Relevant bibliographies by topics / Lyric poetry

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

Academic literature on the topic 'Lyric poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Lyric poetry"

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Odnoral, Valeria. "The New Lyric Studies of the 21th Century: The Aesthetic and the Social in Poetry Criticism." Ideas and Ideals 13, no. 1-2 (March 19, 2021): 401–13. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-401-413.

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The article considers the problem of correlation of aesthetic form and social content in contemporary poetry through the prism of contemporary poetry criticism, in particular, the New Lyric Studies of 2008 (M. Perloff, Y. Prins, R. Terada, V. Jackson, etc.). A representation of the lyrics as a genre of poetry, in which historically structured subjectivism and identity of author are interrelated with poetic writing, is at the center of the New Lyric Studies. In this context the lyrics is relative and volatile but also is the closest genre to the poetic nature, that allows to merge an autonomous entity of poetry with ‘agendas’ in the poem, which were difficult to connect in either too formal or too contextual critical approaches to the poetry in the 20th century. This became possible in the conditions of New Lyric critics speaking up against a substitution of poetry and literary criticism for historical, anthropological and cultural criticism because of the high popularity of cultural studies in the 1990s and the ensuing incorporation of interdisciplinarity in literary studies. Despite the objective of New Lyric critics to revitalize a theoretical study of poetry in the spirit of academic criticism of the New Criticism, the modifications in the methods for producing, existence and broadcasting of poetry and therefore in poetry of the last 50 years, poetry itself prevented the New Lyric from becoming the regressive movement. Some representatives of the New Lyric Studies subsequently expressed the need to study poetry in terms of new historical poetics and to create different methods capable to analyze the relations between culture and poetic form – between the social and the aesthetic. Having considered advantages and limitations of the New Lyric studies in the context of contemporary poetry discourse, reflecting not only the nature of contemporary criticism, but also perhaps the history of poetry criticism of 20-21th centuries, which is the dynamical coexistence and the mutual succession of different movements, the author draws a conclusion that this movement defines the right vector for the reconciliation of the long-standing struggle of formalism and contextualism in the poetry criticism as well as social and aesthetic components which poetic work includes.
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Tiffany, Daniel. "Fugitive Lyric: The Rhymes of the Canting Crew." PMLA/Publications of the Modern Language Association of America 120, no. 1 (January 2005): 82–96. http://dx.doi.org/10.1632/003081205x36877.

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This essay examines the correlation between lyric obscurity and lyric communicability—that is, the capacity of lyric poetry to serve, even in the absence of understanding (for certain communities of readers), as a matrix of social and cultural cohesion. The essay takes up this question by examining the contours of a little-known vernacular tradition in poetry and by considering the correspondences, in a limited sense, between slang and poetry. Specifically, the essay examines the permutations of the so-called canting tradition (lyrics written in the jargon of the criminal underworld) and its relation to the dominant poetic tradition.
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Culler, Jonathan. "Why Lyric?" PMLA/Publications of the Modern Language Association of America 123, no. 1 (January 2008): 201–6. http://dx.doi.org/10.1632/pmla.2008.123.1.201.

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Poetry is alive in our culture, but in its own world: Never have there been so many poets and poetry readings, books, journals, and online sites. Poetry has certainly seemed threatened, though, in schools and universities, where literary studies focus on prose fiction—narrative has become the norm of literature—or else on other sorts of cultural texts, which can be read symptomatically
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Karp, Marcia, Pietro Bembo, and Mary P. Chatfield. "Lyric Poetry: Etna." Sixteenth Century Journal 37, no. 3 (October 1, 2006): 838. http://dx.doi.org/10.2307/20478043.

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Grant, John N. "Lyric Poetry / Etna." Mouseion: Journal of the Classical Association of Canada 7, no. 1 (2007): 93–97. http://dx.doi.org/10.1353/mou.0.0001.

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West, Stephanie. "Herodotus and lyric poetry." Letras Clássicas, no. 8 (November 1, 2004): 79. http://dx.doi.org/10.11606/issn.2358-3150.v0i8p79-91.

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In offering a brief sketch of some aspects of Herodotus’ use of lyric poetry I shall restrict myself to melic poetry. I shall start with explicit allusions, and then turn to some passages for which Herodotus’ source must have been lyric poetry, and indeed rather grand lyric poetry, though he conceals this. We learn something about his principles and meth- odology, but also about the diffusion of such poetry in Herodotus’ day, a valuable complement to the picture we get from Aristophanes.
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Davies, M. "Monody, Choral Lyric, and the Tyranny of the Hand-Book." Classical Quarterly 38, no. 1 (January 1988): 52–64. http://dx.doi.org/10.1017/s0009838800031268.

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Open any history or hand-book of Greek literature in general, or Greek lyric in particular, and you will very soon come across several references to monody and choral lyric as important divisions within the broader field of melic poetry. And the terms loom larger than the mere question of handy labels: they permeate and pervade the whole approach to archaic Greek poetry. Chapters or sub-headings in literary histories bear titles like ‘Archaic choral lyric’ or ‘Monody’. Indeed it is possible to write a whole book and call it Early Greek Monody. Diehl's Anthologia Lyrica Graeca was structured around this distinction, which it adopted in preference to the chronological arrangement that is the obvious alternative. Indeed, it went so far as ‘to invent Greek titles “μονωιδίαι” and “χορωιδίαι” (sic)’. Most scholars would now agree that this is to go too far. But most would also continue to accept the validity and importance of the division, which a scholar has recently termed ‘the most fundamental generic distinction within ancient lyric poetry’
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Giangrande, Giuseppe. "Written Composition and Early Greek Lyric Poetry." Emerita 82, no. 1 (June 2, 2014): 149–51. http://dx.doi.org/10.3989/emerita.2014.07.1312.

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Stevens, Jeremy. "A Form of Belief: The Prayer Lyrics of Elizabeth Jennings and Louise Glück." Christianity & Literature 69, no. 2 (June 2020): 237–51. http://dx.doi.org/10.1353/chy.2020.0036.

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Abstract: This article considers the continuing relationship between contemporary lyric poetry and prayer through readings of poems by Elizabeth Jennings (a British cradle-Catholic) and Louise Glück (an American of no professed religion). In different contexts, both turn to the concept of a "book of hours" for formal inspiration, and—like many contemporary poets—engage with prayer as a formal model for lyric poems. In a secular age this makes their lyrics self-reflexive, questioning lyric presence. Ultimately, however, prayer's formal involvement with lyric expression reveals that both prayer and lyric depend on a continuing capacity for (different kinds of) belief.
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Aviram, Amittai F. "Lyric Poetry and Subjectivity." Intertexts 5, no. 1 (2001): 61–86. http://dx.doi.org/10.1353/itx.2001.0013.

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Dissertations / Theses on the topic "Lyric poetry"

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Leonard, John. "Lyric and modernity /." Online version, 1994. http://bibpurl.oclc.org/web/22516.

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Snarey, Nicola. "Lyric poetry and the positioning of the lyric speaker." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/40731/.

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Lyric poetry is frequently viewed by critics as distinct from narrative poetry and prose. This distinction rests largely on the positioning of the lyric speaker vis-à-vis the poet author. Part of any definition of the lyric is the understanding that the lyric speaker is identical to the poet and therefore the poem is the unmediated direct expression of the poet’s thoughts and experiences. These assumptions which are endemic to literary and sometimes linguistic criticism have led to restricted critical studies and a preponderance of inappropriate biographical criticism. This thesis examines how the speakers in certain types of lyric poetry are positioned, and identifies where conceptions of lyric speakers may be causing the problem of the biographical fallacy. The central questions that structure this thesis are: • Why is the lyric speaker so often considered by critics to be identical to the poet and therefore an unmediated direct expression of the poet’s thoughts and experiences? • Can lyric poetry instead make use of the same complexity of perspectives, voices and mediation that narrative prose does? • What linguistic and narratological features in poetry deemed ‘personal’ to the poet might be creating the illusion of personalness, causing us to reduce this potential complexity to unmediated and monologic autobiography? I argue that the assumption that lyric poetry represents the monologic and unmediated voice of the poet is endemic in criticism and without a more precise examination of what lyric speakers do, poetic criticism will continue to fall back on biographical criticism despite the many theoretical attempts to leave it behind. By demonstrating that there is narrativity present in lyric poetry, I argue that narratological concepts can and should be applied to lyric poetry, and therefore I join a growing discussion about how theoretical approaches to poetry can be improved by using the tools that are used to analyse narrative. Overall, my thesis is an application of narrative theory to three distinct types of lyric poetry that best demonstrate the multiperspectivism of the lyric, but are at the same time central examples of the genre: lyric poetry which uses a turn or volta to encode multiple viewpoints, poetry which appears extremely personal and connected to its poet, and poetry based on experiences of real conflict. By using narrative theory (and where necessary drawing on literary linguistic models, such as text world theory, relevance theory and transitivity) , I analyse the point(s) of view expressed in poems considered quintessentially lyric and the positions and levels of mediation that the lyric speaker can adopt, thus demonstrating not only that lyric poetry can make use of the same complexity of perspectives, voices and mediation that narrative prose does, but that the poetic speaker operates in much the same way as that of a prose narrator. I argue that this should cause us to rethink how the speaker in lyric poetry is approached. In addition, I argue that by examining poetry in this way, we can move on from making assumptions about the biographical links between poetry and poets, and instead identify the linguistic features which cause us to assume that such a link is present.
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Butterfield, Ardis Ruth Teasdale. "Interpolated lyric in medieval narrative poetry." Thesis, University of Cambridge, 1988. https://www.repository.cam.ac.uk/handle/1810/245029.

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My doctoral research concerns the use of song within narrative works in the Middle Ages. I have concentrated first on the substantial tradition in Old French of incorporating songs in this manner; and second, on the importance of this tradition to Chaucer, a poet who includes songs in nearly all his narrative poetry, and who was deeply familiar with many of the late thirteenth- and early fourteenth-century French works of this type. In order to demonstrate the connection between this very large range of French narratives and Chaucer, it has been necessary first to define the French tradition on its own terms, since even by French scholars it has rarely been treated collectively, and some of the works have barely been explored. This assessment of the French material has involved a fresh attempt to define the lyric interpolations themselves, when (as in the majority of thirteenth-century works) they take the form of brief snatches of song known as refrains. Since the nature of these refrains has been a source of controversy among French scholars, my study begins by analysing them both as texts and as melodies, in order to assess their status and function within the narratives. I then go on to discuss works ranging from Jean Renart's Guillaume de Dole to Adam de la Halle's Le Jeu de Robin et Marion, to the dits amoureux of Machaut and Froissart. The influence of this French tradition upon Chaucer is examined first of all in Chaucer's early poems, through his direct knowledge and assimilation of Machaut and Froissart and other contemporary French poets. It is then traced, more indirectly, through Chaucer's reading of Boccaccio and Boethius. I thus consider Chaucer's use of Boccaccio's Il Filostrato in the light of Boccaccio's own knowledge of this French tradition from his position in the Angevin court of Naples. In addition, by investigating French translations of Boethius's De Consolatione Philosophiae, I examine the structural importance of this work as a prosimetrum both upon French narratives containing songs, and upon Chaucer's Troilus and Criseyde. In this way I aim to show that the influences upon his practice of combining lyric and narrative are both multiple and multiply connected. The aim of this dissertation is therefore two-fold: first, to contribute to the understanding of a substantial but little-known area of French studies, and second, to renew the discussion of Chaucer's relation to French love poetry by seeing his work as a late medieval development in England of a distinctive, and distinctively French mode of composition. Throughout the course of my work, my wider interest is in the way in which the juxtaposition of the two categories of lyric and narrative shows us that our understanding of medieval genre is in need of refinement. In particular, by taking account of the presence of musical notation in the manuscripts of several of the French narratives, I hope to suggest that some of our assumptions about the 'literary' nature of medieval genres should be revised, especially as works of this type often seem composed precisely in order to create and exploit contrasts of genre of a musical, as well as a poetic kind.
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Cazzato, Vanessa. "Imaginative worlds in Greek lyric poetry." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.559804.

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The thesis examines the imagery of Archaic Greek lyric poetry and its relation to the 'here and now' and to the implied context of performance. Chapter One sets out the conceptual programme and establishes a critical vocabulary. Various theoretical notions are discussed which are drawn from linguistics (deixis and deictic field), philosophy (reference, language games, and possible worlds), and modern literary theory (fictional worlds and text worlds); some new critical tools are established (,imaginative worlds', visual analogies and 'representational planes', the idea of 'degrees of reference'). Chapter Two sets the scene by looking at specific examples drawn from sympotic imagery shared by pottery and poetry. The rest of the thesis exemplifies the theory set out initially through a series of close readings from a broad selection of Archaic Greek monody. The close readings start with smaller scale fragments which conjure up worlds corresponding to circumscribed situations, and progress to poems which conjure up more extensive worlds. Chapters Three, Four, and Five look at diverse kinds of erotic poetry drawn respectively from Anacreon, Ibycus, and Archilochus. Chapter Six takes as its subject- matter the martial elegy of Callinus, Tyrteus, and Mimnermus. Chapter Seven moves from poetry which conjures up a markedly heroic world to poetry which conjures a contrasting unheroic world: the iambic poetry of Hipponax. Chapter Eight turns to a political poem by Solon. Chapter Nine concludes the thesis in a ring composition by returning to erotic poetry (Sappho's) and to the theoretical considerations set out in Chapter One.
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Crone, Jennifer Helen. "Lyric Constructions." Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/21274.

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Refusing an opposition between lyric subjectivity on the one hand and, on the other, a language-based poetry that claims by ‘experimental’ methods to objectively foreground its own processes of construction, the thesis deploys close formalist readings and an original genetic study of textual production to analyse how the lyric ‘I’, or lyric voice, constructs poetic form and meaning. I take as my case study the work of Louise Glück, which is both successful within the MFA and public literary systems and frequently disparaged for possessing a singular, autobiographical voice. I then compare this genetic research and close reading with historicist and formalist theories of lyric poetry, those ‘lyric constructions’ which I term a regime of reading. My formalist and genetic approaches to analysing Glück’s poems, poem sequences, and poetic allegories demonstrate that Glück’s lyric voices are plural. They feature a vast diversity of intertextual, grammatical, and temporal deixis, and are increasingly set alongside non-lyric, narrative or historical poetic voices. Glück’s processes of lyric construction also indicate that the poet facilitates intertextual lyric self-assembly rather than authoring singular autobiography. These results contest the contemporary generic understanding of lyric form. If one defines lyric grammatically as a logical structure of first-person enunciation, lyric poetry gains a more specific, value-free definition, but it also suggests that not all of Glück’s work is lyric. To fully conceptualise this multiplicity I base a new theory of lyric self-construction on a revised understanding of the relation between formal categories and forms of life. I append to my thesis preliminary work toward an analysis of the generic construction of rhythm which contests current prosodic theories that contemporary lyric is largely written in prose, and suggests that rhythm is a more important generic marker of the poetic function than verse form or lineation.
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Attwood, Catherine. "The poetic #I' in fourteenth- and fifteenth-century French lyric poetry." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260509.

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Cheers, Rebecca. "Knowing Anne Brennan: Lyric poetry as feminist biography." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/206891/1/Rebecca_Cheers_Thesis.pdf.

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This practice-led thesis explores the use of lyric poetry as a form of feminist biography through the writing of a poetic biography, No Camelias, on the life of Anne Brennan, a figure of Australian literary history whose life has been sparsely recorded, and whose existing historical profile is marred by misogyny and indifference. The creative manuscript is accompanied by an exegetical essay which analyses poetry by Natalie Harkin and Jessica Wilkinson, two poets who explore marginalised histories through contrasting poetic approaches to archival research. Together, these connected components re-present Anne Brennan’s life through feminist grief, subjectivity and empathy.
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Dunham, Rebecca. "The miniature room." Diss., Columbia, Mo. : University of Missouri-Columbia, 2006. http://hdl.handle.net/10355/4435.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2006.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on July 18, 2008) Includes bibliographical references.
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Quipp, Edward. "W.H. Auden and the meaning of lyric poetry." Thesis, University of Edinburgh, 2007. http://hdl.handle.net/1842/2119.

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My thesis proceeds from recent critical discussion about the status of the aesthetic object after the decline of high theory of the 1980s and 1990s. The term “singularity”, articulated by critics working with the ideas of Martin Heidegger, has been variously applied to the artwork in the attempt to describe the generative power of art as separable from any historical or political determinants that may shape it. What makes the experience of art “singular”, that is, an experience governed by the artwork itself, without the scaffolding of theory or context? Such a question, I argue, actually demands a return to the first principles of close textual criticism, along with a rigorous approach to genre. The lyric poetry of W. H. Auden provides the ideal material for “singular” criticism. Unpacking the term lyric and redefining it according to Auden’s particular poetics, I consider how Auden inaugurated a new manner of experiencing modern poetry based on the notion, implicit to the conventional understanding of lyric, of vocality. After an account of Heidegger’s influence on contemporary ideas on aesthetics, I consult the work of Theodor Adorno, and later Hannah Arendt, in order to situate Auden’s early work in a European context, opposing the Atlanticism which has governed the vast majority of Auden criticism. Working to restore the power of the first encounter with the poem to historically and philosophically nuanced textual analysis, I present the key works of Auden’s early corpus in a new light.
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Weingarten, Jeffrey. "Lyric historiography in Canadian modernist poetry, 1962-1981." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121330.

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This dissertation focuses on five closely knit writers who, between 1962 and 1981, produced exemplary historiographic poetry that guided their contemporaries. Al Purdy, John Newlove, Barry McKinnon, Andrew Suknaski, and Margaret Atwood were the chief voices of a literary mode that I term "modernist lyric historiography": a meditative modernist lyric that is self-critical, self-consciously incapable of claiming and skeptical about any claim to authority over history, and fundamentally historiographic (in the sense that it synthesizes, discards, and/or critically evaluates fragments of history). Arguably, Purdy was the inaugurator of lyric historiography: in the early 1960s, he experimented with a modernist lyric attentive to a broad vision of Canadian history. Newlove was one of many poets who saw Purdy's lyric historiography as a mode that could be used to provide insight into neglected prairie histories. As part of their search for more intimate connections to history that could sustain longer, narrative poems, McKinnon and Suknaski adapted lyric historiography to explore the familial past. Atwood reimagined lyric historiography as the search for Canadian "foremothers," proto-feminists that could serve as models for the second-wave feminist movement.Addressing the archives, creative writing, and historical contexts of these five writers, this dissertation proposes two primary claims. First, modernism persisted well into the 1970s (and even beyond) and shared with Canadian postmodernism a sophisticated approach to the idea of "history." Second, modernist lyric historiography was a continued investigation into one's ability to claim authority over historical narratives. Many modernists found some measure of such authority by exploring the most intimate connections to the past, which tended to be literal and figurative familial ones.
Cette thèse traite de cinq écrivains, qui, entre 1962 et 1981, ont créé des modèles de poésie historiographique, qui ont guidé leurs contemporains modernistes. Al Purdy, John Newlove, Barry McKinnon, Andrew Suknaski et Margaret Atwood ont été les figures principales d'un mode littéraire que nous appelons «l'historiographie lyrique moderniste». Ce terme désigne une poésie lyrique moderniste et méditative, qui est autocritique, réticente à revendiquer une quelconque autorité sur l'histoire et méfiante de cette autorité lorsqu'elle est invoquée, ainsi que fondamentalement historiographique. Au début des années 1960, Purdy expérimente avec la poésie moderniste sur l'histoire du Canada. Newlove considérait l'historiographie lyrique de Purdy comme une manière d'écrire qui pourrait offrir une nouvelle façon de voir le passé négligé des prairies. McKinnon et Suknaski ont adapté l'historiographie lyrique en examinant le passé de leur famille. Atwood a réinventé l'historiographie lyrique en tant que recherche des «aïeules» canadiennes, des proto-féministes qui pourraient servir de modèle à la deuxième génération de féministes. En tenant compte des archives, de l'écriture et des contextes historiques de ces cinq écrivains, cette thèse propose deux idées principales. Premièrement, nous affirmons que le modernisme a persisté durant l'après-guerre et qu'il partageait avec le postmodernisme canadien une approche sophistiquée et critique de l'histoire. Deuxièmement, nous soutenons que l'historiographie lyrique moderniste consistait en un questionnement persistant sur la capacité de revendiquer une certaine autorité concernant un récit historique. Plusieurs modernistes ont trouvé une certaine autorité en explorant les liens les plus intimes avec le passé, qui avaient tendance à être des liens familiaux littéraux et métaphoriques.
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Books on the topic "Lyric poetry"

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Barolini, Teodolinda, Richard Lansing, and Andrew Frisardi, eds. Dante's Lyric Poetry. Toronto: University of Toronto Press, 2014. http://dx.doi.org/10.3138/9781442616899.

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G, Balme M., ed. Greek lyric poetry. Amherst, Mass: Available from G. Lawall, 1994.

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Post, Jonathan F. S. English Lyric Poetry. London: Taylor & Francis Group Plc, 2004.

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Pushkin, Aleksandr Sergeevich. Selected lyric poetry. Evanston, Ill: Northwestern University Press, 2009.

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Colonne, Guido delle. Lyric. Lincoln [Neb.]: [Blue Heron Press], 1985.

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1943-, Mulroy David D., ed. Early Greek lyric poetry. Ann Arbor: University of Michigan Press, 1992.

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Rayor, Diane J., ed. Latin Lyric and Elegiac Poetry. Second edition. | Abingdon, Oxon; New York: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315718422.

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Jhā, Śaṅkarajī. Bhāva-kadambakam =: Sanskrit lyric poetry. Chandigarh: Arun Pub. House, 1996.

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1968-, Natanblut Erez, ed. Greek lyric poetry and tragedy. Montreal: Laodamia Press, 2005.

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1946-, Hošek Chaviva, and Parker Patricia A. 1946-, eds. Lyric poetry: Beyond new criticism. Ithaca: Cornell University Press, 1985.

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Book chapters on the topic "Lyric poetry"

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Georgoulas, Stratos. "Lyric Poetry." In The Origins of Radical Criminology, 75–106. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-94752-5_5.

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Hu, Esther T. "Lyric Poetry." In The Palgrave Encyclopedia of Victorian Women’s Writing, 946–59. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78318-1_317.

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Pirnazar, Nahid. "Lyric Poetry." In Judeo-Persian Writings, 72–78. London ; New York : Routledge, 2020. | Series: Iranian studies ; 42: Routledge, 2020. http://dx.doi.org/10.4324/9781003031741-9.

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Abbott, Mathew. "Lyric Poetry." In The Palgrave Handbook of Philosophy and Literature, 221–39. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-54794-1_11.

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Hu, Esther T. "Lyric Poetry." In The Palgrave Encyclopedia of Victorian Women's Writing, 1–13. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-02721-6_317-1.

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Thomson, J. A. K. "Lyric Poetry." In Classical Influences on English Poetry, 138–58. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003462682-7.

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Balme, Maurice. "Lyric Poetry." In Greek and Latin Literature, 24–62. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003482901-2.

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Rowlinson, Matthew. "Lyric." In A Companion to Victorian Poetry, 59–79. Oxford, UK: Blackwell Publishers Ltd, 2008. http://dx.doi.org/10.1002/9780470693537.ch3.

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Race, William H. "Rhetoric and Lyric Poetry." In A Companion to Greek Rhetoric, 509–25. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470997161.ch33.

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Wilcox, Helen. "Devotional Lyric." In The Oxford History of Poetry in English, 288–304. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780198930259.003.0026.

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Abstract The seventeenth century is regarded as one of the greatest eras of devotional lyrics in the history of English poetry; this chapter celebrates the variety and skilfulness of early modern poetic writing in the devotional mode. Following a discussion of what defines the devotional lyric and how poets faced the dual challenges of their own uncertain agency and the limits of language, the first section explores the nature of devotional lyrics by identifying them with the range of kinds of prayer practised by early modern believers. The second section discusses the secular poetic genres which devotional lyrics appropriate and transform, including the sonnet, song, epigram, dialogue, elegy, complaint, and emblem. The final section considers contextual factors that may have affected early modern devotional poetry, from the influence of the Bible and of music, to the gender and religious affiliation of the individual poets. Building on this, the conclusion suggests a redefinition of the genre.
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Conference papers on the topic "Lyric poetry"

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Gridin, A. O. "IMAGES OF POET AND POETRY IN LYRIC POETRY BY V.V. NABOKOV." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-02-3-2021-104.

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Mironova, Ksenia V. "Psychological and didactic teachers training: Developing lyric poetry comprehension in adolescents." In The Herzen University Conference on Psychology in Education. Herzen State Pedagogical University of Russia, 2020. http://dx.doi.org/10.33910/herzenpsyconf-2020-3-47.

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Malinovschi, Victoria. "The Evidence of Textual Narcissism in the Eighties Lyric from the Left of the Prut." In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.35.

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n the eighty’s poetry from the left of the Prut, a kind of self-referential writing is highlighted, defined by literary exegesis by the term textual narcissism (Cristian Moraru). This own lyrical manner belongs the poets Emilian GalaicuPăun and Nicolae Leahu and It supposes the concentration on one’s own linguistic resources and their experimentation in the field of language. The developed lyrical constructions, frequently used in the work of these poets, they bring language games, quotations, allusions, parodies, rewritings, etc. Although, both poets don’t ignore the ideational plan, which an attentive reader can perceive, the finality of their writing consists, however, in the creating of the discourse, which It detaches itself from any other reality and It exists autonomously, being self-sufficient. Thus, such a poem returns the myth of Narcissus, stating the concept of self-referential and self-contemplative writing.
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Yi, Xiaoyuan, Maosong Sun, Ruoyu Li, and Zonghan Yang. "Chinese Poetry Generation with a Working Memory Model." In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/633.

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As an exquisite and concise literary form, poetry is a gem of human culture. Automatic poetry generation is an essential step towards computer creativity. In recent years, several neural models have been designed for this task. However, among lines of a whole poem, the coherence in meaning and topics still remains a big challenge. In this paper, inspired by the theoretical concept in cognitive psychology, we propose a novel Working Memory model for poetry generation. Different from previous methods, our model explicitly maintains topics and informative limited history in a neural memory. During the generation process, our model reads the most relevant parts from memory slots to generate the current line. After each line is generated, it writes the most salient parts of the previous line into memory slots. By dynamic manipulation of the memory, our model keeps a coherent information flow and learns to express each topic flexibly and naturally. We experiment on three different genres of Chinese poetry: quatrain, iambic and chinoiserie lyric. Both automatic and human evaluation results show that our model outperforms current state-of-the-art methods.
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Wu, Yue. "Sublimation Theoretic Approach to Xu Yuanchongrs Translation of Images in Li Bairs Lyric Poetry." In 2018 8th International Conference on Social science and Education Research (SSER 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/sser-18.2018.6.

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Царева, Нина Александровна. "FUNCTIONS OF METATEXT AT THE LEVEL OF THE POETIC CYCLES IN THE LYRICS OF B.L. PASTERNAK." In Сборник избранных статей по материалам научных конференций ГНИИ «Нацразвитие» (Санкт-Петербург, Июнь 2021). Crossref, 2021. http://dx.doi.org/10.37539/jun317.2021.67.74.006.

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В статье анализируются особенности употребления самостоятельного лирического текста как метатекстового «оператора» в пространстве поэтического цикла зрелой лирики Б. Пастернака. Метатекст рассматривается как средство авторской самооценки на пути глобального познания мира через страдание, гибель и возрождение лирического героя последних поэтических опусов великого русского поэта. The article analyzes the features of the use of an independent lyric text as a metatext "operator" in the space of the poetic cycle of B. Pasternak's mature lyrics. The metatext is viewed as a means of the author's self-esteem on the path of global knowledge of the world through suffering, death and revival of the lyric hero of the last poetic opuses of the great Russian poet. .
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ALIEVA, Dildora. "PHILOSOPHICAL LYRICS AND REFLECTIONS OF THE LYRICAL HERO CHO JI HUN." In UZBEKISTAN-KOREA: CURRENT STATE AND PROSPECTS OF COOPERATION. OrientalConferences LTD, 2021. http://dx.doi.org/10.37547/ocl-01-29.

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This article discussed the emergence and further development of the poetic group “Blue Deer”. The creativity of poets in this group received development of tradition in Korean landscape lyrics and its poetics. An apple to the origins and motives of classical poetry became evidence of their reverent attitude to historical and cultural, including the literal memory of the Korean people. Cho Ji Hong is an outstanding representative of this poetic group. Cho Ji Hoon's work bears the stamp of traditions, national customs, traditions, legends
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Tang, Xing. "An Investigation on the Creation and Existence of Yuefu Lyric Poetry of the Xianbei Regime during the Northern and Southern Dynasties." In 3rd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccessh-18.2018.209.

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Zaripov, Azamat. "POETIC SYNTHESIS OF BABUR'S POETIC TRADITIONS IN ABDULLA ORIPOV'S POETRY." In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/gcaj5089.

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In the poetry of the great poet Abdulla Oripov, theoretical conclusions were made about the features of the artistic synthesis of Babur's artistic discoveries. In particular, it is revealed that Zahirad-Din Babur's poetic traditions, which are reflected in such forms as the unique interpretation of the theme of the Motherland, the harmony of nature lyrics, and the image of Baburshah, occupy a certain place in the creative perfection ofAbdulla Oripov.
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Breslavets, Tatiana, and Tatiana Vinokurova. "LOVE STANZAS IN SOGI’S POEM." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.33.

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The article is devoted to the peculiarities of the work of Iyo Soga, the author of “connected stanzas” (renga). The ways of presenting love lyrics in the poem Sogi dokugin nanihito hyakuin (One hundred stanzas of the poet Sogi, 1499) are highlighted. The issues of the influence of the previous classical literature on the poet’s work, the specifics of intra-literary continuity in the history of medieval Japanese verse are discussed. The implicit meanings of love stanzas are revealed. Precedent texts with which the stanzas of the poem establish associative links are found. Intertextuality acts as the meaning-forming beginning of renga poetry.
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Reports on the topic "Lyric poetry"

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Kerimova, R. A. DEVELOPMENT OF THE "WOMEN" LYRICS IN KARACHAYEVO- BALKARIAN POETRY OF THE XXI CENTURY. Известия КБНЦ РАН, 2018. http://dx.doi.org/10.18411/2018812112119.

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