so by claiming that such reconciliation marks the maturity of English-Canadian culture. This thesis also argues, however, that the interactive progression of their histories implicitly undermines this value. It does so because each critic appreciates a different group of poets for realizing their shared cultural ideal, thereby establishing contradictory representations of what they all claim to be the culmination of English-Canadian literary history. The thesis concludes that while their lingering sense of present cultural maturity should now be fully renounced, the value these critics place on reconciliation is well worth preserving and transforming.
2
Emig, Rainer. "The end of modernism in English poetry." Thesis, University of Oxford, 1992. http://ora.ox.ac.uk/objects/uuid:c02149d4-6f3b-4368-b20e-d8e669514ccf.
Full textAbstract:
'End' as 'goal' and 'limit' is explored in signs, symbols, metaphors, metonymies, and myths in the works of G.M. Hopkins, Yeats, Eliot, and Pound, before the study examines the aesthetics of modernist poetry which - through psychoanalysis, economy, and language philosophy - presents itself as one facet of the 'modernist project'. Modernist poetry struggles with its material, the lacking motivation of signs, the unstable connection of signifier and signified. Already in Hopkins this creates tensions between mimetic endeavour and construction. Appropriation and distancing as compensation strategies prefigure modernism's tendencies of simultaneous expansion and reduction. They produce impasses, evident in attempts to signify the self: absence, dissolution, and submission to myth, recurring limits in modernist poetry. Yeats's poems avoid mimetic tensions by focussing on opaque signifieds of symbols, intertextuality rather than empiricism. Yet the excluded 'outside' in the shape of history questions works and their creator. Again, silence, dissolution, or superhistoricism become refuges, leading to dissolution of symbols into metaphors and metonymies or their sublimation in myth. Eliot's poems seemingly return to realism. Yet their focussing on everyday life disguises the internalisation of reality in psychological landscapes. Difficulties of drawing borderlines between subject and object(s) result: objects become threatening and characters mutilated in reifications, processes expressed in shifts from metaphor to metonymy. Pound's stabilising strategies reify language itself. His personae try to legitimise poems by incorporating histories of others, but produce overcharge and disintegration. Imagism refines modernism's reductive move, but creates monadic closure. Attempts at impersonality and superhistoricism lead to the dominance of the suppressed. Vorticism's construction/destruction dialectic does not tolerate 'works'. Only the ideogrammatic method achieves the shift to signifiers only which enables poems to 'include' reality and history at the cost of blindness towards themselves. Psychoanalysis displays analogies in its holistic concepts and simultaneous internal delineations, its distrust of signs and incomplete and lacking constructs deriving from them. Modernist poetry's struggle with tradition in order to legitimise its existence mirrors the individual's subjection to the 'law of the father'. Individuation is achieved by mutilation; the return to imaginary wholeness preceding it, although Utopian goal, remains impossible; it appears in poems as self-destruction. The economy of modernist poems shows their fight against expenditure, creation of artificial value through symbols, eventually a reductio ad absurdum in poems producing only themselves in reification. Work and subject become borderlines when reality shifts into the text altogether and the signified is eliminated. Language philosophy reproduces the positions of modernist poems towards reality, admitting the separation of language and objects: Nietzsche in disqualifying truth, Wittgenstein uncovering language's impotence. Again the excluded appears as the mystical which Heidegger re-integrates by setting up language as reality's creator and receptacle of Being. The nominalist upside-down turn of his linguistic universe is analogous to modernism's myth of itself. Adorno criticises the closed nature of works as statements and advocates a 'true' modernism in the fragmentation of the work and openness towards heterogeneity. Like Baudrillard, he stresses the riddle of art which permits its orbital position, neither detached from societal conditioning nor completely subjected to it, thus capable of unveiling the relativity of master-narratives. The 'true' modernist poem displays its tensions and 'sacrifices itself in order to remind its reader of the damages of existence.
3
Letcher, Valerie Helen. "A view of Herrick's poetic world and its values: with some reference to his fairy poetry." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1004773.
Full textAbstract:
From the preface: Herrick was a prolific poet, and a remarkably consistent one. Hesperides encompasses a lifelong collection of poems on themes as diverse as serious reflections on life's brevity and the playful examination of the minutely imagined world of the fairies, yet his vision of life remains coherent. My purpose in this study is to try to see ·Herrick's secular work in its unity and as a whole, without claiming to consider every aspect of his secular poetry. (I have not attempted, for example, to consider his classical sources.) As my interest lies mainly in his values and vision, my emphasis is on theme and tone, and the way they indicate his conception of life. For this reason, I only occasionally consider Herrick's poetic techniques, such as his versification and language, and there are no detailed analyses of individual poems which examine them from every angle. In addition, I am almost entirely concerned here with Hesperides , the secular poetry, and not with Herrick's religious verse, which is collected under the title of His Noble Numbers. (Although Herrick calls his book Hesperides: or The Works both Humane and Divine, the arrangement within is clearly a division into Hesperides, the secular poetry, and His Noble Numbers, the religious verse.)
4
Watson, Stephen. ""Bitten-off things protruding" : the limitations of South African English poetry post-1948." Doctoral thesis, University of Cape Town, 1993. http://hdl.handle.net/11427/22545.
Full textAbstract:
Bibliography: p. 362-393.In this thesis, the discussion of South African English poetry is undertaken in terms of critical questions to which the body of work, to date, has not been subjected. In the nineteen-seventies and -eighties, several anthologies of South African English poetry were published which, despite their differing foci, attested to the strength, innovation, and international stature of the work. Their editors made claims which emphasised both the importance of Sowetan poetry and the emancipation of white poetry, particularly in the last three decades, from the legacy of a stultifying colonial past. This thesis sets out to examine the validity of these critical evaluations. The impetus for such an examination is threefold. Firstly, in comparison with a world literature, South African English poetry has had little impact on the kinds of aesthetic questions which have led to the radical work of international figures like Milosz, Walcott, Neruda. Secondly, South African English poetry tends to be bifurcated by critical analysis, both locally and internationally, into the work of black poets and the work of white poets. Despite the realities of social history which have indeed dichotomised the human experience of South Africa in racial terms, this dichotomy does not seem the most fertile assumption from which to approach the achievement of a nation's poetry. Thirdly, as a poet himself, the writer of this thesis embarked upon the scholarly analysis of a poetic ancestry to which his own work looked ,in vain for location. The re-examination of the roots and value of South African English poetry begins in the thesis with the dilemmas posed by a legacy of romanticism in its displaced relation to a British colony. From this point the discussion argues that this legacy is visible in the unsatisfactory work of liberal poets in the nineteen-seventies and eighties, and argues that such choices cannot be nourishing to a South African cultural originality. Turning to the work most forcefully emphasised as culturally original - i.e. the work of the Soweto poets in the nineteen-seventies and after - the thesis explores this poetry's claims to stylistic and conceptual innovation. The poetry of the late eighties is then examined in relation to its desire to support, and even to drive, anti-apartheid philosophy and practice. The conclusions of the final chapter, presaged throughout the entire argument, suggest that earlier critical estimations of South African English poetry ignore crucial aspects of what has usually been meant by a fully achieved poetic tradition and that such neglect amounts to the betrayal of the very meaning of the term "poem".
5
Watson, Katherine. "The genius and construction of our Saxon poetry: old and middle English verse." Thesis, The University of Sydney, 2010. https://hdl.handle.net/2123/29224.
Full textAbstract:
Today, 'Anglo-Saxon origins, even in the educated or culturally Iiterate mind, remain a blank: nothing happened before 1066' 1. T. A. Shippey makes the point that the Anglo-Saxon world 'has no presence at all in modern life' ,2 particularly in contrast to the powerful presence of both the Viking World and the Arthurian one.3 England failed to retain or develop a flag, anthem, national symbology, etc., even in an era of violent European nationalism'.4 Why did England fail to develop an origin myth? Shippey suggests that England 'forfeited' its national identity in the nineteenth century, when 'the developing and potentially powerful image of Anglo-Saxon origins was sacrificed', and 'Englishness became an unwelcome political stance within the ''three kingdoms" of Britain and Ireland, as tending to exclude the non-English among Queen Victoria's subjects'; while 'the "invention" of Scottish, Welsh and lrish tradition was encouraged as compensation for progressive loss of independence and erosion of the Celtic anguages' .5 Walter Scott and many others 'created an image of co-operative British history which played a major part in reconciling contemporary Britons to British politics and the English language' .6
My aim is to examine this phenomenon in relation to England's literature, specifically its poetry. The forfeiture of Anglo-Saxon origins is apparent in the history of English poetry today, but the genesis of this history is located not in the nineteenth century, but in the eighteenth, in Thomas Warton's History of English Poetry. The present work examines the mechanisms which led to the omission of Old English poetry from Warton's History, and how this omission has affected the way we think about the origins of English poetry today.
Specifically, it is still widely held that English poetry began with Chaucer, and that there was a gap in poetry produced in England, between the 'Saxon' poetry produced by the Anglo-Saxons before the Norman Conquest, and the 'English' poetry which emerged - transformed by French prosody- two centuries or so after the Conquest. For this reason, the particular focus of the present work will be on poetry produced during the late Anglo-Saxon and Early Middle English periods, and how the prosody of that poetry has been theorised, both in the early nineteenth century, when it was first noticed, and today. As David Matthews has explained, the idea of Middle English was not invented until the 1870s, and 'even when scholars began agreeing' that there was a middle between Saxon and English, 'they did not agree on where exactly it occurred'. In these 'conditions of uncertainty', he argues, 'different ideologies could stake
different claims' .7
Although Matthews refers to the question of where the English language began, the same conditions of uncertainty applied to literature, and the question of where English poetry began has still not been resolved unanimously today. This 'diversity' of texts is still troubling to theorists today. For instance, it is still widely held that the Anglo-Saxons did not use rhyme. (This issue is a major focus of Part 3.)
The thesis of this work is that Old English verse did not die: there is no discontinuity of verse forms occurring at the time of the Norman Conquest. The dissertation presents a substantial reconsideration of a classic controversy, providing fresh perspective, in a context of reception histories relating to national and cultural identity, and with particular focus on developing ideas about prosody in medieval English verse. It presents Old and Middle English verse texts in a new way, collecting in appendices a comprehensive set of verse pieces from both periods which combine the use of alliteration and rhyme.
The approach taken focuses on the reception of early English verse and offers an analytical account of critical opinion across three centuries, tracking primary material and providing historical analysis of how critical views developed and influenced each other over a long period. There is an examination of the commonly held view that there is a break in the tradition of English poetry at the end of the Old English period and that when English poetry resumes, after a gap of a couple of centuries, its poetic forms are derived from French rather than earlier English models. In particular Old English poetry has been seen as based solely on alliteration and Middle English poetry on rhyme. An obvious problem with this view is the existence of a substantial body of alliterative poetry in the later Middle English period which has obvious similarities to Old English alliterative poetry. The processes by which the notion of a discontinuity between Old and Middle English poetry developed are explained, in particular how a tendency to ignore rhyme in Old English and explain away alliteration in Middle English has contributed to the development of this notion.
Part 1 traces the beginnings of commentary about Old English verse in the eighteenth century, when the understanding of Old English verse was uncertain and it was generally taken to be Danish in character, amounting to a refusal to regard it as English at all. The most influential text of the period, Warton's History of English Poetry, set the beginnings of English poetry at the Conquest.
Part 2 focuses on the growing understanding of Old English and Middle English verse in the early nineteenth century, characterised particularly by conflict between the scholars involved, and argues that the work of the influential antiquarian Thomas Wright recapitulated and fostered the old eighteenth-century position.
However, the main work of the dissertation is carried out in Part 3, which presents criticisms of the persistence in the twentieth century of the model of discontinuity and the idea of the 'death' of English verse at the hands of the Normans. It is shown that rhyme was present in Old English poetry and that the alliterative poetry of the Middle English period follows from an Old English tradition; and a case is made that Lawman should not be seen as a man who had lost the secret of Old English verse. lt is further demonstrated that even the key figure, J.P. Oakden, who began by assuming the death of alliterative verse, had to acknowledge ultimately that native English alliterative fom1s did not die.
Since it is the thesis of this dissertation that there is no significant boundary between Old and Middle English verse, the terms 'Old English' and 'Middle English' become problematic. In general I have used the term 'Old English' as it is generally used, to refer to the body of vernacular verse produced in England prior to the Norman Conquest, but the terms 'Saxon' and' Anglo-Saxon' sometimes refer to verse produced up until the thirteenth century.
6
Ni, Xia Jia. "From imagism to informationism :a study of 20th century experimental poetry in English." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3953521.
Full text
7
Cavell, Megan Colleen. "Representations of weaving and binding in Old English poetry." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610453.
Full text
8
Hacksley, Reginald Gregory. "The poetry of N.H. Brettell : a critical edition." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1008072.
Full textAbstract:
This thesis presents for the first time a critical reading edition of all known poems by N. H. Brettell. It makes no claim to being definitive, nor does it attempt to establish a final text. It represents merely the best thinking of the editor. Brettell printed and circulated his poetry primarily in hand-made illustrated volumes in a process reminiscent of the scribal publication of the seventeenth century. Only 137 of his 206 extant poems were commercially published during his lifetime. In this study all known printed versions of Brettell's poetry whether in privately printed or commercially published form were examined. All variant readings were recorded and are shown. Wherever possible the relationships between texts are also noted. The poems in this edition are ordered in each case according to the version in the latest datable privately produced collection. The commentary and critical introduction were compiled with the general reader in mind. No previous familiarity with southern African fauna and flora is assumed: animals, birds and insects are described and their scientific names supplied. Expressions current in ordinary British or South African English and present in non-specialist dictionaries are not glossed, but archaic and dialectal forms felt to require explication are briefly explained. So too are less familiar South African dialectal expressions which have been assimilated into the South African English lexicon. Intertextual, Christian and mythological references, both African and Western, are annotated in an attempt to make such references accessible to readers who may not share Brettell's cultural background. The intention is to close the changing distance between the text and the audience. An essay discussing the merits, potential and limitations of electronic scholarly editing is included as part of the textual introduction. A CD-Rom containing Brettell's watercolour illustrations in his privately produced collections and audio-clips of him reading his poetry accompanies this thesis.
9
Young, Sharon. "The country house in English women's poetry 1650-1750 : genre, power and identity." Thesis, University of Worcester, 2015. http://eprints.worc.ac.uk/6439/.
Full textAbstract:
This thesis examines the depiction of the country estate in English women’s poetry, 1650-1750. The poems discussed belong to the country house genre, work with or adapt its conventions and tropes, or belong to what may be categorised as sub-genres of the country house poem. The country house estate was the power base of the early modern world, authorizing social status, validating political power and providing an economic dominance for the ruling elite. This thesis argues that the depiction of the country estate was especially pertinent for a range of female poets. Despite the suggestive scholarship on landscape and place and the emerging field of early modern women’s literary studies and an extensive body of critical work on the country house poem, there have been to date no substantial accounts of the role of the country estate in women’s verse of this period. In response, this thesis has three main aims. Firstly, to map out the contours of women’s country house poetry – taking full account of the chronological scope, thematic and formal diversity of the texts, and the social and geographic range of the poets using the genre. Secondly, to interrogate the formal and thematic characteristics of women’s country house poetry, looking at the appropriation and adaptation of the genre. Thirdly, to situate the selected poetry both within and against the extensive and formally published male-authored canon and the more general literary and historical contexts of the early modern period. Across these related strands of discussion, the study has two important implications for our understanding of late seventeenth- and early eighteenth-century poetry: it adds to our knowledge of women’s poetic practices of the period and extends and complicates our understanding of the country house genre. Each chapter highlights a particular engagement with the genre responding to a complex of historical contexts, literary trends and personal circumstance. Chapter one will explore the contexts which prompt the emergence of the country house poem and the shape and detail of the genre, 1600–1650. It also examines where the specific gendered contexts of women’s writing practices are relevant to the selection of texts. Chapter two focuses on the thematic and formal interplay in Katherine Austen’s manuscript miscellany ‘Book M’ and role the country house genre plays in exploring and negotiating women’s relationship to property. Chapter three shares many of the same historical and literary contexts but from a different religio-political standpoint and focuses on Lucy Hutchinson’s manuscript collection ‘Elegies’. Chapter four examines the appropriation and re-positioning of the country house genre in the poetry of Anne Finch and Jane Barker, arguing that as the post- Restoration period began, the motivation to explore the country house as a symbol of legitimate political power, a location and symbol of retirement and retreat and the site of financial and cultural investment did not wane, but was reworked by Finch and Barker to explore their political sympathies for the Stuart monarchy. Chapter five explores the use of the country house genre by poets associated with Whig political sympathies: Lady Mary Wortley Montagu and Anne Ingram. Largely unaffected by socio-economic or political marginalisation, both Montagu and Ingram enter into a public, and politically inflected, debate on the importance of taste. Chapter six explores two writers, Mary Leapor and Mary Chandler, who belong to an emerging body of writers of mercantile or labouring class. The discussion will focus on Leapor’s ‘Crumble-Hall’ and Chandler’s A Description of Bath and the contexts of consumerism and tourism to which both poems respond.
10
Carrière, Marie J. "Poetics of the other, five feminist writers from English Canada and Quebec." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/NQ45662.pdf.
Full textBooks on the topic "English poetry History and criticism"
1
Kang, Sun Koo. Understanding English poetry. South Korea?]: Hannam University Press, 2005.
Find full text
2
Dennis, John. The grounds of criticism in poetry. London: Routledge/Thoemmes Press, 1994.
Find full text
3
Post, Jonathan F. S. English Lyric Poetry. London: Taylor & Francis Group Plc, 2004.
Find full text
4
1937-, Atma Ram, ed. Contemporary Indian English poetry. Calcutta: Writers Workshop, 1989.
Find full text
7
Richard, Machin, and Norris Christopher 1947-, eds. Post-structuralist readings of English poetry. Cambridge [Cambridgeshire]: Cambridge University Press, 1987.
Find full text
8
King, Bruce. Modern Indian poetry in English. Delhi: Oxford University Press, 1987.
Find full textBook chapters on the topic "English poetry History and criticism"
1
Alexander, Michael. "Poetry." In A History of English Literature, 273–84. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-04894-3_10.
Full text
2
Peck, John, and Martin Coyle. "Sixteenth-Century Poetry and Prose." In A Brief History of English Literature, 34–52. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-35267-5_3.
Full text
3
Peck, John, and Martin Coyle. "Seventeenth-Century Poetry and Prose." In A Brief History of English Literature, 91–113. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-35267-5_6.
Full text
4
Peck, John, and Martin Coyle. "Sixteenth-Century Poetry and Prose." In A Brief History of English Literature, 34–52. London: Macmillan Education UK, 2002. http://dx.doi.org/10.1007/978-1-137-10794-7_3.
Full text
5
Peck, John, and Martin Coyle. "Seventeenth-Century Poetry and Prose." In A Brief History of English Literature, 91–113. London: Macmillan Education UK, 2002. http://dx.doi.org/10.1007/978-1-137-10794-7_6.
Full text
6
"Modernism and criticism." In A Linguistic History of English Poetry, 169–214. Routledge, 2005. http://dx.doi.org/10.4324/9780203978702-14.
Full text
7
Coolahan, Marie-Louise. "Archipelagic Poetry." In The Oxford History of Poetry in English, 405–18. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780198930259.003.0035.
Full textAbstract:
Abstract Archipelagic literary criticism directs attention to the literary interactions between the ‘four nations’: England, Ireland, Scotland, and Wales. This approach to literary study embraces a plurality of voices and languages across the islands of Britain and Ireland, exploring multi-polar perspectives that de-centre that of England. This chapter begins with a survey of archipelagic criticism, outlining key directions that have been taken and debates opened up. It then charts a course through archipelagic approaches to individual poets—some (such as Marvell and Milton) engulfed in historical events that sucked in all the adjacent islands; others (Philips, Vaughan, Drummond, Melville, Southwell, Shank, Llwyd, and anonymous composers of verse) living and working in different parts of the archipelago, contending with its intertwined and cross-cutting energies. These examples reveal the shifting dynamics of collision and encounter, encompassing political engagement with contemporary events, aesthetic developments in poetic form, and the cross-fertilisation of different language traditions.
8
Cheney, Patrick. "Poetics." In The Oxford History of Poetry in English, 83–100. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198830696.003.0005.
Full textAbstract:
The sixteenth century prints the first treatises in English on ‘poetics’, a branch of literary criticism outlining a theory of poetry. Traditionally, modern scholars understand English poetics to be rhetorical: poetry is a rational form of persuasion. However, sixteenth-century theorists also introduce a counter-theory known as the sublime, first outlined by Longinus, who sees poetry as an irrational art aiming at ‘amazement and wonder’. For Longinus, the goal of sublime poetry is not to civilise the human but to secure freedom from the human: sublime poetry catapults the reader to the godhead. Sidney’s Defence taps into a poetics of sublime freedom, as do other treatises, such as Scott’s Model of Poetry. Consequently, the sixteenth century is the first era to theorise sublime poetic freedom of the literary imagination itself. Poets and playwrights like Marlowe in Doctor Faustus cohere with the theorists by scripting a liberating poetics of sublime authorship.
9
"George Gascoigne, A primer of English poetry (1575)." In English Renaissance Literary Criticism, edited by Brian Vickers, 162–71. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198186793.003.0008.
Full textAbstract:
Abstract The first and most necessary point that ever I found meet to be considered in making of a delectable poem is this, to ground it upon some fine invention.1 For it is not enough to roll in pleasant words, nor yet to thunder in ‘ Rym, Ram, Ruff’ by letter (quoth my master Chaucer),2 nor yet to abound in apt vocables or epithets, unless the invention have If I should undertake to write in praise of a gentlewoman, I would neither praise her crystal eye, nor her cherry lip, etc. For these things are trita et obvia. But I would either find some supernatural cause whereby my pen might walk in the superlative degree, or else I would undertake to answer for any imperfection that she hath, and thereupon raise the praise of her commendation. Likewise, if I should disclose my pretence in love, I would either make a strange discourse of some intolerable passion, or find occasion to plead by the example of some history, or discover my disquiet in shadows per allegoriam, or use the covertest mean that I could to avoid the uncomely customs of common writers.
10
Verweij, Sebastiaan. "Jacobean to Early Stuart." In The Oxford History of Poetry in English, 15–27. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780198930259.003.0003.
Full textAbstract:
Abstract This chapter reviews the potential for impact of a Scottish poetics on early-Stuart English literary culture around the succession of James VI/I (1603). It identifies four sites of convergence: first, a Jacobean poetics shaped by the pre-1603 court cultures of James VI; second, a Scottish Protestant poetry; third, the emergence of newly fashioned identities for poets and writers (the ‘Scoto-Britains’); and fourth, the interchange of books and manuscripts across the border, which also saw some Scottish poets in English printed collections, and the appearance of English and Scottish poetry alongside each other in manuscript verse anthologies. Much traditional criticism of seventeenth-century English poetry ignores what cultural imports the newly crowned king may have brought with him, and so this chapter argues that there was in fact a dynamic relationship between aspects of Scottish and English poetry and poetics.
Conference papers on the topic "English poetry History and criticism"
1
Liu, Chongxi. "“POETRY CARVED IN STONE”: DOCUMENTARY, LITERARY AND CULTURAL CONNOTATION IN BAI JUYI’S POETRY INSCRIPTION." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.04.
Full textAbstract:
The poetry inscription, with Bai Juyi in the Middle Tang Era as its representative, began to express purely personal emotions in terms of content, which reflects the poet’s creative individuality. Bai takes stone as his friend, loves it, chants it, and inscribes poems on it, endowing it natural and personal qualities. Bai was the first poet to consciously combine “poetry” and “stone” with nearly 20 kinds of poetry inscriptions. Compared with book documents, Bai’s poetry inscriptions not only have the philological value of text criticism, but also have multiple functions, i. e., reproducing the historical context of poetry creation and transmitting as a “linguistic landscape”. Such humanistic connotation determines the significance of Bai’s poetry inscription in the history of Chinese literature and culture.
2
Макарьев, И. В. "Friedrich Schlegel's understanding of history in the context of the philosophy of history of the XX – early XXI centuries." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.83.19.061.
Full textAbstract:
в философии истории ХХ в. можно выделить двоякую тенденцию. С одной стороны, классическая философия истории подвергается радикальной критике (в немецкой философской герменевтике, французском структурализме и постструктурализме, англоязычной аналитической философии), а с другой стороны, она продолжается и развивается в различных концепциях и теориях («столкновение цивилизаций» С. Хантингтона, «конец истории» Ф. Фукуямы). Такая двойственность (критика философии истории и ее развитие) не является характеристикой только нашей современности. Выдающийся немецкий филолог и философ Фридрих Шлегель (1772–1829) в ситуации философской революции рубежа XVIII–XIX вв. постарался соединить эти две позиции в одну, что и стало предметом анализа автора статьи. in the philosophy of the history of the twentieth century, a twofold tendency can be distinguished. On the one hand, the classical philosophy of history is subjected to radical criticism (in German philosophical hermeneutics, French structuralism and poststructuralism, English-speaking analytical philosophy), and on the other hand, it continues and develops in various concepts and theories (S. Huntington's "clash of civilizations", "end of history" F. Fukuyama). Such duality (criticism of the philosophy of history and its development) is not a characteristic only of our modernity. The outstanding German philologist and philosopher Friedrich Schlegel (1772–1829), in the situation of the philosophical revolution at the turn of the 18th–19th centuries, tried to combine these two positions into one, , which became the subject of the analysis of the author of the article.
3
Slamova, Karolina. "THE SEARCH FOR AN APPROACH TO CZECH LITERARY HISTORY IN IGOR HAJEK�S CONCEPT." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.22.
Full textAbstract:
This paper focuses on the field of literary history in order to show what approach to the historiography of Czech literature was taken by the representative of Czech exile literary criticism, Igor Hajek. The context which Hajek entered during his study stays in the USA and Great Britain, and later in exile, was the reception horizon of the late 1960s, when the events of the �Prague Spring� attracted the attention of the West and turned attention to the Czech liberalisation movement, in which literature played a significant role. Hajek assumed the role of a mediator of the fundamental values of Czech literary production to the Western audience from the position of an expert in the Anglo-American cultural environment and Czech and foreign literary approaches. The specificity of his perspective is due to the fact that he tried to present the image of Czech national literature with respect to a non-Czech reader and that he aimed to clarify the main features of the development of Czech literature to international students and readers. The paper presents the conclusions of the analysis of Hajek�s literary-historical essays, which show that Igor Hajek relied mainly on the views of Arne Novak, a Czech literary historian and critic. The paper further assumes that Igor Hajek, due to his background in English studies, methodologically drew on some of the approaches that were being promoted in the West in his time and notes the connections between Hajek�s methods and the methodologies these approaches are based on.
4
Cogut, Sergiu. "An Exponential Work of Literary Modernism Reaching its Centenary." In Conferinta stiintifica nationala "Lecturi în memoriam acad. Silviu Berejan", Ediția 6. “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2023. http://dx.doi.org/10.52505/lecturi.2023.06.17.
Full textAbstract:
2022 was marked by the 100th anniversary of the publication of two literary creations that over time were appreciated as emblematic works of modernism. They are James Joyce’s famous novel Ulysses and Thomas Stearns Eliot’s poem The Waste Land. The latter had an overwhelming impact on subsequent poetry, propelling the author to the top of the hierarchy of poets of the 20th century, although in that era it was perceived as an obscure poetic creation, thus contradicting the literary criticism of the time. In the process of elaboration of his innovative work in both message and form, T. S. Eliot was deeply influenced by the suggestions of his friend, the great American poet Ezra Pound who had the role of mentor for the English author also born in the United States, as he was actively involved in the drafting of the outstanding poem The Waste Land. Through this creation of his, T. S. Eliot asserted himself as a voice of special resonance that highlighted the disintegration, being thus considered an apostle of postmodernism. It is welcome to mention that for an adequate interpretation of this far-reaching work of the last century, it is necessary to clarify and apply the concept of „objective correlative” which was theorized by the same T. S. Eliot in his essay concerning Hamlet.
5
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.
Full textAbstract:
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.