Relevant bibliographies by topics / English poetry Poets

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'English poetry Poets'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "English poetry Poets"

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Abdullah, Ahmed Mahmood, and Hawshen Slewa Eessa. "Elements of Short Poems by (Mudrik Zhali)." Journal of University of Raparin 8, no. 2 (2021): 1–23. http://dx.doi.org/10.26750/vol(8).no(2).paper.1.

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This research is entitled: ( Elements of Short Poems by (Mudrik Zhali)) .It consists of third sections, which are an attempt to define and use the content, form and Elements value of poetry. It has several concepts in contemporary Kurdish poetry, especially among contemporary poets in the last century in (Koya) city.
 This present research has scientific significance and value in the field of regeneration and highlighting the poet's ability and talent in this field. For this research, we used an analytical and descriptive method. It consists of third topics: The first topic: Experience of the poet (Mudrik Zhali).. The concept of haiku. The second topic: Elements language, poetic music, poetic image, and symbols in poet’s poetry. The third topic: Reading poetry of (The Eves of the Memories of the Impossible Love).With abstracts of the research in Arabic and English and a list of references.
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Islam, Mohammad Shafiqul. "Bangladeshi Poets Writing in English." Journal of World Literature 6, no. 1 (2020): 65–83. http://dx.doi.org/10.1163/24056480-20201003.

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Abstract This article observes that Kaiser Haq has made an immense contribution to Bangladeshi poetry in English, leading the school of English poetry of the country from the front. A relatively new field, Bangladeshi writing in English has started becoming a part of world literature, and its scope, no doubt, is expanding rapidly. The article also focuses on the legacy of Bangladeshi writing in English to demonstrate how Bangladeshi poetry in English has simultaneously progressed. The article argues that Haq’s enormous contributions justify his position as the best English-language poet in Bangladesh. For his poetry, the poet takes material from his motherland and its rich culture, and his style, technique, and diction resonate with those of prominent poetic voices of the world. The article also sheds light on how Haq presents Bangladesh, depicting numerous shades of reality, and how he still dominates in the contemporary scene of Bangladeshi poetry in English.
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Venn, Edward. "SERENADES AND ELEGIES: THE RECENT MUSIC OF HUGH WOOD — PART II." Tempo 59, no. 233 (2005): 26–37. http://dx.doi.org/10.1017/s0040298205000215.

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Geoffrey Hill's latest book of poems, Scenes from Comus, borrows its title from Wood's op. 6, and is dedicated to the composer for his seventieth birthday. The two men have been friends for many years and are exact contemporaries: for the poet's seventieth birthday, Wood wrote a vocal-instrumental setting of Hill's Tenebrae. This interchange between poet and musician highlights Wood's abiding concern with poets and poetry, and particularly English verse of the 20th century. He has described this repertoire as ‘a treasure-house, and our poets continue to produce good lyric poetry to this day: it's a waste of being English not to draw on these riches; and the composer has a particular duty to the poets of his own time’. More recently, Jeremy Thurlow has drawn attention to Wood's ‘idiomatic and refined response to English verse: his songs for voice and piano form a considerable part of his oeuvre and must be considered the most distinctive and substantial contribution to British song-writing since Britten and Tippet’.
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Sarah Lee, Sze Wah. "Anglo-French Poetic Exchanges in the Little Magazines, 1908–1914." Modernist Cultures 16, no. 3 (2021): 340–66. http://dx.doi.org/10.3366/mod.2021.0338.

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This article demonstrates the extent and significance of exchange between English and French poets in the years leading up to World War I, a crucial period for the development of modern Anglophone poetry. Through archival research, I trace the growing interest in French poetry of Imagist poets F. S. Flint, Ezra Pound and Richard Aldington, exhibited in various little magazines including the New Age, Poetry Review, Poetry and Drama, Poetry, the New Freewoman and the Egoist. Moreover, I show that such interest was reciprocated by contemporary French poets, notably Henri-Martin Barzun and Guillaume Apollinaire, who published works by English poets in their respective little magazines Poème et Drame and Les Soirées de Paris. This suggests that not only were modern English poets influenced by their French counterparts, but they were also given a voice in the Francophone artistic world, resulting in a unique moment of cross-channel poetic exchange before the war.
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Mahil Abd Allah, Mohamed Jabraddar. "The Value of Night in English Poetry of The Romantic Period (1757-1822)." International Journal of Applied Linguistics and English Literature 10, no. 1 (2021): 58. http://dx.doi.org/10.7575/aiac.ijalel.v.10n.1p.58.

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This study has attempted to examine the value of night in English poetry of the Romantic period (1757–1822). It has aimed to establish how the writers of English poetry of the Romantic period highlight the value of night and images of nature involved in creating this value, while also realising the importance of night in life, according to the poems examined in this study. Three poems of the English poetry of the Romantic period (1757–1822), were used as data for the current study. The poems were analysed quantitatively – the occurrence of the expressions, words and phrases highlighting the value of night were recorded. Results showed that the poets highlight the value of night as an image of nature. Besides, the poets believe that night is a sign of beauty and tranquillity in human life.
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Piątkowska, Józefina. "The lyric present in English translations of Russian poetry." Translation and Interpreting Studies 15, no. 2 (2019): 183–202. http://dx.doi.org/10.1075/tis.19032.pia.

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Abstract Taking English translations of Anna Akhmatova’s poems as a case study, this article investigates whether the lyric present (a specific use of simple present forms in poetry) is the preferred present tense in poetic translations from Russian into English. Akhmatova’s verbal craft is remarkably relevant for the issue at hand because of her extensive exploration of temporal levels. The article examines what stylistic effects stem from a translator’s choice between the lyric present and the present progressive. In order to provide a more general view of English translations, the study includes data concerning the frequency of progressives contained in two different English editions of Akhmatova’s poetry. These data are presented in the comparative perspective, together with data collected from English and American poetry and from English renditions of several Russian poets.
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Ramayya, Nisha. "Poetry in Expanded Translation: Audre Lorde, Theresa Hak Kyung Cha, Harryette Mullen, Don Mee Choi." English: Journal of the English Association 69, no. 267 (2020): 310–30. http://dx.doi.org/10.1093/english/efaa031.

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Abstract In this article, I discuss the politics and poetics of translation in the work of Audre Lorde, Theresa Hak Kyung Cha, Harryette Mullen, and Don Mee Choi, considering each poet's ideas about translation and translation practices, suggesting approaches to reading and thinking about their work in relation to translation and in relation to each other. I ask the following questions: in the selected poets' work, what are the relationships between the movement of people, the removal of dead bodies, and translation practices? How do the poets move between languages and literary forms, and what are the politics and poetics of their movements with regards to migration, dispossession, and death, as well as resistance, refusal, and rebirth? I select these poets because of the ways in which they confront relationships between the history of the English language and literature, imperialism and colonialism, racialisation and racism, gendered experiences and narratives, and their own poetic practices. These histories and experiences do not exist in isolation, nor do the poets attempt to circumscribe their approaches to language, representation, translation, and form from their lived experiences and everyday practices of survival and resistance. The selected poets’ work ranges in form, tone, and argument, but I argue that their refusal to circumscribe politics and poetics pertains to their subject positions and lived experiences as racialised and post/colonial women, and that this refusal is demonstrated in their diverse understandings of translation and translation practices.
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Frolova, N. S. "Anglophone Poetry in Kenya at the Turn of the Century: Past Experience and Artistic Transformation." Nauchnyi dialog, no. 2 (March 3, 2021): 259–75. http://dx.doi.org/10.24224/2227-1295-2021-2-259-275.

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The main trends in the development of the English-language poetry of Kenya at the turn of the XX—XXI centuries are considered. The main material is a collection of poems by Kenyan poets, first published in the early 2000s. Particular attention is paid to the ideological and artistic transformation in the work of the young generation of Kenyan poets of the key directions in the development of Kenyan English-language poetry, which developed in the first half of the XX century. The novelty of the research lies in the conclusion about the continuity of the experience of the older generation poets by the English-speaking Kenyan poets, which is expressed in the development of two key directions of the development of Kenyan English-language poetry: socio-political and philosophical-lyric. At the same time, a fundamental change in the artistic method and style transformation is noted in the work of the new generation of Kenyan authors: unlike their predecessors, young Kenyan poets are increasingly gravitating towards the use of rhyme, expressed allegory and imagery, and also adopting previously untested techniques, for example, the use of elements of youth subculture. New material has been brought in, many names are first introduced into the everyday life of domestic and world African studies.
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Pinsent, Pat. "Religious Verse of English Recusant Poets." Recusant History 22, no. 4 (1995): 491–500. http://dx.doi.org/10.1017/s0034193200002041.

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The validity of bringing together the works of writers who may have little in common other than their religious allegiance is not something which could be justified in every age, especially within the current ecumenical climate. Two anthologies of Catholic poets, Shane Leslie's of 1925 and Frank Sheed's of 1943 may appear to today's reader rather more revelatory of the taste and beliefs of the compilers and their periods than of the poets concerned. Yet it can be claimed that scrutiny of the religious poetry of Catholic writers of the first half of the seventeenth century has a validity which might be lacking in a later period. If religious poetry is indeed the expression of sincere conviction, it is to be expected that writers who have different beliefs will differ also in the forms of expression they give to them in their poetry. In the light of this, the question may be asked as to how, in the seventeenth century, the religious poetry written by Catholics differs from that written by Protestants. The study of a large number of minor writers of this period leads to the conclusion that in the seventeenth century the choice and treatment of subject matter seems to be more integrally related to religious conviction than is the case in later periods.
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Deng, Liang, and Lan Ma. "A Contrastive Study on Translations of Li Qingzhao’s Ru Meng Ling: From the Perspective of Subjectivity and Subjectification." International Journal of English Linguistics 5, no. 6 (2015): 128. http://dx.doi.org/10.5539/ijel.v5n6p128.

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<p>Poetry is quite personal in the sense that it is mainly written for the expression of the poets’ personal emotions, feelings, attitudes, point of views, etc. Therefore, it is endowed with strong subjectivity. Poets resort to different linguistic devices to realize their subjectivity in their poetry, which is termed as subjectification. Consequently, poets’ subjectivity constitutes an essential part of the meaning of their poetry. Thus, in the translation of poetry, it is vital for the translator to reconstruct the poets’ subjectivity. This paper attempts to conduct a contrast of thirteen English versions of <em>Ru Meng Ling </em>by Li Qingzhao from the perspective of subjectivity and subjectification. It will first make an analysis of Li Qingzhao’s subjectivity and subjectification in her <em>Ru Meng Ling</em> from the three dimensions, perspective, affect and epistemic modality. Then, a contrast is provided among the thirteen English versions. It is found that it is difficult to achieve a complete equivalence of subjectification due to the translators’ subjectivity in their translation. However, a good translator attempts to eschew his/her own subjectivity and reconstruct the poet’s subjectivity as much as possible.</p>
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Dissertations / Theses on the topic "English poetry Poets"

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

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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on October 6, 2009). Thesis advisor: Dr. Johanna Kramer. Vita. Includes bibliographical references.
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Quint, Arlo. "Nine New Poets: An Anthology by Arlo Quint." Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/QuintA2004.pdf.

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Polcrack, Doranne G. "Poets judging poets T.S. Eliot and the canonical poet-critics of the seventeenth, eighteenth and nineteenth centuries measure John Milton /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1995. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.A.)--Kutztown University of Pennsylvania, 1995.<br>Source: Masters Abstracts International, Volume: 45-06, page: 2823. Typescript. Abstract precedes thesis as preliminary leaves [1-2]. Includes bibliographical references (leaves 180-190).
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Holmgren, Michele J. "Native muses and national poetry, nineteenth-century Irish-Canadian poets." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq28493.pdf.

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Williams, Todd Owen. "Poetic Renewal and Reparation in the Classroom: Poetry Therapy, Psychoanalysis, and Pedagogy with Three Victorian Poets." [Kent, Ohio] : Kent State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1194103428.

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Thesis (Ph.D.)--Kent State University, 2007.<br>Title from author submission page (viewed Sept. 14, 2009 ) Advisor: Mark Bracher. Keywords: poetry therapy, psychoanalysis, Victorian poetry, pre-Raphaelite. Includes bibliographical references (p. )
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Emara, Mohamed Hamed Hafez. "Modernist Arabic poetry and the English modernists : a comparative linguistic study." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326926.

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McCaffery, Richard. "Poets as legislators : self, nation and possibility in World War Two Scottish poetry." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/7049/.

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This thesis is the first sustained critical and sociological reappraisal of the poetry produced by Scottish poets who came of age during World War Two and a selection of those who were old enough to have experienced the previous conflict whilst still responding in their art to World War Two. This thesis carves out a critical space for World War Two poetry beyond the poetry of pity and loss espoused by poets of World War One. It also takes into account the conditions and circumstances that mark out Scottish poetry of this conflict from English poetry of the same era, for programmatic, political, poetic and linguistic reasons as well as re-configuring the definition of World War Two poetry to encompass the experience of women poets. At the core of this thesis lies the idea that the Scottish poetry of World War Two was committed to something more than anti-fascism. These poets did not simply oppose a tyrannical, fascist force in their work, they were also developing ways in which their work and art could contribute to a better post-war Scottish society and in many ways espousing both internationalism and proto-transnationalism as well as anti-imperialism. All of these poets contributed in both practical and intellectual ways to post-war Scottish society. In this, this thesis takes its lead from Alice Templeton’s literary theory of a war poetry of ‘possibility’ that transcends both the trauma, witness and outrage of reactions to war. The cumulative effect of the work of these poets is a legislative and educational impact made on society, that poets could have a say in their work on how post-war society could be reconstructed in fairer and more equitable ways. This poetry is both modernist and romantic in the sense that it desires a change and sees life and potential that is being denied by imperial super-powers and structures while it invests the poet with an empowered voice. From the home-front to the front-line, diverse avenues of experience are treated as being of vital importance. The first chapter of this thesis explores the Elegies for the Dead in Cyrenaica and a number of folk songs by Hamish Henderson, to show his unique commitment to post-war Scotland in his folk-song work. Chapter two compares and contrasts the work of Alexander and Tom Scott, showing their range of reaction from the epic to the highly personal elegy. The thesis then moves into an analysis both of George Campbell Hay’s war poetry, which sympathised with the native Arab populations during the desert war, and the work of Sorley MacLean, who found his political certainties shaken. From this point the thesis explores the anti-heroic work of Edwin Morgan and Robert Garioch as well as the political and personal reasons for refusal of conscription expounded by Douglas Young and Norman MacCaig. The thesis closes with a discussion of women’s experience and poetry of World War Two, and an in-depth a look at the major influential figures on the poets of this time, Hugh MacDiarmid and Edwin Muir. Between these figures we shall see a range of experiences, but each poet is united in their struggle, dramatized in their work, for a better post-War Scotland, a drive which this thesis explores and discusses for the first time in detail.
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Karadas, Firat. "Imagination, Metaphor And Mythopoeia In The Poetry Of Three Major English Romantic Poets." Phd thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/3/12608579/index.pdf.

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This thesis studies metaphor, myth and their imaginative aspects in the poetry of William Wordsworth, Percy Bysshe Shelley and John Keats. The thesis argues that a comprehensive understanding of metaphor and myth cannot be done in the works of these poets without seeing them as faces of the same coin, and taking into consideration the role of the creating subject and its imagination in their production. Relying on Kantian, Romantic, and modern Neo-Kantian ideas of imagination, metaphor and myth, the study tries to indicate that imagination is an inherently metaphorizing and mythologizing faculty because the act of perception is an act of giving form to natural phenomena and seeing similitude in dissimilitude, which are basically metaphorical and mythological acts. In its form-giving activity the imagination of the speaking subjects of the poems studied in this thesis sees objects of nature as spiritual, animate or divine beings and thus transforms them into the alien territory of myth. This thesis analyzes myth and metaphor mainly in two regards: first, myth and metaphor are handled as inborn aspects of imagination and perception, and the interaction between nature and imagination are presented as the origin of all mythology<br>second, to show how myth is something that is re-created time and again by poetic imagination, Romantic mythography and re-creation of precursor mythologies are analyzed. In both regards, poetic imagination appears as a formative power that constructs, defamiliarizes and re-creates via mythologization and metaphorization.
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Cairns, Daniel. "As it likes you early modern desire and vestigial impersonal constructions /." Waltham, Mass. : Brandeis University, 2009. http://dcoll.brandeis.edu/handle/10192/23236.

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Bean, Heidi R. "Poetry 'n acts: the cultural politics of twentieth-century American poets' theater." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/638.

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"Poetry 'n Acts: The Cultural Politics of Twentieth-Century American Poets' Theater," focuses on the disciplinary blind spot that obscures the productive overlap between poetry and dramatic theater and prevents us from seeing the cultural work that this combination can perform. Why did 2100 people turn out in 1968 to see a play in which most of the characters speak only in such apparently nonsensical phrases as "Red hus the beat trim doing going" and "Achtung swachtung"? And why would an Obie award-winning playwright move to New Jersey to write such a play in the first place? What led to the founding in 1978 of the San Francisco Poets Theatre by L=A=N=G=U=A=G=E writers, and why have those plays and performers been virtually ignored by critics despite the admitted centrality of performance to L=A=N=G=U=A=G=E writing's textual politics? Why would the renowned Yale Repertory Theatre produce in the 1990s the poetic, plotless plays of a theater newcomer twice in as many years--even when audiences walked out? What vision for the future of theater could possibly involve episodic drama with footnotes? In each example, part of the story is missing. This dissertation begins to fill in that gap. Attending to often overlooked aspects of theater language, this dissertation examines theatrical performances that use poetic devices to intervene in narratives of cultural oppression, often by questioning the very suitability of narrative as a primary means of social exchange. While Gertrude Stein must be seen as a forerunner to contemporary poets' theater, chapter one argues that the Living Theatre's late 1950s and early 1960s anti-authoritarian theater demonstrates key alliances between poetry and theater at mid-century. The remaining chapters closely examine particular instances of poets' theater by Amiri Baraka (known equally as poet and playwright), Carla Harryman (associated with West Coast poetry), and Suzan-Lori Parks (a critically acclaimed playwright). These productions put poetic theater on the backs of tractors in Harlem streets, in open gallery spaces, and in more conventional black box and proscenium architectures, and each case develops the importance of performance contexts and production histories in determining plays' cultural effects.
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Books on the topic "English poetry Poets"

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Poets, poems, movements. UMI Research Press, 1987.

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Katz, Joy, and Kevin Prufer, eds. Dark Horses: Poets on Overlooked Poems. University of Illinois Press, 2007.

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Vendler, Helen Hennessy. Poems, poets, poetry: An introduction and anthology. Bedford/St. Martins, 2009.

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Young Writers (Firm : Peterborough, England), ed. Sense poetry: Future poets. Young Writers, 2013.

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Cunningham, Valentine. Victorian poetry now: Poets, poems, poetics. Wiley-Blackwell, 2011.

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Dutton, Scudder Vida. Modern English poets. Sunrise Publishers & Distributors, 2008.

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Blossoming Poets. Anchor Books, 2004.

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Cornwell, Gareth. South African English poets. Cape Provincial Library Service on behalf of the National English Literary Museum, Grahamstown, 1985.

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Vendler, Helen Hennessy. Poems, poets, poetry: An introduction and anthology. Bedford Books of St. Martin's Press, 1997.

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On poets and poetry. Swallow Press, 2009.

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Book chapters on the topic "English poetry Poets"

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Lowell, Amy. "A New English Poet." In D. H. Lawrence’s Poetry: Demon Liberated. Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-11067-4_16.

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Blakesley, Jacob S. D. "English-Language Poet-Translators." In A Sociological Approach to Poetry Translation. Routledge, 2018. http://dx.doi.org/10.4324/9780429462511-3.

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Bradshaw, Penny. "Women Romantic Poets." In The Blackwell Companion to the Bible in English Literature. Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324174.ch27.

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"PATRIOTIC AND POPULAR POETS." In English Lyric Poetry. Routledge, 2002. http://dx.doi.org/10.4324/9780203006313-6.

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Hetherington, Paul, and Cassandra Atherton. "Prose Poetry, Rhythm, and the City." In Prose Poetry. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691180656.003.0003.

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The chapter examines the rhythms of prose poetry, which are different from those found in metered verse, and vary, too, from the rhythms of free verse. The main differences relate to what has sometimes been understood as a deficiency in prose poetry — namely, that prose poets do not have meter or the poetic line when they try to achieve effects of cadence or musicality. But because of the English language's grammatical flexibility, these resources allow for an almost infinite rhythmic variety in prose poems. Such variety is a crucial part of the prose poetry tradition, notwithstanding the deliberately fractured rhythms or flat tonality of some works. William Wordsworth wrote lineated poetry, but in expressing a view that prose and poetry ought to be written in the same kind of language, and in repudiating what he understood to be “poetic diction,” Wordsworth opened the way for English-language poets to explicitly recognize the connections between poetry and prose. In other words, he helped to lay the ground not only for English-language free verse but for English-language prose poetry, too.
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Attridge, Derek. "Late Elizabethan and Early Jacobean Poetry: The Idea of the Poet." In The Experience of Poetry. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198833154.003.0014.

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Following in Gascoigne’s footsteps, several writers attempted to explain the working of verse, and many tried to emulate classical metres in English; these treatises reveal some of the preconceptions about poetic form common in the period. The notion that Elizabethan taverns were the site of poetry recitations among clubs of wits is examined. The figures of poets in the many pageants and progresses that characterized the Elizabethan period further manifest the governing idea of the poet, as do theatrical representations. Consideration is given to the many poets and would-be poets in Shakespeare’s plays, and further evidence is found in the three ‘Parnassus’ plays. The poets Jonson puts on stage are examined, with attention to the contrast between those who are made fun of and those who embody models. A number of other poets on stage are considered, and the chapter ends with two positive instances from Shakespeare and Jonson.
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Hyman, Wendy Beth. "Poetry and Matter in the English Renaissance." In Impossible Desire and the Limits of Knowledge in Renaissance Poetry. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198837510.003.0001.

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Chapter 1, “Poetry and Matter in the English Renaissance” traces the crucial relationship between poetics and philosophical materialism in the early modern period, explaining why erotic verse so readily lent itself to confronting questions about the nature of being and of knowledge. This chapter shows that for Renaissance poets—informed by Lucretius’ great analogy between atoms and alphabetic letters—there is poetic form in elemental matter. The writing of poetry was therefore often understood as a physical practice, while poetry itself was understood as ontologically complex and efficacious. As terms such as “figuration” reveal, poetic making has both metaphorical and literal elements, which come especially to the fore in the ubiquitous blazons depicting the face of the beloved. Within the syntax of materialist poetics, foretelling the decay of the love object is therefore tantamount to a kind of deconstruction or unmaking—making poetry actually “do” the work of time. Multiple traditions, from Aristotelian hylomorphism to idealizing Petrarchism, had prepared the way for the female body to function as a proxy for embodied matter which poets could “figure,” “make,” or “undo.” This chapter presents the object of erotic poetry becoming just that: a fictional construct subjected to the recombinatory shaping of the godlike poet. As later chapters will develop, the paradoxical loneliness of the carpe diem invitation emerges from this troubling strategy, for it is an invitational form addressed to an entity it has forever exiled as metaphysically other. This chapter thus provides both a theoretical framework and historical background for the project’s larger claims.
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McCloskey, Deirdre Nansen. "Irish [and English and American] Poets, Learn Your Trade." In Power, Prose, and Purse. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190873455.003.0015.

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he puzzle is why poetry has so little contact with the business of ordinary life. Robert Frost is an exception, but even so ideological a poet as Auden refrains from being bleared with trade. Yeats in particular, a conservative, disdained trade, though urging poets to learn theirs. The very word “poetry,” of course, is from “thing made,” and the puzzle deepens. St. Thomas Aquinas had raised making by people to the dignity of God’s making, at least poetically. And yet. We have The Oxford Book of Love Poetry and The Oxford Book of the Sea, with battles and botanical observations (“Nothing gold can stay”), and yet the economy, even after the invention of economics by the Scots in the eighteenth century, is set aside. It has left poets and their readers in law and literature and politics proud to be thus ignorant. The sacred and the profane in fact are entangled.
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O’Donoghue, Heather. "Antiquarians and Poets." In English Poetry and Old Norse Myth. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199562183.003.0003.

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O'neill, Michael. "Contemporary Northern Irish poets and Romantic poetry." In English Romanticism and the Celtic World. Cambridge University Press, 2003. http://dx.doi.org/10.1017/cbo9780511484131.013.

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Conference papers on the topic "English poetry Poets"

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

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A puzzle in the sociolinguistic history of Sanskrit is that texts with authenticated dates first appear in the 2nd century CE, after five centuries of exclusively Prakrit inscriptions. Various hypotheses have tried to account for this fact. Senart (1886) proposed that Sanskrit gained wider currency through Buddhists and Jains. Franke (1902) claimed that Sanskrit died out in India and was artificially reintroduced. Lévi (1902) argued for usurpation of Sanskrit by the Kshatrapas, foreign rulers who employed brahmins in administrative positions. Pisani (1955) instead viewed the “Sanskrit Renaissance” as the brahmins’ attempt to combat these foreign invaders. Ostler (2005) attributed the victory of Sanskrit to its ‘cultivated, self-conscious charm’; his acknowledgment of prior Sanskrit use by brahmins and kshatriyas suggests that he did not consider the victory a sudden event. The hypothesis that the early-CE public appearance of Sanskrit was a sudden event is revived by Pollock (1996, 2006). He argues that Sanskrit was originally confined to ‘sacerdotal’ contexts; that it never was a natural spoken language, as shown by its inability to communicate childhood experiences; and that ‘the epigraphic record (thin though admittedly it is) suggests … that [tribal chiefs] help[ed] create’ a new political civilization, the “Sanskrit Cosmopolis”, ‘by employing Sanskrit in a hitherto unprecedented way’. Crucial in his argument is the claim that kāvya literature was a foundational characteristic of this new civilization and that kāvya has no significant antecedents. I show that Pollock’s arguments are problematic. He ignores evidence for a continuous non-sacerdotal use of Sanskrit, as in the epics and fables. The employment of nursery words like tāta ‘daddy’/tata ‘sonny’ (also used as general terms of endearment), or ambā/ambikā ‘mommy; mother’ attest to Sanskrit’s ability to communicate childhood experiences. Kāvya, the foundation of Pollock’s “Sanskrit Cosmopolis”, has antecedents in earlier Sanskrit (and Pali). Most important, Pollock fails to show how his powerful political-poetic kāvya tradition could have arisen ex nihilo. To produce their poetry, the poets would have had to draw on a living, spoken language with all its different uses, and that language must have been current in a larger linguistic community beyond the poets, whether that community was restricted to brahmins (as commonly assumed) or also included kshatriyas (as suggested by Ostler). I conclude by considering implications for the “Sanskritization” of Southeast Asia and the possible parallel of modern “Indian English” literature.
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Abbas, Naqaa, and Hend Taher. "Celebrating Culture - Literary Communities of Practice in Doha." In Qatar University Annual Research Forum & Exhibition. Qatar University Press, 2020. http://dx.doi.org/10.29117/quarfe.2020.0264.

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Our paper focuses on the role of arts and culture in Doha. More specifically, we examine literary circles in Doha (both Arab and English speaking) and regard them as ‘communities of practice.’ According to Etienne Wenger, communities of practice are “groups of people who share a concern or a passion for something they do and learn how to do it better as they interact regularly.” Moreover, such communities are seen as promoting innovation, developing social capital, facilitating and spreading knowledge within a group, and spreading existing knowledge. Recently, there has been a surge of active literary communities presenting their creative work in both English and Arabic attracting a variety of audiences and fans. For instance, young authors such as Kumam Al Maadeed, Eissa Abdullah, Buthaina Al-Janahi and Abdullah Fakhro not only have a huge online following, but they also have a significant fan base attending their events throughout the city. Besides these communities, there are also numerous organizations with which these celebrity authors are associated such as Qalam Hebr, Qatari Forum for Authors, and Outspoken Doha – we argue that such organizations can also be regarded as communities of practice. Our contention is that these ever-growing communities provide a performative space in which poets, singers, authors and artists can experiment with the fluidity of their assigned identities, cultures and traditions.
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