Relevant bibliographies by topics / Famous poets

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Academic literature on the topic 'Famous poets'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Famous poets"

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Brio, Valentina. "Osip Mandelstam in the Works of Polish Poets." Literatūra 62, no. 2 (2020): 112–28. http://dx.doi.org/10.15388/litera.2020.2.6.

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This article analyzes poems written by Polish authors about Osip Mandelstam. Fifteen poems by famous Polish authors, such as Artur Międzyrzecki, Wiktor Woroszylski, and Jarosław Marek Rymkiewicz, are examined. Polish poets perceive Mandelstam‘s tragic fate through the prism of the poet‘s image and significance of poetry as they appear in the context of the lives of the Polish literary and cultural tradition. These authors see Mandelstam as a martyr, an outstanding poet. To them, their mission is to bear testimony.
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Weems, Sandra, and Tom Bragg. "The Great War Poets and the Campaign for Empathy." Emotions: History, Culture, Society 2, no. 2 (2018): 236–55. http://dx.doi.org/10.1163/2208522x-02010021.

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AbstractThe British soldier-poets of the Great War (1914–1918) composed works that openly, intuitively sought empathy from civilians back home and commanders absent from the Western front. As a term coined only in 1909, empathy was derived, ironically, from German aesthetics (Einfühlung) by an English psychologist: two peoples imaginatively and intellectually engaged in peacetime, later locked in a prolonged, mutual slaughter. While most of the war poets had never heard the word, many of their poems demonstrate a variety of concepts and tropes that we recognise to be empathic. Examining lines by some of the war’s most famous poets – Edward Thomas, Thomas Sorley, Isaac Rosenberg, Charles Sorley, and Ivor Gurney – the authors illustrate ways the poets campaigned for empathy in verse.
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Widyastuti, Thera, and Banggas Limbong. "PESONA JAWA DALAM PUISI RUSIA." Paradigma, Jurnal Kajian Budaya 6, no. 1 (2016): 123. http://dx.doi.org/10.17510/paradigma.v6i1.85.

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This research will analyze Russian poems by using the approach of sociology of literature. Poetry is a popular form in Russian literature. The presence of the poets with their works make people in the world know Russian literature. The poets’s journey to all over the world provide experiences that inspire their works. Nusantara as a region famous for its natural resources has attracted Europeans, and has inspired the Russian poets Esperovich Esper Ukhtomsky, Konstantin Dmitriyevich Balmont, Valery Yakovlevich Bryusov and Vladimir Yurievich Elsner. They wrote poems the beauty of the natural and cultural heritage, especially in Java. Borobudur, traditional music, traditional dance, and Botanical Gardens became theme in their poetry.
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Bzinkowski, Michał, and Rita Winiarska. "Images of Sculptures in the Poetry of Giorgis Manousakis." Classica Cracoviensia 19 (December 31, 2016): 5–14. http://dx.doi.org/10.12797/cc.19.2016.01.

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The imagery of fragmentary sculptures, statues and stones appears often in Modern Greek Poetry in connection with the question of Modern Greeks’ relation to ancient Greek past and legacy. Many famous poets such as the first Nobel Prize winner in literature, George Seferis (1900-1971), as well as Yannis Ritsos (1909-1990) frequently use sculptural imagery in order to allude to, among other things, though in different approaches, the classical past and its existence in modern conscience as a part of cultural identity. In the present paper we focus on some selected poems by a well-known Cretan poet Giorgis Manousakis (1933-2008) from his collection “Broken Sculptures and Bitter Plants” (Σπασμένα αγάλματα και πικροβότανα, 2005), trying to shed some light on his very peculiar usage of sculpture imagery in comparison with the earlier Greek poets. We attempt to categorize Manousakis’ metaphors and allusions regarding the symbolism of sculptures in correlation with existential motives of his poetry and the poet’s attitude to the classical legacy.
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Scherr, Barry P. "Odd Stanzas." Studia Metrica et Poetica 1, no. 1 (2014): 28–54. http://dx.doi.org/10.12697/smp.2013.1.1.03.

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Stanzas with seven and nine lines have had a long tradition in English verse, but stanzas with an odd number of lines and longer than five lines occur relatively rarely in Russian. Indeed, Russian poetry has never developed a strong tradition of longer lines with an odd number of stanzas, despite two moments when they might have achieved wider acceptance. From the 1820s through the 1840s a few poets, including Lermontov and the less known Kjukhel’beker, composed some notable experiments with these forms. Even Lermontov’s famous Borodinskaja strofa did not attract many imitators, although a number of poets throughout that century and up to the present day have continued to write poems in stanzas with 7, 9 and even 11 or 13 lines. The second period occurred during the early 20th century, but among modernist poets the interest in stanzas was focused more on traditional forms, such as the sonnet. Perhaps because of their rarity, the odd stanzas found among Russian poets most often serve as the platform for complex and unconventional rhyme schemes, often accompanied by other striking formal features as well.
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Zareifard, Raha, and Mehdi Rezaei. "Jale Ghaemmaghmi: An Outstanding Social- Political Poet in Contemporary Persian." JOURNAL OF ADVANCES IN LINGUISTICS 9 (April 30, 2018): 1344–57. http://dx.doi.org/10.24297/jal.v9i1.7203.

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Jale Ghaemmaghmi is the late Ghajar and first Pahlavi poet who has social-political thought and is the outstanding poet among female poets. However, she is anonymous as the consequence of her limitation in her life. By studying her poems, it is found that her social-political thought is in line with some famous thinkers such as Dehkhoda, Bahar and Kasravi. She has more social poems in comparison to Forugh Farokhzad. This paper aims at investigating her thought by categorizing her poems to introduce the hidden layers of her thought to contemporary researchers in literature and sociology.
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Rizano, Gindho. "Analisis terhadap Dua Puisi Penyair Amerika Claude McKay: Penelusuran SelukBeluk Kekuasaan Ras." Journal Polingua : Scientific Journal of Linguistics, Literature and Education 3, no. 1 (2018): 25–29. http://dx.doi.org/10.30630/polingua.v3i1.11.

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This article discusses two representative poems by a famous African-American writer, Claude Mckay. It seeks to interpretthe poems, “If We Must Die” and “Enslaved”, which both explore the issues racism and mental slavery, in the light of politicalapproaches such as Marxist criticism and postcolonialism. The main findings of this article are: 1) that racism and violence that itentails are rooted in class conflict and 2) that McKay’s poems can be seen as a counter-hegemony of the ethnocentricity of whiteculture. Generally, it is hoped that this writing can promote historical and political readings of minority poets like Claude McKay.
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Beck, Charles R. "The Poets' Inner Circle: Gaming Strategies Based on Famous Quotations." English Journal 87, no. 3 (1998): 37. http://dx.doi.org/10.2307/822381.

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Dr. V.S. Bindhu, Rincy Philip,. "EXPLORING THE MYTHICAL INNER LIFE OF A BROKEN METROPOLIS: A COMPARISON OF GYAN PRAKASH’S MUMBAI FABLES AND JEET THAYIL’S NARCOPOLIS." Psychology and Education Journal 58, no. 1 (2021): 4476–78. http://dx.doi.org/10.17762/pae.v58i1.1537.

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Jeet Thayil is a versatile figure in Indian Literature whose contributions to world literature includes many poems, novels and music. His song collection include Gemini (1992), Apocalypso (1997), English (2004), These Errors Are Correct (2008). He also edited many books, which includes Divided Time: India and the End of Diaspora, The Bloodaxe Book of Contemporary Indian Poets and 60 Indian Poets. He is famous for his first novel Narcopolis, which is set in Mumbai. This work is shortlisted for Man Booker Prize for fiction in 2012.Gyan Prakash is another important figure in modern historic India whose handouts lead India through a focus of wealth and secured life. He is also a professor of history and included as a member of subaltern studies. Prakash’s writings mainly focus on problems of post colonialism. His famous work is Mumbai Fables: A History of an Enchanted City. This paper tries to find out the history of Mumbai Metropolis with the comparison study of Jeet Thayil’s Narcopolis and Gyan Prakash’s Mumbai Fables. Both these works shows the hidden history of Mumbai with its both positive and negative structures.
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A'yun, Loita Kurrota. "Gaya Bahasa Kiasan Dalam Puisi “Mansyūrātun Fidāiyyatun ‘Alā Judrāni Isrāīl”." Arabiyatuna : Jurnal Bahasa Arab 2, no. 2 (2018): 161. http://dx.doi.org/10.29240/jba.v2i2.549.

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A poet often uses the style of language in composing poetry in order to achieve the desired beauty. Likewise with one of the famous Arab poets in the modern era, namely Nizar Qabbani. He often uses language styles, one of which is the figurative language style, to compose verses in his poems. One of his works which contains a lot of this style of figurative language is his poem entitled "Mansyūrātun Fidāiyyatun ā Al Judrāni Isrāīl". This study aims to analyze the style of figurative language used in the poem. In this study, researchers used stylistic analysis, to be able to find out the types of figurative language used by poets. The results of this study indicate that poets use several kinds of figurative language styles, namely equation or simile (tasybīh), metaphor or isti’ārah, antonomasia or kināyah, pars pro toto (majāz mursal juz’iyyah), irony and cynicism. The most figurative style of speech used by poets is the style of equality or simile (tasybīh), irony and cynicism. This is because the poem is a criticism and representation of expressions of bitterness, anger, and disappointment of the Palestinian people both towards Israel, America, and other world communities.
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Books on the topic "Famous poets"

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Famous Americans (Yale Series of Younger Poets). Yale University Press, 2003.

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Nutki, Hamid. Melodious reveries: Selected poems by Hamid Nutki Aytan : a famous poet of Azerbaijan. Publishing Poligraphy Ltd. for Azerbaijan Culture, 2004.

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Moore, Jim. Ernest Thayer's "Casey at the bat": Background and characters of baseball's most famous poem. McFarland & Co., 1994.

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Wheatley, Phillis. Life and works of Phillis Wheatley: Containing her complete poetical works, numerous letters, and a complete biography of this famous poet of a century and a half ago. Ayer, 1988.

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1867-1894, Renfro G. Herbert, ed. Life and works of Phillis Wheatley: Containing her complete poetical works, numerous letters, and a complete biography of this famous poet of a century and a half ago. Ayer Company, Publishers, Inc., 1993.

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The death of Thomas Merton: A novel : a confessional portrayal of the last day in the life of the famous Catholic monk and writer. Vedantic Shores Press, 2003.

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Aberjhani. ELEMENTAL: The Power of Illuminated Love. Soar Publishing, 2008.

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Aberjhani. I Made My Boy Out of Poetry: Poems, Stories, Dreams & Sho 'Nuff Truths. Washington Publications, 1998.

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Famous persons we have known: Poems. Eastern Washington University Press, 2000.

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Billo Zeledón: Ese famoso desconocido. Editorial Universidad de Costa Rica, 2006.

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Book chapters on the topic "Famous poets"

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Penn, W. S. "In a Hole in the House of the Famous Poet." In Storytelling in the Digital Age. Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137365293_16.

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Hadjimichael, Theodora A. "Plato, Poetry, and the Lyric Nine." In The Emergence of the Lyric Canon. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198810865.003.0004.

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Chapter 3 focuses on Plato’s attitude towards the lyric poets and on the diversity with which certain lyric extracts are incorporated in his dialogues. Lyric poets are portrayed in Plato as authorities on ethical matters, lyric passages are integrated in philosophical arguments as pieces of eternal wisdom, and gnomic utterances from several lyric poems are re-contextualized in a number of passages in the Platonic dialogues. This method attests to the atemporal poetics and the broad applicability of lyric. The evidence provided in the Platonic dialogues allows us to conclude not only that the lyric poets were well recognized by mid-fourth century BC but also that a number of their poems were still performed during Plato’s time or were famous enough to be recalled in his work.
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Horsfall, Nicholas. "Poets and poetry in Virgil’s Underworld." In Fifty Years at the Sibyl's Heels. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198863861.003.0040.

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From a discussion of the singular concentration in Aeneid 6 of material pointing towards archaic Latin poetry and present in the text leading up to and including the famous verses excudent alii…(6.847–53), we pass to Virgil’s view of poets and poetry at large in Aeneid 6: a number of passages make it clear that Elysium is filled with poets, and their importance to Virgil emerges from the rhetorical structure of the last third of Aeneid 6.
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Hetherington, Paul, and Cassandra Atherton. "Women and Prose Poetry." In Prose Poetry. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691180656.003.0009.

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This chapter highlights the tradition of English-language prose poetry by women. It explores what women's prose poetries may be — not only in terms of content and approach but in terms of technique and emphasis. The chapter begins by looking at Holly Iglesias's seminal text, Boxing Inside the Box: Women's Prose Poetry (2004), which is the most comprehensive study of women's prose poetry to date. Iglesias advocates for the liberation of women prose poets, using the prose poem box as a metaphor for their containment. Beginning with Carolyn Forché's famous and disturbing prose poem about male power and brutality, “The Colonel,” and ending with C. D. Wright's hybrid prose poem essay, Iglesias's book celebrates women prose poets by giving them space and prominence. Ultimately, the neglect of many women prose poets did not occur because women were not writing prose poems; it is just that many women were not writing the kinds of prose poems that fit the prevalent critical view of what successful prose poems might look like.
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Matthews, Samantha. "‘Here you may trace a pigmy hand, / And there a Giant strength’." In Album Verses and Romantic Literary Culture. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857945.003.0007.

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Albums kept by Sara Coleridge, Edith May Southey, and Dora Wordsworth between the early 1820s and late 1840s show that that although the Wordsworth circle daughters’ access to their famous fathers’ literary networks resulted in books exceptionally rich in album verse by well-known contemporary poets, their poet-fathers’ practical assistance and symbolic influence exacerbated the anxiety of reception for amateur contributors, and complicated each woman’s role as agent and subject of her own book. In the Wordsworth circle albums, scribal publication is perilously close to conventional publication, and contributors negotiate between fulfilling the woman owner’s wishes and articulating awareness of the revered older poets’ scepticism or downright hostility to feminized album culture. The poet-father’s presence turns albums into contested textual spaces where generational, gender, and power dynamics are played out in poetry.
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"William Winstanley, from ‘The Lives of the most Famous English Poets’, 1687." In George Herbert. Routledge, 2013. http://dx.doi.org/10.4324/9781315004464-36.

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Attridge, Derek. "Early Tudor Poetry: Courtliness and Print." In The Experience of Poetry. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198833154.003.0012.

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After noting the evidence for the public performance of poetry in Continental Europe, this chapter turns to the impact of print on English poetry: from the late fifteenth century, the printers Caxton and de Worde gave readers a new way to experience poems. At the court of Henry VIII, Skelton exploited both manuscript and print. The Devonshire manuscript, which circulated around Henry’s courtiers, is discussed, as is Tottel’s 1557 Songes and Sonettes, whose cachet lay partly in its making the private poetry of the elite available to a large public. Another popular collection was A Mirror for Magistrates, in which a gathering of poets impersonating famous tragic victims of the past was staged. Although there were signs of a suppler use of metre, the 1560s and 1570s were characterized by highly regular verse. The most skilled poet of this period, Gascoigne, was also responsible for a pathbreaking treatise on poetry.
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Batt, Jennifer. "‘For Duck can thresh, you know, as well as write’." In Class, Patronage, and Poetry in Hanoverian England. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198859666.003.0005.

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This chapter explores how Stephen Duck’s public identity as ‘the famous Threshing Poet’ was forged as much by what was written about him as it was by anything he wrote himself. In the weeks and months after Queen Caroline’s patronage was announced, the poetic abilities of the agricultural labourer were debated in pamphlets, newspaper articles, poems, essays, and even dramatic scenes. What did the emergence of such a poet mean for contemporary literary culture? Could a labourer really merit the extraordinary acclaim that Duck had received, or was his present fame a symptom of a worrying decline in standards? Was he an isolated and unique case, or just the most visible exemplar of a growing group of ambitious and talented labouring-class men and women? And if there were more labouring-class poets like him, was that prospect to be welcomed or feared? This chapter explores how Duck’s contemporaries sought to answer these questions. For some, the thresher poet was an ill-educated rustic whose startling rise to fame was symptomatic of a debased literary sphere; for others, though, Duck was an important figurehead of an emerging movement of labouring-class writing.
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Vargö, Lars. "The Travels and Poems of Matsuo Bashô." In Songs on the Road: Wandering Religious Poets in India, Tibet, and Japan. Stockholm University Press, 2021. http://dx.doi.org/10.16993/bbi.g.

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This chapter looks at the iconic 17th century Japanese poet Matsuo Bashô, who is known as the originator of haiku and is most famous for his travel-account Oku no hosomichi, ‘The Narrow Road to the Interior’. This account contains many references to Buddhist temples and legends, since the purpose of the trip was not only to “be one with nature” and write poetry, but also to visit religious sites. Bashô was a Buddhist, as well as a Shintôist, a Confucian, and a Daoist. He had studied Zen Buddhism, but had enough worldly attachment to not want to enter a monastery permanently. Through his travel journals, Bashô created an ideal world of itinerant monks and he is often hailed as a role-model for wandering religious poets.
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Mowbray, Thomas J. "Virtual World Avatar Branding." In Advances in Social Networking and Online Communities. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-5150-0.ch005.

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Avatar branding is the process of creating a virtual personality, establishing a well-known virtual identity, and immersing oneself as an active participant in virtual society. In virtual worlds such as Second Life and the many Opensim worlds, avatar branding is an essential capability for many kinds of virtual world users, such as fine artists, musicians, poets, writers, deejays, athletes, actors, fashion designers, and other kinds of virtual celebrities. This chapter discusses the process of avatar branding and covers several examples of famous branded avatars.
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Conference papers on the topic "Famous poets"

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Андреев, Дмитрий Андреевич, and Андрей Евгеньевич Крашенинников. "THE CREATIVE PATH OF TILL LINDEMANN." In Сборник избранных статей по материалам научных конференций ГНИИ «Нацразвитие» (Санкт-Петербург, Май 2021). Crossref, 2021. http://dx.doi.org/10.37539/may316.2021.87.93.005.

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В статье рассматривается становление немецкого рокмена Тилля Линдеманна как творческой личности. Он входит в число известных немецких музыкантов, но не всем известно, что Т. Линдеманн еще и поэт. Его произведения написаны в традиционном для Германии стиле экспрессионизма. В своих стихотворениях Т. Линдеманн поднимает темы любви, творчества, жизни и смерти. Чувства у Т. Линдманна обычно преподносятся от лица лирического героя, носят характер исповеди и наполнены трагизмом. The article examines the formation of the German rockman Till Lindemann as a creative person. He is one of the famous German musicians, but not everyone knows that T. Lindemann is also a poet. His works are written in the traditional style of expressionism in Germany. In his poems, T. Lindemann raises the themes of love, creativity, life and death. Feelings in T. Lindmann are usually presented from the perspective of a lyrical hero, have the character of confession and are filled with tragedy.
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Kim, Jeong Yong, Nicholas Mazzoleni, Dheeraj Vemula, and Matthew Bryant. "Development and Demonstration of an Orderly Recruitment Valve for Fluidic Artificial Muscles." In ASME 2020 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/smasis2020-2330.

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Abstract Variable recruitment fluidic artificial muscle (FAM) bundles consist of multiple FAMs arranged in motor units that are sequentially activated as load demand increases. The conventional configuration of a variable recruitment FAM bundle requires a valve for each motor unit, which is referred to as a multi-valve system (MVS). As each motor unit within the bundle is selectively recruited, this configuration is highly adaptable and flexible in performance. However, as the number of motor units increases, the valve network can become complex and heavy in its design. To decrease complexity and weight, the concept of an orderly recruitment valve (ORV) has been proposed and analyzed. The ORV allows multiple motor units to be controlled using a single valve that recruits and pressurizes all motor units. The ORV concept consists of a spool valve with multiple outlet ports and a motor unit connected to each port. A linear actuator controls the position of the spool, allowing fluid flow into each port in succession. Naturally, de-recruitment happens in reverse order. The objective of the ORV is to strike a balance between performance and compactness of design. The purpose of this paper is to present analytical modeling that can be used to understand the behavior and performance of an ORV system and develop an experimental proof-of-concept that illustrates the ORV operation in hardware. A pneumatic ORV prototype was constructed and used to actuate two FAMs sequentially, each representing a motor unit. The results demonstrate the ORV as a compact system with which a variable recruitment bundle with multiple recruitment states can be controlled.
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Reports on the topic "Famous poets"

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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.
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