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Journal articles on the topic 'Hooke, Robert, Poetry. Poetry Nature in literature'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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1

Rashid, Md Harun, Haider Jaber Husain, Jahirul Islam, Esra Sipahi, and Wang Hui. "Explore the Natural Beauty of Robert Frost’s in his Poetry." International Journal of Applied Linguistics and English Literature 10, no. 3 (2021): 15. http://dx.doi.org/10.7575/aiac.ijalel.v.10n.3p.15.

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Nature is the most excellent attribute of Robert Frost’s poetry. Frost has a profound affection and compassion towards animals. However, traditional rural life is not the main focus of Frost’s poetry. Frost reflects mostly on the extraordinary struggle that has taken place in the natural environment. His poems typically begin with the observation of Nature and continue to connect with the human psychological condition. According to Frost, Nature is not just a source of joy but also an impetus of human intelligence. People should be educated by thought, such that Nature is the main character in
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2

Orhero, Mathias Iroro. "Individualism and memory: Robert Frost and Tanure Ojaide." Tydskrif vir Letterkunde 54, no. 2 (2017): 122–35. http://dx.doi.org/10.17159/2309-9070/tvl.v.54i2.1274.

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This article examines individualism and memory in Robert Frost's A boy's will (1913) and Tanure Ojaide's The beauty I have seen (2010). The paper adopts existentialism as a critical approach. Previous studies on these poets, especially Ojaide, have neglected the individualistic nature of their poetry and stereotyped the poets. This article, thus, brings a new approach to the critical debates and scholarship on these poets. The aim of the article is to show the individualistic and existentialist nature of the poetry of Frost and Ojaide. In the analysis, individualism is examined at the level of
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3

Kallimani, Dr Madhushri. "Stopping by Woods on a Snowy Evening' by Robert Frost and 'Because I could not Stop for Death' by Emily Dickinson: A Comparative Study." SMART MOVES JOURNAL IJELLH 8, no. 4 (2020): 127. http://dx.doi.org/10.24113/ijellh.v8i4.10529.

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The study of literature is obviously the study of life and death. Literature deals with several nuances of life, death and the philosophies connected. Literature mirrors life and that is how we can realize what life is in a very meaningful way. In literature most of the poetry enlightens the readers through such meanings. This paper focuses on two eminent poets of American literature, i.e. Robert Frost and Emily Dickinson, whose poetry mainly deals with life and death. Both the poets are known for their idiosyncrasies depicting their own style and content. Their poems are philosophical in natu
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4

Kearns, Katherine. ""The Place is the Asylum": Women and Nature in Robert Frost's Poetry." American Literature 59, no. 2 (1987): 190. http://dx.doi.org/10.2307/2927040.

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5

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 (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
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6

Klausner, Lewis, and Guy Rotella. "Reading and Writing Nature: The Poetry of Robert Frost, Wallace Stevens, Marianne Moore, and Elizabeth Bishop." American Literature 63, no. 4 (1991): 766. http://dx.doi.org/10.2307/2926899.

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7

McEathron, Scott. "Wordsworth, Lyrical Ballads, and the Problem of Peasant Poetry." Nineteenth-Century Literature 54, no. 1 (1999): 1–26. http://dx.doi.org/10.2307/2902995.

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Wordsworth's account in the "Preface" to Lyrical Ballads of the groundbreaking nature of his rustic poetics has long served as foundational to our understanding of Romanticism. Yet his representation of "the public taste in this country" in 1800 elided the presence of a decades-long tradition of "peasant" and "working-class" poetry in Britain. Figures like Stephen Duck ("The Thresher Poet"), Robert Burns, and Ann Yearsley ("The Bristol Milkwoman") had been the focus of fashionable critical interest because they were seen as embodying the very values of simplicity and rustic authenticity that W
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8

Oliveira, Iasmine. "Robert Frost’s poems: some light from corpus analysis." Revele: Revista Virtual dos Estudantes de Letras 7 (June 30, 2014): 125. http://dx.doi.org/10.17851/2317-4242.7.0.125-139.

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Linguistics and literature seem distant fields, but they can be related. This study aims at doing a discourse analysis of Robert Frost’s poems using a corpus to investigate the most frequent semantic domain in his poetry. This analysis should also allow us to make connections with his personal life. A corpus composed by 35 poems of Frost (3,725 words) was investigated focusing on nouns. The corpus was tagged by CLAWS 7 and AntConc was the software used to generate the frequency lists and concordance lines for the analysis. Results of this research indicate that 26% of the nouns are related to
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9

Keturakienė, Eglė. "Lithuanian Literature and Shakespeare: Several Cases of Reception." Interlitteraria 24, no. 2 (2020): 366–79. http://dx.doi.org/10.12697/il.2019.24.2.8.

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The article is based on the reception theory by Hans Robert Jauss and analyses how Shakespeare’s works were read, evaluated and interpreted in Lithuanian literature in the 19th to 21th centuries. Some traces of Shakespeare’s works might be observed in letters by Povilas Višinskis and Zemaitė where Shakespearean drama is indicated as a canon of writing to be followed. It is interesting to note that Lithuanian exodus drama by Kostas Ostrauskas is based on the correspondence between Višinskis and Zemaitė. The characters of the play introduce the principles of the drama of the absurd. Gell’s conce
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10

Jarvis, Robin. "Bridget Keegan, British Labouring-Class Nature Poetry, 1730–1837 (Basingstoke: Palgrave Macmillan, 2008), pp. 220 £45.00 hardback. 9780230536968. John Goodridge and John Lucas (eds), Robert Bloomfield: Selected Poems, rev. and enlarged ed. (Nottingham: Trent Editions, 2007), 195 pp. £9.99 paperback. 9781842331217." Romanticism 16, no. 1 (2010): 108–9. http://dx.doi.org/10.3366/e1354991x10000942.

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11

Mączyńska, Elżbieta. "The economy of excess versus doctrine of quality." Kwartalnik Nauk o Przedsiębiorstwie 42, no. 1 (2017): 9–15. http://dx.doi.org/10.5604/01.3001.0010.0142.

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A review article devoted to the book of Andrzej Blikle – Doktryna jakości. Rzecz o skutecznym zarządzaniu. As pointed out by the Author, the book is a case of a work rare on the Polish publishing market, written by an outstanding scientist, who successfully runs a business activity. The combination of practical experience with theoretical knowledge gave a result that may be satisfying both for practitioners as well as theorists, and also those who want to get to know the ins and outs of an effective and efficient business management. The Author of the review believes that it is an important vo
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Mishra, Richa, and Hitesh Raviya. "HISTORY OF CONFESSIONAL POETRY IN INDIAN WOMEN WRITINGS A SHORT OVERVIEW." Towards Excellence, March 31, 2020, 79–89. http://dx.doi.org/10.37867/te120209.

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‘Confessional’ is an adjective first applied to the poems of the American poets Robert Lowell, Anne Sexton, Sylvia Plath, W.D. Snodgrass, John Berryman and Theodore Roethke to refer to the autobiographical nature of their work. The confessional poet considers the world, an extension of herself. All confessional poetry springs from the need to confess; confessional poets bare their soul and body and hide nothing between their self and their direct expression of that self. They put no restrictions on subject matter, no matter how personal. Usually anti-elegant and anti- establishment, confession
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"Peculiarity of Implementation of the National Cultural Code in Tatar Poetry and Prose of the Second Half of the XX Century." International Journal of Engineering and Advanced Technology 9, no. 1 (2019): 7421–24. http://dx.doi.org/10.35940/ijeat.a3106.109119.

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The study of the specifics of the manifestation of cultural codes in Tatar poetry and prose of the second half of the 20th century is of great scientific and practical interest. The timeliness of the chosen topic is conditioned by the need to identify the uniqueness, originality of Tatar national poetry and prose of the given period. At the same time, it should be noted that Tatar poetry and prose of the period of returning to national origins has not undergone comprehensive, holistic, detailed, structural study in terms of reflecting national identity. The goal of research: systematic and com
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14

Gerhardt, Christine. "Robert Boschman. In the Way of Nature: Ecology and Westward Expansion in the Poetry of Anne Bradstreet, Elizabeth Bishop and Amy Clampitt." Anglia - Zeitschrift für englische Philologie 130, no. 1 (2012). http://dx.doi.org/10.1515/ang-2012-0017.

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15

Cheong, Felix. "A Poets Sense of the City." M/C Journal 5, no. 2 (2002). http://dx.doi.org/10.5204/mcj.1955.

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If you cannot learn to love (yes love) this city you have no other. Simon Tay, 'Singapore Night Song' (137). Having lived in Australia for more than a year now, it is easier to view my own country through a telescope and learn to love what I used to loathe. It is easier to hold and weigh the ball of its contradictions in my palm and learn how each strand I unknot tells on myself, on my writing, to realise with a shudder that I am a moving microcosm of the city I was born in. Indeed, the more removed I am, the easier it is to be an apologist as it is to be a patriot. Robert Drewe makes the clai
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16

McCosker, Anthony, and Rowan Wilken. "Café Space, Communication, Creativity, and Materialism." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.459.

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IntroductionCoffee, as a stimulant, and the spaces in which it is has been consumed, have long played a vital role in fostering communication, creativity, and sociality. This article explores the interrelationship of café space, communication, creativity, and materialism. In developing these themes, this article is structured in two parts. The first looks back to the coffee houses of the seventeenth and eighteenth centuries to give a historical context to the contemporary role of the café as a key site of creativity through its facilitation of social interaction, communication and information
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17

Martin, Sam. "Publish or Perish? Re-Imagining the University Press." M/C Journal 13, no. 1 (2010). http://dx.doi.org/10.5204/mcj.212.

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In a TEXT essay in 2004, Philip Edmonds wrote about the publication prospects of graduates of creative writing programs. He depicted the publishing industry of the 1970s and 1980s as a field driven by small presses and literary journals, and lamented the dearth of these publications in today’s industry. Edmonds wrote that our creative writing programs as they stand today are under-performing as they do not deliver on the prime goal of most students: publication. “Ultimately,” he wrote, “creative writing programs can only operate to their full potential alongside an expanding and vibrant publis
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18

McDonald, Donna, and Liz Ferrier. "A Deaf Knowingness." M/C Journal 13, no. 3 (2010). http://dx.doi.org/10.5204/mcj.272.

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Introduction: How Do We Learn What We Know? “Deaf.” How do we learn what we know about being deaf and about deafness? What’s the difference between “being deaf” and “deafness” as a particular kind of (non) hearing? Which would you rather be, deaf or blind: children commonly ask this question as they make their early forays into imagining the lives of people different from them. Hearing people cannot know what it is like to be deaf, just as deaf people cannot know what it is like to hear ... or can they? Finally, how can we tell fresh and authentic stories of “being deaf” and the state of “deaf
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19

Brady, Danielle, and Neil Ferguson. "Embody." M/C Journal 15, no. 4 (2012). http://dx.doi.org/10.5204/mcj.555.

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The impetus for this issue dates from a symposium on Embodied Knowledges held at Edith Cowan University in Perth in 2011. The Symposium arose from the shared interests of a diverse group, many of them practice-led researchers, and should have been a clue that the call for papers for this issue would attract different conceptions of the body. Nevertheless we were surprised by the many kinds of bodies implied in the 17 papers received and are pleased to offer a selection in the 'embody' issue of M/C Journal.Part of the difficulty of talking about the body as a source of knowledge, and also as a
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20

Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2620.

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 Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussi
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21

Seale, Kirsten, and Emily Potter. "Wandering and Placemaking in London: Iain Sinclair’s Literary Methodology." M/C Journal 22, no. 4 (2019). http://dx.doi.org/10.5204/mcj.1554.

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Iain Sinclair is a writer who is synonymous with a city. Sinclair’s sustained literary engagement with London from the mid 1960s has produced a singular account of place in that city (Bond; Baker; Seale “Iain Sinclair”). Sinclair is a leading figure in a resurgent and rebranded psychogeographic literature of the 1990s (Coverley) where on-foot wandering through the city brings forth narrative. Sinclair’s wandering, materialised as walking, is central to the claim of intimacy with the city that underpins his authority as a London writer. Furthermore, embodied encounters with the urban landscape
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22

Ambrosetti, Angelina. "The Portrayal of the Teacher as Mentor in Popular Film: Inspirational, Supportive and Life-Changing?" M/C Journal 19, no. 2 (2016). http://dx.doi.org/10.5204/mcj.1104.

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The mediocre teacher tells. The good teacher explains. The superior teacher demonstrates. The great teacher inspires. — William Arthur WardIntroductionThe first documented use of the term Mentor can be traced back to the 8th century BC poem by Homer entitled Odyssey (Hay, Gerber and Minichiello). Although this original representation of Mentor is contested in the literature (Colley), historically the term mentor has evolved to imply a wise and trusted other who advises, teaches, protects and supports someone younger who is inexperienced and not so knowledgeable with the ways of the world. The
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23

Neilsen, Philip Max, and Ffion Murphy. "The Potential Role of Life-Writing Therapy in Facilitating ‘Recovery’ for Those with Mental Illness." M/C Journal 11, no. 6 (2008). http://dx.doi.org/10.5204/mcj.110.

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IntroductionThis article addresses the experience of designing and conducting life-writing workshops for a group of clients with severe mental illness; the aim of this pilot study was to begin to determine whether such writing about the self can aid in individual ‘recovery’, as that term is understood by contemporary health professionals. A considerable amount has been written about the potential of creative writing in mental health therapy; the authors of this article provide a brief summary of that literature, then of the concept of ‘recovery’ in a psychology and arts therapy context. There
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24

Carroll, Richard. "The Trouble with History and Fiction." M/C Journal 14, no. 3 (2011). http://dx.doi.org/10.5204/mcj.372.

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Historical fiction, a widely-read genre, continues to engender contradiction and controversy within the fields of literature and historiography. This paper begins with a discussion of the differences and similarities between historical writing and the historical novel, focusing on the way these forms interpret and represent the past. It then examines the dilemma facing historians as they try to come to terms with the modern era and the growing competition from other modes of presenting history. Finally, it considers claims by Australian historians that so-called “fictive history” has been best
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25

Foster, Kevin. "True North: Essential Identity and Cultural Camouflage in H.V. Morton’s In Search of England." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1362.

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When the National Trust was established in 1895 its founders, Canon Rawnsley, Sir Robert Hunter and Octavia Hill, were, as Cannadine notes, “primarily concerned with preserving open spaces of outstanding natural beauty which were threatened with development or spoliation.” This was because, like Ruskin, Morris and “many of their contemporaries, they believed that the essence of Englishness was to be found in the fields and hedgerows, not in the suburbs and slums” (Cannadine 227). It was important to protect these sites of beauty and historical interest from development not only for what they w
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26

Rizzo, Sergio. "Adaptation and the Art of Survival." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2623.

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 To use the overworked metaphor of the movie reviewers, Adaptation (2002)—directed by Spike Jonze and written by Charlie Kaufman—is that rare Hollywood flower, a “literary” film that succeeds both with the critics and at the box office. But Kaufman’s literary colleagues, his fellow screenwriters whose opinions are rarely noticed by movie reviewers or the public, express their support in more interesting terms. Robert McKee, the real-life screenwriter and teacher played by Brian Cox in the movie, writes about Kaufman as one of the few to “step out of screenwriting anonymity
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27

Juckes, Daniel. "Walking as Practice and Prose as Path Making: How Life Writing and Journey Can Intersect." M/C Journal 21, no. 4 (2018). http://dx.doi.org/10.5204/mcj.1455.

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Through my last lengthy writing project, it did not take long to I realise I had become obsessed with paths. The proof of it was there in my notebooks, and, most prominently, in the backlog of photographs cluttering the inner workings of my mobile phone. Most of the photographs I took had a couple of things in common: first, the astonishing greenness of the world they were describing; second, the way a road or path or corridor or pavement or trail led off into distance. The greenness was because I was in England, in summer, and mostly in a part of the country where green seems at times the onl
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28

Masson, Sophie Veronique. "Fairy Tale Transformation: The Pied Piper Theme in Australian Fiction." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1116.

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The traditional German tale of the Pied Piper of Hamelin inhabits an ambiguous narrative borderland, a liminal space between fact and fiction, fantasy and horror, concrete details and elusive mystery. In his study of the Pied Piper in Tradition and Innovation in Folk Literature, Wolfgang Mieder describes how manuscripts and other evidence appear to confirm the historical base of the story. Precise details from a fifteenth-century manuscript, based on earlier sources, specify that in 1284 on the 26th of June, the feast-day of Saints John and Paul, 130 children from Hamelin were led away by a pi
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29

Sexton-Finck, Larissa. "Violence Reframed: Constructing Subjugated Individuals as Agents, Not Images, through Screen Narratives." M/C Journal 23, no. 2 (2020). http://dx.doi.org/10.5204/mcj.1623.

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What creative techniques of resistance are available to a female filmmaker when she is the victim of a violent event and filmed at her most vulnerable? This article uses an autoethnographic lens to discuss my experience of a serious car crash my family and I were inadvertently involved in due to police negligence and a criminal act. Employing Creative Analytical Practice (CAP) ethnography, a reflexive form of research which recognises that the creative process, producer and product are “deeply intertwined” (Richardson, “Writing: A Method” 930), I investigate how the crash’s violent affects cri
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30

Mudie, Ella. "Disaster and Renewal: The Praxis of Shock in the Surrealist City Novel." M/C Journal 16, no. 1 (2013). http://dx.doi.org/10.5204/mcj.587.

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Introduction In the wake of the disaster of World War I, the Surrealists formulated a hostile critique of the novel that identified its limitations in expressing the depth of the mind's faculties and the fragmentation of the psyche after catastrophic events. From this position of crisis, the Surrealists undertook a series of experimental innovations in form, structure, and style in an attempt to renew the genre. This article examines how the praxis of shock is deployed in a number of Surrealist city novels as a conduit for revolt against a society that grew increasingly mechanised in the clima
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