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Journal articles on the topic 'English poetry History and criticism'
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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.
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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.
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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.
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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.
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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.
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<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>
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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.
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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.”
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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“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.
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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.
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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.
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McCall, Jessica. "Shakespeare in Shang-Chi." Borrowers and Lenders The Journal of Shakespeare Appropriations 14, no. 2 (April 28, 2023): 143–46. http://dx.doi.org/10.18274/bl.v14i2.318.
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Trevor Slattery, played by Ben Kingsley, holds an uncomfortable subject position within the Marvel Cinematic Universe. He was introduced as the Mandarin in Iron Man 3 (2013), and this appearance occasioned significant criticism for its racist tropes. Slattery was recently re-introduced in Shang-Chi and the Legend of the Ten Rings (2021), accompanied by the short film All Hail the King (2021). The racist elements within Slattery’s characterization have been justified in two specific ways: his role as an actor and his portrayal as a clown. With his most recent appearances, both of those covers have been deliberately intertwined with Shakespeare. Long before Harold Bloom asserted Shakespeare as Author-God, the Bard was used as a tool of colonialization around the world; the assumption was that his words and poetry would solidify English as a lingua franca and have a “civilizing,” “gentling” effect on the masses. As Ruben Espinosa states: “Shakespeare is, and always has been, invariably connected to discourses about oppressive structures” (Espinosa 2021, 159). And yet what is especially curious about the Marvel Cinematic Universe’s most recent use of Shakespeare is the seeming willful ignorance of this complex history.
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Griffith, M. S. "Poetic language and the Paris Psalter: the decay of the Old English tradition." Anglo-Saxon England 20 (December 1991): 167–86. http://dx.doi.org/10.1017/s0263675100001800.
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The metrical version of psalms LI–CL, known as the Paris Psalter, is a pedestrian and unimaginative piece of poetic translation. It is rarely read by students of Old English, and most Anglo-Saxonists make only passing reference to it. There is scarcely any literary criticism written on the text, although some work has been done on its vocabulary and metre. I hope to show in this article, however, that its stylistic peculiarities mark an important stage in the disintegration of the Old English poetic mode, and that analysis of these may go some way towards answering the difficult questions which surround the manner and the cause of the style's disappearance at the end of the Anglo-Saxon period. In particular, I shall examine this poet's selective use of the poetic diction normally associated with the form, and the impact of this selectivity on the systems of rank and formula.
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Wenjia, Zhu. "Ideas of Statecraft in Philip Sidney’s <i>The Defense of Poesy</i>." Humanities and Social Sciences 12, no. 2 (March 7, 2024): 29–34. http://dx.doi.org/10.11648/j.hss.20241202.12.
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Philip Sidney was a famous courtier, soldier, poet and patron in Elizabethan England. As the best work of literary criticism in the English Renaissance, Sidney’s <i>The Defense of Poesy</i> not only contains rich poetic, philosophical and aesthetic values, but also permeates with comments and suggestions on current politics, implying advanced ideas of statecraft. Studying <i>The Defense of Poesy</i> in the context of social, political and cultural anxiety in England in the late 1570s and early 1580s, this article attempts to reveal Sidney’s creative motive and governing ideology. The adherence to ethical values shows his belief in “building the state with political virtue”; the praise of the heroic epic reveals the determination to “protect the state with military force”; the prospect of national poetics presents the vision of “strengthening the state with national culture”. Sidney reinterpreted the function of poetry and the responsibility of poets at the time of national crisis. Discussing politics in the name of poetry, Sidney expressed his efforts to create a political poetics aiming to serve the state, and demonstrated the beautiful political vision of building a “golden world” of heroic, solidary, independent, and united England. Throughout his life, Sidney turned the ideas of statecraft into an act of serving the country. After his early death in battle, he was hailed as the cultural icon and national hero of England.
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DIMOVA, Irena. "Childhood memory as “Natural memory” in poems by the Slovak author Ján Stacho." Problems of slavonic studies 70 (2021): 181–89. http://dx.doi.org/10.30970/sls.2021.70.3746.
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Background: Ján Stacho is an eminent Slovak author (1936–1995) who first has published in 1959. Two years later he became member of the so-called Trnava group, made up of him, Ján Ondruš, Jozef Mihalkovič and Ľubomír Feldek. The group’s poet-ics and aesthetics can be found in their manifestos – “There will be a talk about chil-dren's poetry”, “There will be a talk about translation” and “There will be a talk about poetry”, the last of which is lost. Ján Ondruš’s debut book “Wedding Journey“ was first published in 1961. His poems and one of the group’s literary manifestos are the subject of the present study. Purpose: The article examines the idea of childhood memory as “natural memory”. The concept is found in the poetry of Ján Ondruš, who is part of the Slovak poetry Trnava group. His poems serve the purpose of the article – to look at the realizations of the concretists’ theoretical views in the poems of the author mentioned above. Results: The article outlines the concept of memory, which we find in the aesthetic platform of the Slovak Trnava group, specifically in their manifesto “There will be a talk about children's literature.” In this text, the authors plead for writing poetry that is not “sucked from the finger” but is “squeezed” from memory. We deduce the “uses” of memory from the texts of one of the Trnava groups’ representatives, Ján Stacho. The subject of our research is his debut poetry collection from 1961, “Wedding Journey.” In his poems, we connect memory – as childhood and natural – with the metaphor of “salt-ing the senses” and the naive, unencumbered “sensing” the world to grasp the latter. We also include an intertextual reference to the text "Memory" of another poet from the Trnava group Ján Ondruš, which representatives refer to as one of their program’s works. Key words: childhood memory, natural memory, senses, Slovak literature, Trnava group. Bílik, R., 2000. Ľubomír Feldek. Bratislava: Kalligram. (In Slovak) Bokníková, A., 2006. Trnava Group – Concretists. Bratislava: Kalligram. (In Slovak) Feldek, Ľ., 2007. The Doomed Group of Trnava. Bratislava: Columbus. (In Slovak) Gilman, R., 2005. The Drama Is Coming Now: The Theater Criticism of Richard Gilman. New Haven and London: Yale University Press. (In English) Hajko, D., 1998. Ján Stacho: Essay on the Poet Who Wanted to Read the Ciphers of Being. Bratislava: National Literary Centre. (In Slovak) Jelínek, A., 1961. Vítězslav Nezval. Praha: Czechoslovak Writers. (In Czech) Kupec, I., 1955. In Defense of Poetry. Cultural Life, 44 (10), pp.4–6. (In Slovak) Maslowski, N. and Šubrt, J., 2015. Collective Memory. Theoretical Questions. Praha: Karolinum. (In Slovak) Matejov, F., 1986. Ján Ondruš’ Poem Memory. V: Literary Views. Proceedings of Young Literary Science. Bratislava: Smena, pp.164–185. Mikula, V., 2013. “Red” Fifties in “Golden” Sixties. V: Waiting for History. Articles on Slovak Literary History. Bratislava: UK, pp.127–147. (In Slovak) Nora, P., 2004. The Global Rise of Memory. V: Y. Znepolsky, red. Pierre Nora. Places of Memory and Constructing the Present. Sofia: House for Science and Society, pp.19–35. (In Bulgarian) Ondruš, J., 1965. The Mad Moon. Bratislava, 1965, 1982. (In Slovak) Ondruš, Ya., 1997. Out of the Mirror. Sofia: Literary front. (In Bulgarian) Prodanov, V., 2006. Memory Speculations. V: Culture and Memory. Varna, pp.58–85. (In Bulgarian) Stacho, J., 1961. Wedding Journey. Bratislava, 1961. (In Slovak) Šimonovič, J., 1962. According to Wedding Journey. Young Creation, 7(8–9), pp.28–29. (In Slovak)
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Zakharov, Vladimir N. "The Idea of Ethnopoetics in Contemporary Research." Проблемы исторической поэтики 18, no. 3 (July 2020): 7–19. http://dx.doi.org/10.15393/j9.art.2020.8382.
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<p>In recent decades, ethnopoetics has become one of the new philological disciplines. Its idea first appeared in the treatise of Nicolas Boileau “The Art of Poetry” (1674), in which the classicist theorist formulated the requirement of local and historical color in art. His rule was followed by many poets, playwrights and novelists of Modern history. In Anglo-American criticism, the term ethnopoetics was introduced in 1968. Jerome Rotenberg, who, along with Dennis Tedlock and Dell Himes, founded the principles and methods of studying American Indian poetry. In the 2000s. this concept has entered encyclopedic dictionaries in English and other European languages, but this word is still not in Russian terminological dictionaries. So far, the concept of poetics, which restricts the semantics of words forming a term, has received recognition. Already in the process of formation of ethnopoetics, its subject was expanded at the expense of middle Eastern and Jewish folklore, and later the oral creativity of other peoples. The word formation model (ἔθνος/ ethnos + ποιητική/poetics) cancels limited interpretations of the term. In modern usage, the term ethnopoetics is used in a wide range of meanings that have not yet been marked by lexicographers, but convey the full semantics of the words forming the term. The idea of ethnopoetics gave rise to not one, but several of its concepts. The author of the article develops his earlier understanding of ethnopoetics as a discipline that should study the national identity of the oral and written text, describe in the categories of poetics the specific things that make national literature national. It is characterized by concepts and conceptospheres, they form the mentality, reveal the cultural code of national literatures. The analysis of ethnopoetics opens up great opportunities in the comparative analysis of thesauri of different authors and their works.</p>
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Klimovskaya, A. Y. "Пасторальные мотивы и образы романа Б. Пим «Несколько зеленых листьев»." Вестник гуманитарного образования, no. 1(25) (April 21, 2022): 123–29. http://dx.doi.org/10.25730/vsu.2070.21.073.
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The actual problem of the traditions of the genre of English pastoral in the late work of B. Pym did not become the subject of a separate study of either foreign or domestic literary criticism. The purpose of the article was to analyze the last novel of Pym "A few Green Leaves" from the point of view of the reception of the traditions of the genre of English pastoral of the XVII–XVIII centuries using the methods of historical and literary, comparative, intertextual, motivic analysis, as well as gender approach. The subject of the study is the study of the implementation of classical pastoral plots, themes, images and motifs in the novel Pym. It is concluded that when creating images of the main characters, Pym resorts to the virtues inherent in the genre of pastoral comedy. The writer uses the pastoral motif of a wonderful leisure in the bosom of nature, dedicated to love and philosophical contemplation, as well as images of creativity and death from pastoral poetry, combines romantic and religious motives, opposes the past and the present. The specifics of the implementation of pastoral traditions lies in the fact that the writer ironically plays the images of the main characters, and most of the pastoral motifs are parodied, translated into a comically reduced stylistic plan due to the inconsistency of the pathetically high borrowed form and content in the recipient text. In the poetics of her novel, there is a close interaction of three modalities – pastoral, ironic and tragic. In his latest novel, Pym develops the classic motif of a ruined pastoral and feels nostalgia for bygone times. The results of this study can be used in the creation of works on the history of English literature of the twentieth century, the history of English women's literature, on the theory of the English novel. Актуальная проблема традиций жанра английской пасторали в позднем творчестве Б. Пим не становилась предметом отдельного исследования ни зарубежной, ни отечественной литературной критики. Целью статьи стал анализ последнего романа Пим «Несколько зеленых листьев» с точки зрения рецепции традиций жанра английской пасторали XVII–XVIII вв. с помощью методов историко-литературного, сравнительно-сопоставительного, интертекстуального, мотивного анализа, а также гендерного подхода. Предмет исследования состоит в изучении реализации классических пасторальных сюжетов, тем, образов и мотивов в романе Пим. Делается вывод о том, что при создании образов главных персонажей Пим прибегает к добродетелям, свойственным жанру пасторальной комедии. Писательница использует пасторальный мотив прекрасного досуга на лоне природы, посвященного любви и философскому созерцанию, а также образы творчества и смерти из пасторальной поэзии, объединяет романтические и религиозные мотивы, противопоставляет прошлое и настоящее. Специфика реализации пасторальных традиций заключается в том, что писательница иронически обыгрывает образы главных персонажей, а большинство пасторальных мотивов пародируется, переводится в комически сниженный стилистический план за счет несоответствия патетически высокой заимство ванной формы и содержания в тексте-реципиенте. В поэтике ее романа наблюдается тесное взаимодействие трех модальностей – пасторальной, ироничной и трагедийной. В своем последнем романе Пим развивает классический мотив разрушенной пасторали и ощущает ностальгию по ушедшим временам. Результаты данного исследования могут быть использованы при создании трудов по истории английской литературы ХХ в., истории английской женской литературы, по теории английского романа.
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Kinkley, Jeffrey C. "The Monster That Is History: History, Violence, and Fictional Writing in Twentieth-Century China. By David Der-Wei Wang. [Berkeley, Los Angeles and London: University of California Press, 2004. 402 pp. ISBN 0-520-23140-6.]." China Quarterly 182 (June 2005): 439–41. http://dx.doi.org/10.1017/s0305741005270261.
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This celebration of modern Chinese literature is a tour de force, David Wang's third major summation in English. He is even more prolific in Chinese. Wang's command of the creative and critical literatures is unrivalled.Monster's subject is “the multivalence of Chinese violence across the past century”: not 1960s “structural violence” or postcolonial “epistemic violence,” but hunger, suicide, anomie, betrayal (though not assassination or incarceration), and “the violence of representation”: misery that reflects or creates monstrosity in history. Monster thus comments on “history and memory,” like Ban Wang's and Yomi Braester's recent efforts, although for historical reasons modern Chinese literature studies are allergic to historical and sociological methodologies.Monster is comparative, mixing diverse – sometimes little read – post-May Fourth and Cold War-era works with pieces from the 19th and 20th fins de siècle. Each chapter is a free associative rhapsody (sometimes brilliant, sometimes tedious; often neo-Freudian), evoking, from a recurring minor detail as in new historicist criticism, a major binary trope or problematic for Wang to “collapse” or blur. His forte is making connections between works. The findings: (1) decapitation (loss of a “head,” or guiding consciousness?) in Chinese fiction betokens remembering or “re-membering” (of the severed), as in an unfinished Qing novel depicting beheaded Boxers, works by Lu Xun and Shen Congwen, and Wuhe's 2000 commemoration of a 1930 Taiwanese aboriginal uprising; (2) justice is poetic, but equals punishment, even crime, in late Qing castigatory novels, Bai Wei, and several Maoist writers; (3) in revolutionary literature, love and revolution blur, as do love affairs in life with those in fiction; (4) hunger, indistinct from anorexia, is excess; witness “starved” heroines of Lu Xun, Lu Ling, Eileen Chang and Chen Yingzhen; (5) remembering scars creates scars, as in socialist realism, Taiwan's anticommunist fiction, and post-Mao scar literature; (6) in fiction about evil (late Ming and late Qing novels; Jiang Gui), inhumanity is all too human and sex blurs with politics; (7) suicide can be a poet's immortality, from Wang Guowei to Gu Cheng; (8) cultural China's most creative new works invoke ghosts again, obscuring lines between the human, the “real,” and the spectral.
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Reynolds, R. Clay, and R. S. Gwynn. "New Expansive Poetry: Theory, Criticism, History." South Central Review 17, no. 3 (2000): 141. http://dx.doi.org/10.2307/3190100.
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Ireland, Colin. "Journal: Sirena." Frontiers: The Interdisciplinary Journal of Study Abroad 10, no. 1 (August 15, 2004): 277–78. http://dx.doi.org/10.36366/frontiers.v10i1.146.
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Sirena is a new journal of poetry and criticism published by the department of Spanish and Portuguese at Dickinson College. A major purpose of the journal is to publish all poetry and criticism in the original language. In the case of critical articles, Sirena publishes those articles in the original language only, so an article submitted in Spanish will appear online in Spanish. For poetry, all submissions are published in the original language first and then translated into either English (if the original language was Spanish, or translated into Spanish (if the original language was English). In the case of the original poem being in a language other than Spanish or English, that poem will be translated into both of those languages. In other words, all poetry appears in either bilingual or trilingual translations.
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Nilova, Anna. ""POETICS" OF ARISTOTLE IN RUSSIAN TRANSLATIONS." Проблемы исторической поэтики 19, no. 4 (December 2021): 7–39. http://dx.doi.org/10.15393/j9.art.2021.9822.
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The article presents an overview of the existing translations of Aristotle's “Poetics”, characterizes the features of each of them. In the preface to his translation of Aristotle's “Poetics”, V. Zakharov characterized the work of the Greek philosopher as a “dark text.” Each translation of this treatise, which forms the basis of European and world literary theory, is also its interpretation, an attempt to interpret the “dark places.” The first Russian translation of “Poetics” was made by B. Ordynsky and published in 1854, however, the Russian reader was familiar with the contents of the treatise through translations into European languages and its expositions in Russian. For instance, in the “Dictionary of Ancient and New Poetry” Ostolopov sets out the Aristotelian theory of drama and certain other aspects of “Poetics” very close to the original text. Ordynsky translated the first 18 chapters of “Poetics”, focusing on the theory of tragedy. The translator presented his interpretation of Aristotle’s concept in an extensive preface, commentaries and a lengthy “Statement.” This translation set off a critical analysis by Chernyshevsky, and influenced his dissertation “Aesthetic relations of art to reality”, in which the author polemicizes with the aesthetics of German romanticism. In 1885 V. Zakharov published the first complete Russian translation of “Poetics”, in which he offered his own interpretation of Aristotle's teaching on language and epic. The author of this translation returns to the terminology of romantic aesthetics, therefore the translation itself is outside the main line of perception of the teachings of Aristotle by domestic literary theory, which is clearly manifested in the translations of V. G. Appelrot (1893), N. N. Novosadsky (1927) and M. L. Gasparov (1978). The subject of discussion in these translations was the interpretation of the notions of μῦϑος and παθος, the concepts of mimesis and catharsis, the source of suffering and the tragic, the possibility of modernizing terminology. An important milestone in the perception and assimilation of Aristotle's treatise by Russian literary criticism was its translation by A. F. Losev, which was not published, but was used by the author in his theoretical works and in criticizing other interpretations of “Poetics”. M. M. Pozdnev penned one of the last translations of “Poetics” (2008). The translator does not seek to preserve the peculiarities of the original style and interprets “Poetics” within the framework and terms of modern literary theory, focusing on its English translations. The main subject of the translator's reflection is Aristotle's understanding of the essence and phenomenon of poetic art. Translations of the Greek philosopher's treatise reflect the history of the formation and development of the domestic theory of literature, its main topics and terminological apparatus.
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Lethbridge, J. B. "Spenser, Donne, I. A. Richards and the Limitations of Practical Criticism." Recherches anglaises et nord-américaines 49, no. 1 (2016): 29–42. http://dx.doi.org/10.3406/ranam.2016.1524.
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I. A. Richards virtually created close reading or practical criticism, still the basic tool of criticism of any school. Richards was deeply influenced by modernist aesthetics and the poetry of John Donne. With expressivist poetry of thick surfaces where the poem is not trying to mean but to be, close reading is fruitful. But with other sorts of poetry — the rhetorical and the highly simple or sparse — practical criticism can mislead, its assumptions, practices and tools being at odds with them. Generalising from Spenser’s poetry, a taxonomy of English poetry is suggested : the poetry of being, the rhetorical, and the sparse or georgic ; some critical approaches appropriate to rhetorical and sparse poetry are indicated : a renewal of rhetorical appreciation, engagement with the message of a poem, and accepting that sometimes a poem means just what it says.
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Burt, Sean. "Alicia Suskin Ostriker’s Feminist Poetics: Reading Biblical Poetry as Countertheology." Prooftexts 40, no. 1 (2023): 227–47. http://dx.doi.org/10.2979/ptx.2023.a899254.
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Abstract: Alicia Suskin Ostriker is the author of a wide range of literary and critical works, including several books of poetry and criticism of English-language poetry. This article argues that Ostriker’s work as a poet and literary scholar informs her engagement with biblical literature, particularly biblical poetry. In her formative work on twentieth-century English-language women’s poetry, she articulates how women’s poetry voices embodied identities and creates spaces of intimacy that can break down ideologically constructed barriers. Her creative, poetic biblical criticism mutually informs her interest in the ability of women’s poetry to transform and revise male-dominated mythologies. For Ostriker, the poetry of the Bible provides a resource located within Jewish tradition that can transform it from the inside. As a reader and creative inheritor of the literary heritage of the Bible who is carefully attuned to its literary power, Ostriker’s work reading and revisioning the Bible creates a feminist countertheology grounded in the aesthetic, material possibilities of poetic language.
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Lu, Guorong, and Yingxin Li. "Translation Criticism on Qinyuan Chun•Changsha Based on Xu Yuanchong’s Art of Beautifulization." English Language and Literature Studies 14, no. 1 (February 26, 2024): 74. http://dx.doi.org/10.5539/ells.v14n1p74.
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Mao Zedong, the great leader of China, is also one of the greatest poets in China. His poetry is regarded as the treasure of Chinese literary, in which Qinyuan Chun·Changsha plays an leading position. With the background of “Chinese literary going out”, the translation of the poem seems really meaningful. So in this paper, the author compare seven English versions with the three theories proposed by Professor Xu Yuanchong, the distinguished translator who bend himself to Chinese and English Translation in the field of Chinese poetry so as to provide a reference for promoting the English translation activity of Chinese ancient poetry.
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Whedbee, Karen E. "J. S. Mill on Poetry and Rhetoric." Journal for the History of Rhetoric 7, no. 1 (January 1, 2004): 17–29. http://dx.doi.org/10.5325/jhistrhetoric.7.1.0017.
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Abstract In his essay “What is Poetry ?”(1833), John Stuart Mill described the difference between rhetoric and poetry using the antithesis, “rhetoric is heard; poetry is overheard.” In the twentieth century, scholars from the field of Speech Communication appropriated Mill's words as justification for the separation of Speech Communication (and rhetorical criticism) from English (and literary criticism). This essay argues that twentieth-century scholars misunderstood Mill's meaning. They failed to recognize that, for Mill, the key issue was not the frequently quoted distinction between rhetoric and poetry but a more problematic distinction between art and science.
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سميسم, علي كاظم. "Political criticism in Al-Jawahiri's poetry." Kufa Journal of Arts 1, no. 30 (January 23, 2017): 175–216. http://dx.doi.org/10.36317/kaj/2016/v1.i30.6070.
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The Poetry of Al-Jwahiri is a document and a history. Since literature is the essence of history, we can find within it events, culture, thought, struggle of modern Iraq and the Arab region and the attempts of the living peoples in its march towards justice and freedom taking the most sophisticated steps overcoming the romantic tendency during his era. The document of Al-Jwahiri was mixed with an elevated art and a perfect well-formed language. He combined objectivity and aesthetics he also mixed his blood and pains, excitement with his carelessness as well as his hopes and wishes. He recorded history and participated in making history through subjective and objective methods. His poetry was imprinted in the imagination and thoughts of people. It was Al-Jwahiri who called for solving the problems of Iraq which he suffered from till our time. Policy and struggle is what made his poetry a burning type of poetry and elevated his severe criticism and the political attitude is what made Al-Jwahiri an alienated loner wondering the countries of the world.
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Šeškauskienė, Inesa, and Oksana Valentjeva. "Poetic journeys and other metaphors underlying literary criticism of poetry in English and Russian." Revista Brasileira de Linguística Aplicada 15, no. 2 (June 2015): 421–52. http://dx.doi.org/10.1590/1984-639820156067.
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The paper sets out to examine the metaphoricity of the discourse of literary criticism dealing with poetry. The research carried out in the framework of contemporary metaphor studies relying, first of all, on the Conceptual Metaphor Theory and its followers, attempts to uncover metaphors structuring the discourse of literary criticism in two distinct cultures - English and Russian. The methodology of the investigation is based on the key principles of the metaphor identification procedure (STEEN et al., 2010) and metaphorical patterns (STEFANOWITSCH, 2006). The results suggest that the main source domain for conceptualizing poetry in literary criticism in both languages is a person. However, this domain features much more prominently in English, whereas the domains of sound and music, painting and journey are more relevant in Russian. Many metaphors are inevitably evaluative - employed to express the writer's positive or negative attitude.
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Ardolino, Frank, and Brian Vickers. "English Renaissance Literary Criticism." Sixteenth Century Journal 34, no. 1 (April 1, 2003): 251. http://dx.doi.org/10.2307/20061375.
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Grishechko, O. S., A. S. Akopova, and E. G. Grishechko. "English linguistic purism: history, development, criticism." Proceedings of Southern Federal University. Philology, no. 4 (2015): 185–92. http://dx.doi.org/10.18522/1995-0640-2015-4-185-192.
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Perry, John Oliver. "The Cultural Situation Of Indian English Poetry And Its Criticism Today." South Asian Review 17, no. 14 (December 1993): 1–17. http://dx.doi.org/10.1080/02759527.1993.11932155.
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Hossack, I. "The Cambridge History of English Poetry." English 60, no. 230 (April 15, 2011): 261–63. http://dx.doi.org/10.1093/english/efr005.
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Side, J. "The Influence of Wordsworth's Empiricist Aesthetic on Seamus Heaney's Criticism and Poetry." English 59, no. 225 (May 19, 2010): 128–53. http://dx.doi.org/10.1093/english/efq012.
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Frolova, Natal'ya S. "Devices of comic in the work of the 20th century English-speaking Ugandan poets." Vestnik of Kostroma State University, no. 4 (2019): 140–44. http://dx.doi.org/10.34216/1998-0817-2019-25-4-140-144.
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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.
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Houston, John Porter. "French Romantic Poetry, Literary History, and the Newer Criticism." Romance Quarterly 34, no. 4 (November 1987): 389–95. http://dx.doi.org/10.1080/08831157.1987.11000479.
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Halmi, Nicholas. "The Nostalgic Imagination: History in English Criticism." Common Knowledge 27, no. 2 (May 1, 2021): 318–20. http://dx.doi.org/10.1215/0961754x-8906285.
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Odnoral, Valeria. "The New Lyric Studies of the 21th Century: The Aesthetic and the Social in Poetry Criticism." Ideas and Ideals 13, no. 1-2 (March 19, 2021): 401–13. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-401-413.
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The article considers the problem of correlation of aesthetic form and social content in contemporary poetry through the prism of contemporary poetry criticism, in particular, the New Lyric Studies of 2008 (M. Perloff, Y. Prins, R. Terada, V. Jackson, etc.). A representation of the lyrics as a genre of poetry, in which historically structured subjectivism and identity of author are interrelated with poetic writing, is at the center of the New Lyric Studies. In this context the lyrics is relative and volatile but also is the closest genre to the poetic nature, that allows to merge an autonomous entity of poetry with ‘agendas’ in the poem, which were difficult to connect in either too formal or too contextual critical approaches to the poetry in the 20th century. This became possible in the conditions of New Lyric critics speaking up against a substitution of poetry and literary criticism for historical, anthropological and cultural criticism because of the high popularity of cultural studies in the 1990s and the ensuing incorporation of interdisciplinarity in literary studies. Despite the objective of New Lyric critics to revitalize a theoretical study of poetry in the spirit of academic criticism of the New Criticism, the modifications in the methods for producing, existence and broadcasting of poetry and therefore in poetry of the last 50 years, poetry itself prevented the New Lyric from becoming the regressive movement. Some representatives of the New Lyric Studies subsequently expressed the need to study poetry in terms of new historical poetics and to create different methods capable to analyze the relations between culture and poetic form – between the social and the aesthetic. Having considered advantages and limitations of the New Lyric studies in the context of contemporary poetry discourse, reflecting not only the nature of contemporary criticism, but also perhaps the history of poetry criticism of 20-21th centuries, which is the dynamical coexistence and the mutual succession of different movements, the author draws a conclusion that this movement defines the right vector for the reconciliation of the long-standing struggle of formalism and contextualism in the poetry criticism as well as social and aesthetic components which poetic work includes.
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Pérez-Rosario, Vanessa. "Mas yo resto: Entrevista con Nancy Morejón." Small Axe: A Caribbean Journal of Criticism 25, no. 2 (July 1, 2021): 142–50. http://dx.doi.org/10.1215/07990537-9384328.
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In this interview, Cuban poet Nancy Morejón talks about her early work, her involvement with Ediciones El Puente, her poetry publishing hiatus from 1967 to 1979, and her literary criticism on the work of Nicolás Guillén. (In Spanish; an English translation is available online)
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Khokhryakov, Andrei L. "Rock poetry vs Rock Lyrics: The Problem of Correlation of Concepts." World Literature in the Context of Culture, no. 15 (21) (2022): 67–76. http://dx.doi.org/10.17072/2304-909x-2022-15-67-76.
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The article considers correlation of ‘lyrics’ and ‘poetry’ within rock music. Addressing their difference in Western (English-speaking) and Russian critical tradition,the author reveals both their distinctive characteristics and likeness (as well crosscharacter) in historical and socio-cultural aspects. The author comes to the following conclusion: as a syncretic and evolving form of art, not only rock poetry does overcome the boundaries of lyrics as a sub-genre, it also reveals itself in a broader perception of lyrics as a division of literature, in the sense of poetry, serving an object for literary criticism
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GRIBBEN, CRAWFORD. "English Poetry in Cromwellian Ireland." Seventeenth Century 25, no. 2 (September 2010): 281–99. http://dx.doi.org/10.1080/0268117x.2010.10555650.
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Zohar Weiman-Kelman. "Touching Time: Poetry, History, and the Erotics of Yiddish." Criticism 59, no. 1 (2017): 99. http://dx.doi.org/10.13110/criticism.59.1.0099.
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Xinyi, Xu, and Wang Feng. "A Study on the Tang Poetry Translation in the Perspective of "Harmony-Guided Three-Level Poetry Translation Criteria"." International Linguistics Research 2, no. 3 (July 31, 2019): p1. http://dx.doi.org/10.30560/ilr.v2n3p1.
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Tang poetry, a treasure of Chinese classical culture and art, is one of the precious representatives of the Chinese historical and cultural heritage. With its rich form, wide range of subjects and unique artistic charm, it represents the highest level of Chinese classical poetry. Based on Dr. Wang Feng's "Harmony-guided Three-Level poetry translation criteria", this paper compares and analyzes four English versions of different styles in different periods of Li Bai's "Qing Ping Melody (three poems)", and demonstrates that the theory is reasonable and feasible as the principle of poetry translation practice and criticism, aiming to encourage researchers to pay more attention to the field of Tang poetry translation and promote the further dissemination of Chinese classical poetry.
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Muir, James. "Poetry and Philosophy: Plato’s Spirit and Literary Criticism." European Legacy 19, no. 3 (April 16, 2014): 403–6. http://dx.doi.org/10.1080/10848770.2014.898954.
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Zahrah Hadi, Ghaidaa Abdul. "Criticism of Translation Problems in Ahmad Matar's Poetry." INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES & HUMANITIES 13, no. 02 (2023): 162–75. http://dx.doi.org/10.37648/ijrssh.v13i02.013.
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It is no secret to everyone that translation is very important in the exchange of cultures and sciences between different nations and civilizations. Today, it has become a bridge to pass the various sciences of poetry, history and culture from one language to another. Among the poets whose poetry was important in his translation was Ahmed Matar, whose poems were translated from Arabic into many languages, including Persian. Therefore, criticism of the translation of Ahmed Matar's poems was one of the important topics that must be taken into account in research and studies to show the importance of translation criticism in general, and criticism of translated poems by this poet in particular.
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Rivett, Gary. "ENGLISH NEWSBOOKS, STORYTELLING AND POLITICAL CRITICISM." Media History 19, no. 1 (December 19, 2012): 3–16. http://dx.doi.org/10.1080/13688804.2012.752965.
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Karunaratne, K. M. Sunethra Kumari. "Representation of Socio-cultural Authenticity in Post-colonial Sri Lankan Poetry in English." Studies in Linguistics and Literature 7, no. 3 (June 12, 2023): p1. http://dx.doi.org/10.22158/sll.v7n3p1.
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The criticisms of Sri Lankan Literature in English have emphasized the inherent inability of Sri Lankans to produce competently written poetry in the English language when compared with the native English standards. These critics have underrated or completely have overlooked the significant achievements and a substantial amount of high-quality English poetry which carries authentic Sri Lankan flavor. Only a handful of researches on Sri Lankan Poetry has investigated the “genuine Sri Lankanness” of the subject. This study investigated how the authentic Sri Lankan flavor is represented in Sri Lankan poetry in English which were subjected to timely socio-cultural movements. The Sinhala-Buddhist identity, the criticism of Tamil separatism, the suffering undergone by the Sinhalese in Lankan civil war are elucidated combined with a typically Sri Lankan flavor. The absence of researches on this particular aspect where the poets have employed the Sri Lankan flavor in their writing tempted the researcher to study the area in detail. A qualitative approach with a content, thematic and discourse analyses have been applied in this research in elucidating the areas of Sri Lankan flavor in the literary texts. The true Sri Lankanness represented in the literary texts of selected Sri Lankan authors representing areas such as relationships, politics, social contexts, religions as well as education have been investigated and emphasized in this study.
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Mulyoso, Mulyoso. "Semiotic of Symbolic Mode in Interpreting Mythology in English Poetry." TEFLIN Journal - A publication on the teaching and learning of English 10, no. 1 (August 29, 2015): 63. http://dx.doi.org/10.15639/teflinjournal.v10i1/63-74.
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This paper is primarily based on the assumption that we need theories of literature in order to interpret the literary texts and explain literature as a unique form of communication. The so -- far traditional efforts of treating literary study as an intuitive analysis has contributed to the harsh criticism on the study of literature as merely ' the reading and understanding of literature'. Literature teaching has given too much emphasis on the enjoying and understanding of a literary piece, that is to say that merely by understanding the meaning of the language of a text, its cultural references, one is said to be in a position to respond critically to that text thus there is no need for interpretation beyond that. Therefore, this paper is an attempt to interpret a literary text (mythology in English poetry) beyond its literal level by the use of semiotics of symbolic mode approach which allows the intratextual and intratextual analysis.
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Muttaleb, Fuad Abdul. "The Anti-War Poetry of Herbert Read: “Kneeshaw Goes to War” as an Example." World Journal of English Language 12, no. 5 (June 16, 2022): 334. http://dx.doi.org/10.5430/wjel.v12n5p334.
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This study aims at investigating the nature of the anti-war poetry of the English poet, Sir Herbert Read (1893 -1968). First, it surveys the different styles that the anti-war poets followed in their criticism of war in an attempt to figure out afterwards the characteristics that distinguish Read’s anti-war poetry from other poetry. It then presents the main features of Read’s anti-war poetry. The study moves on to examine its main objective that lies in analyzing Read’s poem “Kneeshaw Goes to War” (1918) as an example of his own anti-war poetry. This thematic study follows a descriptive and analytical method in carrying out its aim. It starts with an introduction about the different modes of war poetry and literature review, develops into a discussion of Read’s attitude towards the poem’s main subject and comes to an end with the main findings in the conclusion. Read was able to use a realistic approach in his criticism of war in his poem “kneeshaw Goes to War”. In his portrayal of the destructiveness of war, he managed to expressionistically convey his sense of despair that the war had generated in the individual’s personal experience with war. The representation of human experience is thus as important as the anti-war theme itself in the poem.
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Nshimiyimana, Evode, Anthony Kamanzi, Ester Mutoni, and Gabriel Bazimaziki. "Teaching Poetry: What is Taught and What Should be Taught? Case Study of Secondary Schools Offering Literature in English at the Advanced Level in Rwanda." African Journal of Empirical Research 5, no. 3 (July 2, 2024): 12–22. http://dx.doi.org/10.51867/ajernet.5.3.2.
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Teaching poetry as a literary genre has been a research topic of interest worldwide. However, the gap is observed in teaching poetry in secondary schools in Rwanda, where students are not given the quantity and quality of knowledge and skills they deserve. This descriptive study investigated poetry teaching practices and examined whether teachers are teaching what they should be teaching to equip students with critical thinking, analysis, and language skills. Adopting the descriptive research design and the mixed method approach, the study is built around three objectives: to explore how poetry is taught to students doing literature in English at the advanced level of secondary schools; to investigate the aspects of poetry that are often taught and those that are not; and to assess the challenges that teachers of literature in English face while teaching poetry. The study is guided by New Criticism Theory, Multimodality Approach, and Reader Response Theory. It used both quantitative and qualitative methods. Questionnaires and interviews were used to collect data from 22 teachers of literature in English selected purposefully from 16 schools that offer literature in English as a main subject at the Advanced Level. The study findings revealed that students are highly at risk as teachers of this subject exhibited poor competence in teaching and analysing poetry. Besides, some teachers don’t give poetry a focus, and others don’t teach it at all. The issue becomes more acute when one considers the general lack of adequate resources. The study recommends the University of Rwanda, the College of Education, REB, and their partners set policies for increasing teachers’ competences in the field of literature in general and teaching poetry in particular. Individual teachers of literature in English should feel confident while handling poetry as a literary genre. If an issue arises, instead of simply leaving out the topic, let them consult their colleagues in the nearby schools for a common understanding.
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Tsang, University of Warwick, UK, Michael. "English Writing as Neo-colonial Resistance: An Exchange of English Poetry in Hong Kong." Asiatic: IIUM Journal of English Language and Literature 8, no. 2 (December 15, 2014): 36–56. http://dx.doi.org/10.31436/asiatic.v8i2.488.
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After its handover in 1997, Hong Kong has arguably moved to a neo-colonial situation, where many of its native inhabitants are facing threats from China in their daily lives and material conditions. This has given rise to a movement of resistance against the hegemony of China. Most English writing in Hong Kong have yet to pick up this recent socio-political tension, but in 2012, an English poem written by a mainland Chinese student studying in Hong Kong came under fire for its superficial criticism of Hong Kong from a mainland Chinese persona. The poem drew angry responses from Hong Kong netizens, who then created parodies of the poem to mock China. In this article, I consider this poetic exchange one of the few instances where mainstream social sentiments in Hong Kong intersect with the much neglected English writing of the city. This poetic exchange – the original poem and the various imitations – delineates the social, cultural and political fault lines between China and Hong Kong. The literary value, I argue, lies not in the individual poems, but in how this action-reaction communication alerts us, via poetry and English writing, to be sensitive to the neo-colonial situation of Hong Kong.
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Padhy, Pravat Kumar. "History of Contemporary Indian English Poetry: An Appraisal." POETCRIT 33, no. 1 (January 2, 2020): 76–82. http://dx.doi.org/10.32381/poet.2020.33.01.11.
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Valdivia, Lucía Martínez. "Mere Meter: A Revised History of English Poetry." ELH 86, no. 3 (2019): 555–85. http://dx.doi.org/10.1353/elh.2019.0021.
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