Relevant bibliographies by topics / English poetry Praise

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Academic literature on the topic 'English poetry Praise'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "English poetry Praise"

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Kinnamon, Noel J. "Review: English Metrical Psalms: Poetry as Praise and Prayer, 1535–1601." Christianity & Literature 38, no. 2 (March 1989): 81–82. http://dx.doi.org/10.1177/014833318903800214.

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Frank, Roberta. "A taste for knottiness: skaldic art at Cnut’s court." Anglo-Saxon England 47 (December 2018): 197–217. http://dx.doi.org/10.1017/s0263675119000048.

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AbstractDuring Cnut’s two decades on the throne, his English court was the most vibrant centre in the North for the production and performance of skaldic praise poetry. Icelandic poets composing for earlier Anglo-Saxon kings had focused on the predictive power of royal ‘speaking’ names: for example, Æthelstan (‘Noble-Rock’) and Æthelred (‘Noble-Counsel’). The name Cnut presented problems, vulnerable as it was to cross-linguistic gaffes and embarrassing associations. This article reviews the difficulties faced by Cnut’s skalds when referring in verse to their patron and the solutions they devised. Similar techniques were used when naming other figures in the king’s vicinity. The article concludes with a look at two cruces in an anonymous praise poem celebrating Cnut’s victory in battle in 1016/17 against the English. Both onomastic allusions — to a famed local hero and a female onlooker — seem to poke fun at the ‘colonial’ pronunciation of Danish names in Anglo-Scandinavian England. Norse court poetry was nothing if not a combative game.
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Siertsema, Gijsbert J. "English Metrical Psalms: Poetry as Praise and Prayer 1535-1601 Rivkah Zim." Huntington Library Quarterly 52, no. 4 (October 1989): 517–18. http://dx.doi.org/10.2307/3817160.

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Jubaidah, Siti, and Rusfandi Rusfandi. "AN ANALYSIS OF LECTURER TALK DURING TEACHING AND LEARNING PROCESS OF ENGLISH AS A FOREIGN LANGUAGE." JURNAL ILMIAH BAHASA DAN SASTRA 6, no. 2 (March 25, 2020): 51–62. http://dx.doi.org/10.21067/jibs.v6i2.3784.

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Researching teacher talk during teaching and learning process of English is essential because it offers practical implications for the improvement of teaching and learning process. However, there are still few studies which try to compare types of talk used by lecturers who teach content and skill subjects. This research investigates the types and the dominant types of lecturer talk during the teaching and learning process at an English Education Department. The participants were two English lecturers at a private University in Malang who taught Vocabulary (skill subject) and Poetry (content subject) classes. The researchers used an audio recorder to record the utterances by the lecturers. The data were analyzed qualitatively by using FIAC (Flanders Interaction Analysis Category). The types of lecturer talk produced by the lecturer who taught Vocabulary were Ask question, Give direction, Give lecture, Accept or use students’ idea, Praise or encourage, and Criticize or justify authority. The types of lecturer talk produced by the lecturer who taught Poetry were Give lecture, Ask question, Accept or use students’ idea, Give direction, Praise or encourage, and Criticize or justify authority. The most dominant types of talk produced by the lecturer who taught Vocabulary were Ask question and Give direction but Give lecture was the most dominant types of talk produced by the lecturer who taught Poetry. This finding indicates that types of course taught by lecturers affect the kinds of talk produced by the lecturers.
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Anderson, Earl R. "The uncarpentered world of Old English poetry." Anglo-Saxon England 20 (December 1991): 65–80. http://dx.doi.org/10.1017/s0263675100001757.

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Cultural archaism is often thought of as a natural concomitant of oral tradition, and by extension, of a literature that is influenced by oral tradition. In the case of Old English poetry, archaism might include residual pagan religious beliefs and practices, such as the funeral rites inBeowulfor the use of runes for sortilege, and certain outmoded aspects of social organization such as the idea of a state dependent upon thecomitatusfor military security. An example often cited is the adaptation of heroic terminology and detail to Christian topics. The compositional method in Cædmon's ‘Hymn’, for instance, is regarded by many scholars as an adaptation of panegyric epithets to the praise of God, although N. F. Blake has noted that heroic epithets in the poem could have derived their inspiration from the psalms. InThe Dream of the Rood, the image of Christ mounting the Cross as a warrior leaping to battle has been regarded variously as evidence of an artistic limitation imposed by oral tradition, or as a learned metaphor pointing to the divine and human nature of Christ and to the crucifixion as a conflict between Christ and the devil. The martyrdom of the apostles is represented as military conflict in Cynewulf'sFates of the Apostles, Christ and his apostles as king andcomitatusin Cynewulf'sAscension, and temptation by devils as a military attack inGuthlac A; these illustrate a point made by A.B. Lord concerning the nature of conservatism in oral tradition: ‘tradition is not a thing of the past but a living and dynamic process which began in the past [and] flourishes in the present’.
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Wright, L. "Third World Express : trains and “revolution” in Southern African poetry." Literator 31, no. 1 (July 13, 2010): 1–18. http://dx.doi.org/10.4102/lit.v31i1.34.

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This article examines political dimensions of the train metaphor in selected Southern African poems, some of them in English translation. Exploring work by Mongane Serote, B.W. Vilakazi, Demetrius Segooa, Phedi Tlhobolo, Thami Mseleku, Jeremy Cronin, Alan Lennox-Short, Anthony Farmer, Freedom T.V. Nyamubaya, Abduraghiem Johnstone and Mondli Gwala, the argument shows some of the ways in which the technological character of trains and railways is made to carry a message of political insurrection and revolution. The author shows that the political potential of the railway metaphor builds on the general response to railways evident in poems indebted to traditional African praise poetry. The article also demonstrates that political contention within different strands of the Southern African liberation movement could also find expression using the railway metaphor.
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Anoosheh, Seyed Mohammad, and Mahsa Khalili Jahromi. "A Mystical Reading of Ḥāfiẓ’s Translation by Robert Bly and Leonard Lewisohn." Theory and Practice in Language Studies 10, no. 2 (February 1, 2020): 230. http://dx.doi.org/10.17507/tpls.1002.12.

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Robert Bly and Leonard Lewisohn are among the latest translators of Ḥāfiẓ who have selectively translated thirty ghazals of Ḥāfiẓ into English. A close investigation of their translation reveals how they have manipulated the original texts to a great extent which results in having merely a mystical interpretation of Ḥāfiẓ’s multi-layered poems. However, due to the literary form of Ḥāfiẓ’s poetry which is ghazal, it can be in praise of different issues such as nature, youth, beloved, loveliness, etc.; in Bly and Lewisohn’s translation, most of them have been ascribed to divinity. In other words, by means of translation, they have rendered their own worldview along with their personal reading of Ḥāfiẓ’s poetry. The authors argue that Bly and Lewisohn’s translation renders a mystical reading of Ḥāfiẓ’s poetry and presents him as a moral preacher whose poetry is saturated with mysticism and Sufism. Being highly against the American society’s materialism, by introducing Ḥāfiẓ as a mystic and insisting on mystical and spiritual interpretation of his poetry they intend to survive their society from corruption and cater to the moral and spiritual needs of the target culture. Since American literature compared to Persian literature, lacks some repertoire related to mysticism thus Lewisohn and Bly, by means of translation try to provide their culture with a sort of nourishment in order to contribute to the amendment of the society.
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Freer, Coburn. "Rivkah Zim. English Metrical Psalms: Poetry as Praise and Prayer, 1535-1601. Cambridge: Cambridge University Press, 1987. xvi + 329 pp. $49.50." Renaissance Quarterly 43, no. 1 (1990): 212–14. http://dx.doi.org/10.2307/2861819.

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McKelvy, William R. "PRIMITIVE BALLADS, MODERN CRITICISM, ANCIENT SKEPTICISM: MACAULAY’S LAYS OF ANCIENT ROME." Victorian Literature and Culture 28, no. 2 (September 2000): 287–309. http://dx.doi.org/10.1017/s106015030028203x.

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ONE OF THE BEST selling volumes of Victorian verse, as Donald Gray has shown, was Thomas Babington Macaulay’s The Lays of Ancient Rome first published in 1842 (Complete Writings 19: 167–279). For a generation after its publication, the Lays also generally enjoyed the praise of critics and poets.1 But in 1860, just months after Macaulay had been interred in Poets’ Corner, Matthew Arnold offered up the Lays as a touchstone of the grandly bad. In his lectures On Translating Homer, Arnold said that “a man’s power to detect the ring of false metal in those Lays is a good measure of his fitness to give an opinion about poetical matters at all” (1: 211). Arnold’s put-down was echoed in later works such as Thomas Humphry Ward’s multi-volume anthology The English Poets (1880), which opened with Arnold’s essay “The Study of Poetry.” Ward cited the continuing popularity of the Lays, but he pointed out that “the higher critical authorities have pronounced against them, and are even teaching us to wonder whether they can be called poetry at all. They find in the Lays the same faults which mar the author’s prose — commonplaceness of ideas, cheapness of sentiment and imagery, made to prevail by dint of the writer’s irresistible command of a new rhetorical force; in a word, eloquent Philistinism” (4: 540).
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Chouhan, Sandhya. "Various Themes in Sarojini Naidu’s Poetry." Journal of Advanced Research in English and Education 05, no. 02 (February 19, 2021): 13–14. http://dx.doi.org/10.24321/2456.4370.202008.

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Sarojini Naidu is the most lyrical of the Indian English poet. Because of the sweetness and musicality of hor verse, she was fondly called by Mahatma Gandhi “the nightingale of India.” In the early phase of her poetic corear, she was anamored by British romantic poets and imitated them in her poetry. But on the advice of Edmund Morris, she tried to reveal the heart of India romantically, lyrically and sensuously. Consequently, she published three volumes of the poem: “The Golden Threshold” [1905]. ‘The Bird of Time’ [1912] and ‘The Broken Wing’ [1917]. These volumes were highly praised by the western literary magzines like ‘The Time’, ‘The Glasgow Horald’, ‘The New York Times’.
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Dissertations / Theses on the topic "English poetry Praise"

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Waling, Amanda. "Vicious praise : flatery in late medieval english politiics and poetry /." May be available electronically:, 2007. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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Hiebert, Luann E. "Encountering maternal silence: writing strategies for negotiating margins of mother/ing in contemporary Canadian prairie women's poetry." 2016. http://hdl.handle.net/1993/31201.

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Contemporary Canadian prairie women poets write about the mother figure to counter maternal suppression and the homogenization of maternal representations in literature. Critics, like Marianne Hirsch and Andrea O’Reilly, insist that mothers tell their own stories, yet many mothers are unable to. Daughter and mother stories, Jo Malin argues, overlap. The mother “becomes a subject, or rather an ‘intersubject’” in the text (2). Literary depictions of daughter-mother or mother-child intersubjectivities, however, are not confined to auto/biographical or fictional narratives. As a genre and potential site for representing maternal subjectivities, poetry continues to reside on the margins of motherhood studies and literary criticism. In the following chapters, I examine the writing strategies of selected poets and their representations of mothers specific to three transformative occasions: mourning mother-loss, becoming a mother, and reclaiming a maternal lineage. Several daughter-poets adapt the elegy to remember their deceased mothers and to maintain a connection with them. In accord with Tanis MacDonald and Priscila Uppal, these poets resist closure and interrogate the past. Moreover, they counter maternal absence and preserve her subjectivity in their texts. Similarly, a number of mother-poets begin constructing their mother-child (self-other) relationship prior to childbirth. Drawing on Lisa Guenther’s notions of “birth as a gift of the feminine other” and welcoming the stranger (49), as well as Emily Jeremiah’s link between “‘maternal’ mutuality” and writing and reading practices (“Trouble” 13), I investigate poetic strategies for negotiating and engaging with the “other,” the unborn/newborn and the reader. Other poets explore and interweave bits of stories, memories, dreams and inklings into their own motherlines, an identification with their matrilineage. Poetic discourse(s) reveal the limits of language, but also attest to the benefits of extra-linguistic qualities that poetry provides. The poets I study here make room for the interplay of language and what lies beyond language, engaging the reader and augmenting perceptions of the maternal subject. They offer new ways of signifying maternal subjectivities and relationships, and therefore contribute to the ongoing research into the ever-changing relations among maternal and cultural ideologies, mothering and feminisms, and regional women’s literatures.
May 2016
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Books on the topic "English poetry Praise"

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Burrow, J. A. The poetry of praise. New York: Cambridge University Press, 2008.

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Dubé, Janet. In praise of carnivores. Llandysul: Gomer, 1997.

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Foster, Pamela. Kaleidoscope of praise. Belleville, Ont: Guardian Books, 2007.

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English metrical psalms: Poetry as praise and prayer, 1535-1601. Cambridge [Cambridgeshire]: Cambridge University Press, 1987.

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Keats, John. The love poems of John Keats: In praise of beauty. New York: St. Martin's Press, 1990.

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Hirshfield, Jane. Women in Praise of the Sacred: 43 Centuries of Spiritual Poetry by Women. Edited by Jane Hirshfield. New York, USA: HarperCollins Publishers, 1994.

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Imitation and praise in the poems of Ben Jonson. 2nd ed. Burlington, VT: Ashgate, 2011.

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Rowland, Jon Thomas. Faint praise and civil leer: The "decline" of eighteenth-century panegyric. Newark: University of Delaware Press, 1994.

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Marianne, Dorman, ed. Seven whole days to praise our God: An arrangement of George Herbert's poems for Christian meditation. Bloomington, IN: AuthorHouse, 2009.

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Herbert, George. Seven whole days to praise our God: An arrangement of George Herbert's poems for Christian meditation. Bloomington, IN: AuthorHouse, 2009.

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Book chapters on the topic "English poetry Praise"

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Loxley, James. "‘Cum Priuilegio: For the KING’: A Caroline Poetry of Praise." In Royalism and Poetry in the English Civil Wars, 9–57. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230389199_2.

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Kilgore-Caradec, Jennifer. "“Twang the lyre and rattle the lexicon”." In Modernist Objects, 131–46. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979503.003.0008.

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This chapter offers a general survey of how harps and lyres were used as poetic instruments as well as how they were referenced in modernist poetry. Harps and lyres were foundational to poetic composition in the laments and praise songs King David played with a harp resembling a begena, just as poets of the Ur dynasty had done before him. The oral tradition of accompanying poems with music from a harp or lyre ranged widely geographically from the China of Confucius to the skolias or banquet songs of ancient Greece. Harps and lyres continued to be in common use by Europe’s medieval troubadours. The very objects, harps and lyres have come to signify poetic tradition itself. As such, both words have been significantly used in the long tradition of English language poetry, and they have also been involved in war and war poetry. This chapter provides poetic examples showing the presence of harps and lyres in modernist poems, including the masculine and feminine modernisms of Britain and the United States (Yeats, Eliot, Pound, Sitwell, H.D., Moore, Millay, Auden and MacNeice) as well as African American modernisms.
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Howe, Nicholas. "Praise and Lament: The Afterlife of Old English Poetry in Auden, Hill, and Gunn." In Words and Works, edited by Peter S. Baker and Nicholas Howe. Toronto: University of Toronto Press, 1998. http://dx.doi.org/10.3138/9781442683631-020.

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"Chapter 3. Mourning and Praise: The Elegy and Epitaph." In The English Poetic Epitaph, 86–110. Ithaca, NY: Cornell University Press, 2020. http://dx.doi.org/10.7591/9781501737787-005.

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"Chapter 9. Grafting Fame: Pope and the Dilemmas of Epitaphic Praise." In The English Poetic Epitaph, 277–311. Ithaca, NY: Cornell University Press, 2020. http://dx.doi.org/10.7591/9781501737787-011.

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Eisner, Martin. "The Crisis (Musical Staves)." In Dante's New Life of the Book, 65–86. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198869634.003.0004.

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This chapter begins with the musical stages that accompany Dante’s ballata in an early twentieth-century English translation. Although the music is a modern fabrication, it calls attention to the distinctive form of the ballata which Dante considers defective in the De vulgari eloquentia because it requires the kind of musical accompaniment these staves provide. This chapter examines how this formal defect also encodes a thematic problem of relying on Beatrice’s greeting. This chapter shows how Dante deals with this crisis through the praise style expressed in the self-sufficient (not defective) form of the canzone Donne ch’avete intelletto. While the canzone’s significance has been widely recognized, this chapter shows how Dante’s expression of this new idea of love by plotting these different poetic forms draws on the two books he read after Beatrice’s death, Boethius’ Consolation of Philosophy and Cicero’s De amicitia. The final section discusses how several later readers transformed and even erased Dante’s innovative idea of love.
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"is generally compatible with the teaching of the common and vulgar pride in the power of this world’ Reformed church, and therefore with doctrines (cited Var 1.423). Readers today, who rightly query found in the Book of Common Prayer and the hom-any labelling of Spenser’s characters, may query just ilies, rather than as a system of beliefs. See J.N. Wall how the knight’s pride, if he is proud, is personified 1988:88–127. by Orgoglio. Does he fall through pride? Most cer-Traditional interpretations of Book I have been tainly he falls: one who was on horseback lies upon either moral, varying between extremes of psycho-the ground, first to rest in the shade and then to lie logical and spiritual readings, or historical, varying with Duessa; and although he staggers to his feet, he between particular and general readings. Both were soon falls senseless upon the ground, and finally is sanctioned by the interpretations given the major placed deep underground in the giant’s dungeon. classical poets and sixteenth-century romance writers. The giant himself is not ‘identified’ until after the For example, in 1632 Henry Reynolds praised The knight’s fall, and then he is named Orgoglio, not Faerie Queene as ‘an exact body of the Ethicke doc-Pride. Although he is said to be proud, pride is only trine’ while wishing that Spenser had been ‘a little one detail in a very complex description. In his size, freer of his fiction, and not so close riuetted to his descent, features, weapon, gait, and mode of fight-Morall’ (Sp All 186). In 1642 Henry More praised ing, he is seen as a particular giant rather than as a it as ‘a Poem richly fraught within divine Morality particular kind of pride. To name him such is to as Phansy’, and in 1660 offers a historical reading of select a few words – and not particularly interesting Una’s reception by the satyrs in I vi 11–19, saying ones – such as ‘arrogant’ and ‘presumption’ out of that it ‘does lively set out the condition of Chris-some twenty-six lines or about two hundred words, tianity since the time that the Church of a Garden and to collapse them into pride because pride is one became a Wilderness’ (Sp All 210, 249). Both kinds of the seven deadly sins. To say that the knight falls of readings continue today though the latter often through pride ignores the complex interactions of all tends to be restricted to the sociopolitical. An influ-the words in the episode. While he is guilty of sloth ential view in the earlier twentieth century, expressed and lust before he falls, he is not proud; in fact, he by Kermode 1971:12–32, was that the historical has just escaped from the house of Pride. Quite allegory of Book I treats the history of the true deliberately, Spenser seeks to prevent any such moral church from its beginnings to the Last Judgement identification by attributing the knight’s weakness in its conflict with the Church of Rome. According before Orgoglio to his act of ignorantly drinking the to this reading, the Red Cross Knight’s subjection enfeebling waters issuing from a nymph who, like to Orgoglio in canto vii refers to the popish captivity him, rested in the midst of her quest. of England from Gregory VII to Wyclif (about 300 Although holiness is a distinctively Christian years: the three months of viii 38; but see n); and the virtue, Book I does not treat ‘pilgrim’s progress from six years that the Red Cross Knight must serve the this world to that which is to come’, as does Bunyan, Faerie Queene before he may return to Eden refers but rather the Red Cross Knight’s quest in this world to the six years of Mary Tudor’s reign when England on a pilgrimage from error to salvation; see Prescott was subject to the Church of Rome (see I xii 1989. His slaying the dragon only qualifies him to 18.6–8n). While interest in the ecclesiastical history enter the antepenultimate battle as the defender of of Book I continues, e.g. in Richey 1998:16–35, the Faerie Queene against the pagan king (I xii 18), usually it is directed more specifically to its imme-and only after that has been accomplished may he diate context in the Reformation (King 1990a; and start his climb to the New Jerusalem. As a con-Mallette 1997 who explores how the poem appro-sequence, the whole poem is deeply rooted in the priates and parodies overlapping Reformation texts); human condition: it treats our life in this world, or Reformation doctrines of holiness (Gless 1994); under the aegis of divine grace, more comprehens-or patristic theology (Weatherby 1994); or Reforma-ively than any other poem in English. tion iconoclasm (Gregerson 1995). The moral allegory of Book I, as set down by Ruskin in The Stones of Venice (1853), remains gener- Temperance: Book II." In Spenser: The Faerie Queene, 31. Routledge, 2014. http://dx.doi.org/10.4324/9781315834696-29.

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