Relevant bibliographies by topics / Gayo poetry

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

Academic literature on the topic 'Gayo poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Gayo poetry"

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Kim, Ki-young. "Consideration of Shin, Seok-cho’s Goryeo Gayo-Accepting Poetry." Korean Language and Literature 98 (September 30, 2016): 7–28. http://dx.doi.org/10.21793/koreall.2016.98.7.

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김진희. "The Literary and Musical Meaning of the Refrains in the Koryo-gayo." Korean Classical Poetry Studies 31, no. ll (November 2011): 101–30. http://dx.doi.org/10.32428/poetry.31..201111.101.

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나정순. "The distinction of ‘shiga’(시가) and ‘gayo’(가요) as seen through the Annals of Joseon Dynasty." Korean Classical Poetry Studies ll, no. 22 (May 2007): 171–206. http://dx.doi.org/10.32428/poetry..22.200705.171.

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Asiah, Nur, Ryan Indrawan, and Firman Parlindungan. "“Didong” Art as Health Promotion to Improve Natural Disaster Awareness." J-Kesmas: Jurnal Fakultas Kesehatan Masyarakat (The Indonesian Journal of Public Health) 7, no. 2 (October 31, 2020): 49. http://dx.doi.org/10.35308/j-kesmas.v7i2.2728.

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Didong is one of the cultural arts originating from the Gayo tribe of Bener Meriah, Takengon and Gayo Lues Regencies in Aceh Province, Indonesia. Furthermore, it is an art that combines movement, vocals and artistic literature to educate the public about government programs, such as health-care sector in the context of health promotion. The Bener Meriah regency experienced an earthquake in 2013, which result in the death of 14 people and 100 were injured. Therefore, this study aims to determine the didong art as a medium for health promotion, and the sample used were purposive sampling, which include the recitation group of 69 people. Also, a pre-experimental design with one shot case study was used. Furthermore, data was collection techniques include questionnaires, observation and interviews, and it was analyzed using percentage descriptive method to describe all varriables The community watched the didong art performance via video for 20 minutes, and subsequently an assessment was performed on the community. Based on the results, 85% of community groups stated that the didong art was used as a tool in health promotion in relation to the effect of natural disasters on public health. The art's unique local wisdom makes it easier for the community to understand the contents of didong art poetry, which contains messages regarding the impact of natural disaster in public health. In addition, the poetry was translated into Indonesia for easy understanding by people other than the Gayo tribe. Therefore, in order to determine the level of effectiveness in the use of didong art as promotion medium for public awareness about the effect of natural disaster, this research needs to be continued.
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Bowen, John R. "A Modernist Muslim Poetic: Irony and Social Critique in Gayo Islamic Verse." Journal of Asian Studies 52, no. 3 (August 1993): 629–46. http://dx.doi.org/10.2307/2058857.

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Muslim movements in the twentieth century have sought to develop new reading and listening publics attuned to the messages of reform and renewal. Across Asia and the Middle East, scholars, poets, and activists have created distinctive vernacular genres intended to make the words of scripture widely available. Newspaper columns, quickly printed tracts, and popular poetry have been shaped to the task of tafsīr, the interpretation of scripture. International networks of printers, booksellers, and, more recently, television producers have extended the reformist's reach far beyond older networks of scholarship and communication (Metcalf 1990; Eickelman 1992). Often modernist writers have signaled their break with past scholarly traditions by writing in vernaculars, sometimes developing new vernaculars. They wrote in Turkish, Urdu, Bengali, or Indonesian, rather than the traditional religious and literary languages of Arabic, Persian, and Javanese (Anderson 1990; Freitag 1988; Mardin 1989).
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Jaya, Irama, and Bukhari Daud. "A discourse analysis of Melengkan at a Gayonese wedding ceremony." Studies in English Language and Education 4, no. 1 (March 1, 2017): 105. http://dx.doi.org/10.24815/siele.v4i1.7008.

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Melengkan is a special form of the Gayonese language which is spoken in poetry, lyrics, and proverbs. This study investigated its use as poetry specifically in wedding ceremonies held in Gayo, Aceh, Indonesia. The data was collected by observations and a video-recording of a traditional Gayonese wedding ceremony, as well as from interviews with melengkan speakers. We described and analyzed the context of the use of melengkan, the form of melengkan, and the cultural values conveyed through melengkan used in the wedding ceremony. The findings showed that there were six types of melengkan: Melengkan Turun Caram, Melengkan Beguru, Melengkan Munyerah Rempele, Melengkan Munerime Rempele, Melengkan Munyerah Munenes and Melengkan Munerime Munenes. The values of melengkan are for remembrance of local knowledge, warnings from customary philosophy, warnings from religion, and also for giving advice and recall the history and beauty of melengkan speech. The context of using melengkan is to perpetuate and reflect cultural values, namely, politeness, respect, speaking softly, friendliness and resoluteness. These findings imply the importance of conserving melengkan as part of the Gayonese culture in every part of their life.
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Nik Din, Nik Murshidah, Najihah Abd Wahid, Rahimah Embong, Khazri Osman, and Nik Muniyati Nik Din. "[Textual Analysis as a Method in Understanding Poetic Expressions Imam Al-Shafie R.H.M] Analisis Tekstual Sebagai Method Dalam Memahami Ungkapan Puisi Imam Al-Shafie R.H.M." Jurnal Islam dan Masyarakat Kontemporari 19 (September 24, 2018): 112–19. http://dx.doi.org/10.37231/jimk.2018.19.0.290.

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This study aims to examine al- tawkid poetic style in Shafii's poems by using the textual analysis approach. This analytical approach can help readers understand the poetry texts deeply. This study will focus on textual analysis applied in poetry text studies. The selected poems of Imam al-Shafi'i r.h.m which is containing al-tawkid are only chooses to be analyzed. The findings show that textual analysis is a good method to analyze a poetic text from the linguistic point of view and the function of the poetic meaning. Kajian ini bermatlamat menganalisis gaya bahasa al-tawkid yang terdapat dalam Diwan al-Shafi’i r.h.m dengan menggunakan kaedah analisis tekstual. Pendekatan analisis ini dapat membantu pembaca memahami teks puisi dengan lebih mendalam. Hanya puisi-puisi Imam al- Shafi'i yang mengandungi gaya bahasa al-tawkid sahaja dipilih untuk dianalisis. Hasil kajian mendapati bahawa analisis tekstual adalah kaedah yang baik dalam membantu menganalisis sesebuah teks puisi dari sudut linguistik dan fungsi makna puisi tersebut.
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Dewi, Risna Fitria, Daud Pamungkas, and Aprilla Adawiyah. "Penggunaan Gaya Bahasa pada Puisi Siswa Kelas VIII SMP Negeri 1 Pasirkuda." Dinamika 3, no. 2 (August 30, 2020): 54. http://dx.doi.org/10.35194/jd.v3i2.1000.

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Artikel ini mengungkapkan penggunaan gaya bahasa pada puisi siswa SMP Negeri 1 Pasirkuda. Penelitian dilakukan untuk mengetahui bagaimana kemampuan siswa dalam menggunakan gaya bahasa repetisi, hiperbol, dan personifikasi ketika menulis puisi. Selain itu, penelitian dilakukan untuk mengetahui gaya bahasa yang paling dominan digunakan oleh siswa. Metode yang digunakan adalah metode deskriptif kualitatif dengan teknik pengumpulan data berupa dokumentasi untuk mengumpulkan data sekunder. Hasil penelitian menunjukkan bahwa terdapat 22 gaya bahasa yang digunakan siswa pada puisinya; gaya bahasa personifikasi paling mendominasi gaya bahasa pada puisi siswa, yakni ditemukan 9 kali penggunaan gaya bahasa personifikasi; gaya bahasa hiperbol menduduki urutan kedua gaya bahasa yang paling banyak digunakan pada puisi siswa, yakni digunakan sebanyak 8 kali; dan gaya bahasa repetisi menduduki urutan terakhir gaya bahasa yang paling banyak digunakan pada puisi siswa, yakni digunakan sebanyak 5 kali.Kata kunci: puisi, repetisi, hiperbol, personifikasiThis article reveals the use of language style in poetry of SMP Negeri 1 Pasirkuda students. The study was conducted to find out how students' abilities in using repetition, hyperbolic, and personification style when writing poetry. In addition, research was conducted to find out the most dominant language style used by students. The method used is a descriptive qualitative method with data collection techniques in the form of documentation to collect secondary data. The results showed that there were 22 styles of language used by students in his poetry; personification language style dominates the language style of students' poetry, which is found 9 times the use of personification language style; hyperbolic language style ranks second most widely used language style in student poetry, which is used 8 times; and repetition style ranks last in the style of language most widely used in student poetry, which is used 5 times. Keywords: poetry, repetition, hyperbolic, personification
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Septia, Emil, Silvia Marni, and Armet Armet. "REPRESENTASI NILAI RELIGI DAN KEPENGARANGAN PUISI-PUISI KARYA TAUFIK ISMAIL." Poetika 7, no. 1 (July 30, 2019): 32. http://dx.doi.org/10.22146/poetika.v7i1.43493.

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Penelitian ini memaparkan representasi nilai religi dalam setiap bait-bait puisi karya Taufik Ismail. Puisi yang bernilai religius dapat digunakan untuk menyadarkan masyarakat (pembaca) untuk selalu bersyukur pada Tuhan Sang Penguasa. Kumpulan puisi Debu di Atas Debu: Kumpulan Puisi Dwi-Bahasa karya Taufik Ismail merupakan catatan-catatan emosional zaman dengan gejolak politik dan sikap bangsa Indonesia. Jenis penelitian ini berupa kualitatif dengan metode analisis isi (content analysis) serta pendekatan sosiologi sastra. Hal ini bertujuan untuk mendeskripsikan kepengarangan Taufik yang terdapat pada representasi nilai religi di setiap bait-bait puisi. Melalui seni pedalangan ketika Taufik bermukim di Yogyakarta dan seni bakaba ketika Taufik pindah ke Bukittinggi yang merupakan bentuk gaya kepengaranan seorang penyair yang dipengaruhi kebudayaan lokal, Taufik ingin menyentuh perasaan pembaca akan representasi nilai religius untuk membentuk karakter bangsa.Kata Kunci: representasi; nilai; religi; kepengarangan; puisi This study describes the representation of religious values in each poetic verse by Taufik Ismail. Religious poetry can be used to make people (readers) aware to always be grateful to God the Lord. A collection of Debu di Atas Debu: Kumpulan Puisi Dwi-Bahasa by Taufik Ismail is an emotional record of the times with political turmoil and the attitude of the Indonesian people. This type of research is qualitative with the method of content analysis and the sociological approach of literature. This is aimed at describing Taufik's authorship in the representation of religious values in each verse of poetry. Through the art of puppetry when Taufik settled in Yogyakarta and bakaba art when Taufik moved to Bukittinggi which was a form of the poet's sound style influenced by local culture, Taufik wanted to touch the readers' feelings about the representation of religious values to shape the nation's character.Keywords: representation; values; religion; authorship; poetry
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Firmansyah, Fahmi. "ANALISIS STILISTIKA DALAM PUISI ما أنا إلّا هو KARYA MAHMŪD DARWῙSY." Tafhim Al-'Ilmi 10, no. 2 (May 1, 2019): 57–71. http://dx.doi.org/10.37459/tafhim.v10i2.3424.

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Mahmūd Darwīsy is a famous Palestinian poet. He is known as a humanist poet, most of whose poems are resistance themes. The style of poetry writing is more like the classical Arabic writing style with simple and beautiful words but rich in meaning. One of his poems that has a beautiful classic writing style is ما أنا إلّا هو (mā anā illā huwa). So, the stylistic study was seen as more appropriate to dissect the beauty of Mahmoud Darwish's poetry writing style. In accordance with the stylistic theory initiated by Syihabuddin Qalyubi, this analysis examines the style of poetic language ما أنا إلّا هو by Mahmūd Darwīsy from the domain of phonology, morphology, syntax, semantics and imaginary of the poet. It aims to find out how beautiful the poem is and what message the poet wants to convey to the listener and or poet reader ABSTRAK Mahmūd Darwīsy merupakan penyair kenamaan Palestina. Ia dikenal sebagai penyair humanis yang kebanyakan dari puisinya bertema perlawanan. Gaya penulisan puisinya lebih mirip gaya penulisan arab klasik dengan kata-kata yang sederhana dan indah namun kaya akan makna. Salah satu puisinya yang memiliki gaya penulisan klasik nan indah adalah ما أنا إلّا هو (mā anā illā huwa). Maka, kajian stilistika dipandang lebih tepat untuk membedah keindahan gaya penulisan puisi karya Mahmūd Darwīsy ini. Sesuai dengan teori stilistika yang digagas oleh Syihabuddin Qalyubi, analisis ini membedah gaya bahasa puisi ما أنا إلّا هو karya Mahmoud Darwish dari ranah fonologi, morfologi, sintaksis, semantik hingga imageri-nya. Ini bertujuan untuk mengetahui seberapa indah puisi tersebut dan pesan apa yang hendak disampaikan penyair bagi pendengar dan atau pembaca puisinya. Kata Kunci: Stilistika Puisi, Mahmoud Darwish, mā anā illā huwa.
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Dissertations / Theses on the topic "Gayo poetry"

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Bennett, Matthew Wayne. "WAITING FOR IGNITION." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/71449.

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Waiting for Ignition, a collection of 47 poems, deals with themes of desire, masculinity, family, community, and connection/disconnection. The speaker in these poems navigates the difficulties of identifying as a young gay man in rural Missouri, the loneliness that stems from his disconnect with the queer community, and his inability to find meaningful connection through his romantic and sexual experiences.
Master of Fine Arts
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Minor, L. Alvis. "Wet, wet boys." Morgantown, W. Va. : [West Virginia University Libraries], 2002. http://etd.wvu.edu/templates/showETD.cfm?recnum=2332.

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Qualls, Barbara. "The Poetry of Li-Young Lee: Identity, Androgyny & Feminism." TopSCHOLAR®, 1993. https://digitalcommons.wku.edu/theses/2737.

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In my investigation of Li-Young Lee's poetry, my concerns were two-fold: first, to find evidence of an androgynous quality or ideal; secondly, to demonstrate that ideal as authentically feminist. In the introduction, I investigate the feminist debate about the traditional definition and concept of androgyny, demonstrating the difference between the patriarchal traditional androgyny and the androgynous elements in Lee's poetry. In Chapter Two, the rose as image and as symbol in Lee's poetry is examined and found to be strikingly androgynous as a symbol. As an image, however, it is more often than not used as a vehicle to describe the destructive nature of social tyrannies such as the patriarchal symbolic order. In Chapter Three, Lee's heavy implications of an existing "other" is examined. This examination is particularly pertinent when considering the feminist debate, since one of the major problems with the idea of androgyny is that it often necessitates a binary thought system in which the male is usually the "one" and the female is usually the "other." In Lea's poetry, I found no significant evidence of that kind of phallocentricism; rather, I found substantial evidence that Lee's poetry demonstrates the destructiveness of insisting on any being's otherness. Lee's search for identity, and for the meaning of personal identity, involves the acceptance of the mutability of identity. In conclusion, although I don't find androgyny to be authentically feminist, I find Lee's poetry--and its particular use of an androgynous ideal--to be authentically feminist.
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Vieira, Leonardo Medeiros. "O tema da razia de gado (boēlasía) na épica homérica." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-17032017-102533/.

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O tema da razia de gado (boēlasía) é uma constante nos textos conservados da tradição épica grega arcaica, nos quais figura na forma de narrativas breves ou de referências alusivas. Apesar disso, pouco se escreveu acerca desse tema, e os poucos estudos realizados se concentraram apenas na consideração da recorrência boēlasía como um reflexo da importância do gado na economia da honra típica dos poemas homéricos ou na sua explicação como um derivado de estruturas míticas herdadas do protoindo-europeu. É justamente essa lacuna que esta tese se propõe a atacar, por meio da recolha e cotejo de parte das narrativas e referências homéricas a essa atividade e do seu exame a partir dos referenciais teóricos e metodológicos oriundos da crítica oralista do épos arcaico, particularmente os métodos de análise temática que partem da recepção dos poemas.
The cattle-raid (boēlasía) theme is a constant in the preserved texts of the tradition of Greek archaic epic, wherein it appears either in the form of brief narratives or of allusive references. Nonetheless, little has been written about this theme, and the few studies there are have focused only in the consideration of the recurrence of the boēlasía as a reflex of the importance of cattle in the honour economy typical of the homeric poems or in its explanation as a derivation of mythical structures inherited from the proto-indoeuropeans. This dissertation aims precisely at such blind spot, recovering and comparing part of the homerical references to this activity and examinig them via theoretical and methodological insights originated in the oralist critical tradition of the archaic épos, particularly those theme-based analytical methods that take into consideration the reception of the poems.
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Morais, Fernando Luís de. "Diamantes negros sob um arco-íris multicolorido : as identidades negras-gay na poesia de Thomas Grimes /." São José do Rio Preto, 2019. http://hdl.handle.net/11449/180943.

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Orientador: Cláudia Maria Ceneviva Nigro
Banca: Emerson da Cruz Inácio
Banca: Flávia Andrea Rodrigues Benfatti
Resumo: O propósito deste trabalho é o estudo da intersecção entre raça/etnia e gênero, mais especificamente identidades negras-gay masculinas, construídas a partir dos poemas de autoria de Thomas Grimes, compilados na antologia Milking Black Bull: 11 Gay Black Poets [Tirando leite de touros negros: 11 poetas negros-gay] (1995). Interessa-nos verificar como esse cruzamento de múltiplas instâncias identitárias se adensa, ganhando corpo e voz nos poemas, instigando visões mais plurais e desbravando leituras mais ajustadas da identidade negra-gay masculina, secularmente sufocada, suprimida e subjugada ao anonimato e ao ostracismo por/em uma sociedade pronunciadamente branca e cis-heteronormativa. Defendemos a hipótese de que Grimes usa a escrita de modo a revolver as raízes íntimas daqueles que carregam o peso opressor de um fardo, no mínimo, duplo: serem negros e gays; sujeitos que, hostilizados pelo racismo e pela homofobia, fazem frente ao autoritarismo agenciador de estereotipias heteronormativas e raciais, perseguindo, ao mesmo tempo, a extenuante tarefa de encontrar um chez soi, um lugar ao qual possam pertencer. As reflexões aqui propostas estão em consonância com as analíticas queer e quare e com as perspectivas críticas que concebem o sujeito como performativo e reivindicador de posições e o processo de construção identitária como um mosaico provisório. O aparato teórico sob o qual este projeto está embasado e sustentado abarca, portanto, obras como as de Bauman (2001, 2005),...
Abstract: The main focus of this work is the study of the intersection between race/ethnicity and gender, more specifically black gay male identities, forged from Thomas Grimes' poems, compiled in the anthology Milking Black Bull: 11 Gay Black Poets (1995). We are interested in verifying how this layering of multiple identities gains body and voice in the poems, inciting more pluralistic visions and exploring more accurate readings of the black gay male identities, which have been stifled, suppressed, and subjected to anonymity and ostracism by/in an overtly white and cis-heteronormative society. We defend the hypothesis that Grimes makes use of his writing in order to go through the intimate roots of those who carry the oppressive weight of an, at least, double burden: to be black and gay; subjects who, oppressed by racism and homophobia, defy the limits of racial and heteronormative hegemony in pursuit of finding a chez soi, a place where they can belong. The reflections proposed here are in line with both queer and quare analytics and the critical perspectives that conceive the subject as performative, and the process of identity construction as a provisional mosaic. The theoretical framework under which this study is conducted is based mainly on the contributions of Bauman (2001, 2005), Butler (2000, 2002, 2008, 2016), Crenshaw (1995), Hall (2003, 2005), Hooks (1995, 2001), Jagose (1996), Johnson (2005), Wilchins (2004) and Woodward (1997)
Mestre
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Angles, Jeffrey Matthew. "Writing the love of boys: representations of male-male desire in the literature of Murayama Kaita and Edogawa Ranpo." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1071535574.

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Gray, Brandie. "Milled." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5827.

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Milled is a collection of poems centered around the speaker’s maternal grandfather who dedicated his life to hard labor as a crane operator in the American steel industry, which led to his work-related illness and eventual death at the age of sixty. These poems investigate subjects that focus on: the Appalachian landscape, childhood trauma, domestic violence, and substance abuse. Such themes inform the speaker’s understanding of her own identity as a working-class queer woman who struggles to reckon with her troubled past.
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Grantham, Ashley W. "“The Ground On Which I Stand” Healing Queer Trauma through Performance: Crafting a Solo Performance through the investigation of Ritual Poetic Drama within the African Continuum." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5828.

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“The Ground On Which I Stand” Healing Queer Trauma through Performance: Crafting a Solo Performance through the investigation of Ritual Poetic Drama within the African Continuum. By: Ashley W. Grantham A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Performance Pedagogy at Virginia Commonwealth University Virginia Commonwealth University April 16th, 2019 Thesis Adjudicator: Dr. Tawnya Pettiford-Wates Committee: Dr. Keith Byron Kirk, Director of Graduate Studies and Karen Kopryanski, Head of Voice and Speech How does this method of Ritual Poetic Drama within the African Continuum, by extension, solo performance, uncover, heal queer trauma through witnessing and performance practice? How do these methods give us an intersectional approach to talking about race, identity, gender and bridge those divides? How does this devised work of solo performance allow the author as practitioner to claim the ground on which they stand and surrender to their own healing? This thesis attempts excavation of the foundational theories in regard to performance structure, and to discover how healing trauma through theoretical techniques achieves liberation through their enacted practice. This is an allowance of ourselves as artists and facilitators to claim our traumatic bodies as worthy sites of invention.
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King, Taylor Z. "A Spectacle and Nothing Strange." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5905.

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Working through methods of abstraction and comedic mimicry I choreograph awkwardly balanced sculpture with objects of adornment as a means to defuse personal sensitivities surrounding my experiences of gender, desire, and home. The research that follows is concerned with the adjacent, the in between, above and underneath, because I feel that this kind of looking means that you are, to some degree, aware of what lies at the edges. Maybe this is what Gertrude Stein means to act as though there is no use in a center—because this concerns a way of relating, though there are many things in the room. ‘A spectacle and nothing strange’ is an arrangement of gestures, of made difference, of kinships, of orientations and possible futures, sustained tension, coded adornment, big dyke energy, shifts in hardness, leaning softness, much more than flowers, ...and in any case there is sweetness and some of that.
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Smith, Laura Trantham. "After rupture : innovative identities and the formalist poetry of Akilah Oliver, Sharon Bridgforth, and Alice Notley." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-08-1639.

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This dissertation reveals a twentieth-century tradition of poetic formalism that positions race, gender, and sexuality as formal concerns, and further, as key factors in the development of contemporary formal poetics. My readings of three contemporary poets, Akilah Oliver, Sharon Bridgforth, and Alice Notley, combine formalist analysis with cultural approaches, including critical race theory and queer theory, to show how contemporary poets use form to confront racist, sexist, and homophobic representational traditions and to reshape identity discourse. This project intervenes in a critical tradition that divorces poetic form from political context and neglects formal aspects of poetries that engage with social identities, especially African American poetry. As Notley, Oliver, and Bridgforth portray racial, gender, and sexual diversity—including gay, lesbian, bisexual, and transgendered bodies—they invent and remake forms, genres, and textual strategies, from the feminist epic to the performance novel. These new forms exceed the strategies of rupture, fracture, and fragmentation that marked many modern and postmodern experiments and, in fact, reveal the limitations of rupture as a means of political critique. Instead, they widen the field of formalism, incorporating performance genres (epic, storytelling, blues) and new textual strategies to call attention to the histories of bodies and their representations, assert interdependent identities, promote pluralism, and insist on the interrelationship of literature, orality, and bodily experience.
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Books on the topic "Gayo poetry"

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Umahuk, Dino. Narasi tanah asal: Antologi penyair Ternate. Ternate: Tinta Pena, 2009.

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Gullar, Ferreira. Um gato chamado gatinho. São Paulo, SP, Brasil: Salamandra, 2000.

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Hemphill, Essex. Ceremonies: Prose and poetry. New York: Plume, 1992.

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For the love of men: Shikata Gai Nai : poems for gay men. San Francisco, CA: Moon Publications, 1991.

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Shah, Saadullah. Ik kami si reh gayi. Lahore: Khazina Ilm-o-Adab, 2002.

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Unending dialogue: Voices from an AIDS poetry workshop. Boston: Faber and Faber, 1991.

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Hadas, Rachel. Unending dialogue: Voices from an AIDS poetry workshop. Boston: Faber and Faber, 1993.

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Schimel, Lawrence, ed. Best Gay Poetry 2008. Maple Shade, USA: Lethe Press, 2008.

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Kopel, Stephen. Picnic poetry. [S.l: s.n.], 2012.

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God, sex & poetry. Toronto: Dartington Press, 2002.

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Book chapters on the topic "Gayo poetry"

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Mossin, Andrew. "“Homosexual Advertising”: Gay Subjectivity, Modernist Form, and Robert Duncan’s The Venice Poem." In Male Subjectivity and Poetic Form in "New American" Poetry, 65–100. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230106802_3.

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Gorji, Mina. "John Gay, The Shepherd's Week." In A Companion to Eighteenth-Century Poetry, 143–56. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996638.ch11.

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Lilly, Mark. "The Love Poetry of the First World War." In Gay Men’s Literature in the Twentieth Century, 64–82. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-22966-6_5.

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Raha, Nat. "Queer Labour in Boston: The Work of John Wieners, Gay Liberation and Fag Rag." In Poetry and Work, 195–243. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-26125-2_7.

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Merchant, Hoshang. "Gay Indian Poetry." In Secret Writings of Hoshang Merchant, 155–57. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780199465965.003.0014.

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Cole, Merrill. "Modernist Poetry." In The Cambridge History of Gay and Lesbian Literature, 378–401. Cambridge University Press, 2014. http://dx.doi.org/10.1017/cho9781139547376.026.

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Merchant, Hoshang. "Urdu gay literature: Poetry." In Forbidden Sex/Texts, 56–59. Routledge India, 2020. http://dx.doi.org/10.4324/9780367817770-5.

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Giles, Paul. "Queer Poetic Time." In The Planetary Clock, 146–82. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198857723.003.0004.

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This chapter argues that the representation of ‘queer’ time in postmodernist poetry extends beyond sexuality to encompass heterodox approaches to temporality more broadly. It starts by considering English poet Philip Larkin, suggesting how he reworked modernism within burlesque forms to evoke shifts in spatio-temporal scale. The second section, ‘Against Chrononormativity’, extends this analysis across various American postmodernist poets, arguing that interrogations of normative temporality in relation to gay sexuality (particularly in Adrienne Rich and Thom Gunn) can be understood as commensurate with reconstitutions of linear time in the work of John Ashbery and Louise Glück. It concludes by drawing comparisons with two Australian postmodernist poets, John Tranter and Les Murray, both of whom seek to reorient the direction of time. It discusses Tranter’s crossing of postcolonial theory with formalism, while also examining how Murray draws upon Indigenous culture and human/animal relations to reconfigure Western culture from a posthumanist perspective.
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"Medieval Latin Poetry." In Encyclopedia of Lesbian and Gay Histories and Cultures, 963–70. Garland Science, 2003. http://dx.doi.org/10.4324/9780203487884-115.

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Hubbard, Thomas K. "Roman Prose and Poetry." In The Cambridge History of Gay and Lesbian Literature, 68–88. Cambridge University Press, 2014. http://dx.doi.org/10.1017/cho9781139547376.006.

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