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Journal articles on the topic 'Lyric poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Thalmann, William G., and David Mulroy. "Early Greek Lyric Poetry." Classical World 87, no. 6 (1994): 522. http://dx.doi.org/10.2307/4351591.

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12

Longenbach, James. "Lyric Poetry for Beginners." Literary Imagination 20, no. 1 (March 1, 2018): 22–28. http://dx.doi.org/10.1093/litimag/imy008.

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13

Kulcsár-Szabó, Zoltán. "Bakhtin and Lyric Poetry." Dostoevsky Journal 17, no. 1 (November 14, 2016): 44–64. http://dx.doi.org/10.1163/23752122-01701004.

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This essay reopens the issue of lyric monologism. Widely considered as a weak point in Bakhtin’s genre theory, the conception of the monologic structure of lyric poetry has attracted many attempts at corrections of that concept, drawing attention to the unquestionable dialogical tendencies in poetry. Instead of providing further arguments in this vein, the essay provisionally accepts poetry’s monologism as a starting point and discusses some of the key elements of the conception in its early version (that is, Bakhtin’s account of the chorus as lyrical authority in Author and Hero in Aesthetic Activity). In a further step, it addresses Bakhtin’s contradictory approach to the category of trope in poetry, an issue brought to the fore by Paul de Man’s somewhat enigmatic commentary on The Discourse in the Novel. Finally, it raises the question whether there is a real contradiction between the structure of the trope and the internal dialogism attributed to prosaic discourse in Bakhtin’s view. In order to discuss this issue, one has to reconsider Bakthin’s (and Voloshinov’s) notion of “intonational metaphor” and their implicit distinction between dialogism and citationality.

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14

Gui, Weihsin. "LYRIC POETRY AND POSTCOLONIALISM." Journal of Postcolonial Writing 43, no. 3 (December 2007): 264–77. http://dx.doi.org/10.1080/17449850701669609.

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15

Buntarō, Taira, Frank Stewart, and Katsunori Yamazato. "Ryūka: Okinawan Lyric Poetry." Manoa 23, no. 1 (2011): 71–72. http://dx.doi.org/10.1353/man.2011.0024.

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16

Clune, Michael. "Lyric Poetry as Society." Criticism 54, no. 1 (2012): 159–65. http://dx.doi.org/10.1353/crt.2012.0003.

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17

Shi, Ya, and Nick Admussen. "Adultery and Lyric Poetry." Chinese Literature Today 5, no. 2 (September 2016): 73. http://dx.doi.org/10.1080/21514399.2016.11834100.

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18

Dr. Muhammad Amjad Abid. "Munawwar Hashmi: An Active Poet of affluent Era." Tasdiqتصدیق۔ 2, no. 1 (January 1, 2021): 50–58. http://dx.doi.org/10.56276/tasdiq.v2i1.39.

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Munawwar Hashmi is a versatile literary personality of this age. He is well known as a poet, writer, critic, researcher, and expert of Iqbal doctrine. He is considered among famous lyric writers who contributed to developing this art of poetry throughout his life. In his lyrics, there are thought-provoking ideas, depth, and a new paradigm shift about the art of lyric. The poetry of Munawwar Hashmi reflects passions and feelings naturally. He has translated feelings and emotions in a quiet natural way. His art is a combination of individual and collective vision. In this article, an effort has been made to highlight the structure and characteristics of the poetry of Munawwar Hashmi.

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19

Parkheta, Lubov. "FEATURES OF STUDYING LYRICS IN LITERATURE LESSONS." Psychological and Pedagogical Problems of Modern School, no. 1(9) (April 27, 2022): 72–78. http://dx.doi.org/10.31499/2706-6258.1(9).2023.279339.

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Methodical approaches to the study of lyrics in literature lessons are disclosed in the article, in particular, its role in the formation of literary competence in students of general secondary education institutions. It is noted that lyrics are the most mobile of all genres of literature and have the greatest potential in shaping the emotional sphere of students and great educational opportunities. Various methodical algorithms for the study of lyric poetry are analyzed, in particular, the fact that lyrics are divided into civil, or political, philosophical, intimate, or personal, landscape, according to the subject matter and leading motives.According to the structure and method of organizing the material, lyrics are divided into reflexively expressive, narrative, and descriptive. In addition, there are also mixed structures of lyric works, that is, those that have features of all types. Studentsʼ perception and understanding of lyric works is determined by many factors: features of lyric poetry; the originality of the poetʼs artistic manner; the character of the ideological content of the works; general development of children, their life experience.The generic features of lyrical works determine the specificity of their study, which is associated with a number of related problems. One of them is the analysis of the image of the lyrical hero. The second problem of studying poetry is its poetic form (the peculiarity of the poetic language, its feet and size, strophic structure, etc.). Reading a work in class is a very important stage of its analysis, and for some types of lyrics it is also the main one. Pupils receive the first emotional impressions, on which the perception of poetry in general depends to a large extent. An important problem in the study of lyrics is its poetic form (the peculiarity of the poetic language, its feet and size, strophic structure, etc.). Lyrical works are somewhat difficult to perceive not only by teenagers, but often by high school students as well, therefore it is very important to create conditions for students to experience as fully as possible the feelings expressed in the studied poetry, to be imbued with thoughts. For this purpose, various methodological techniques are used. Studentsʼ interest in lyrical works must be constantly developed. Keywords: lyrics; lyrical works; literature lesson; lyrical hero; author; rhythm; content and form of the poem; expressive reading.

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20

LEVİ, Melih. "Gottfried Benn’s Poetry and Unbracketing the Expressionist Image." Cankaya University Journal of Humanities and Social Sciences 16, no. 2 (December 6, 2022): 149–68. http://dx.doi.org/10.47777/cankujhss.1081784.

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After studying the prevailing expressionistic attitude in Benn’s early poems such as “Nachtcafé,” the paper traces the loosening of imagery in Benn’s more psychoanalytic and mythological poems. The paper then offers a close reading of “Das sind doch Menschen,” a poem from Benn’s latest period, which exemplifies a distinct break in his poetics and the emergence of a markedly performative and personal voice. The backdrop of expressionism, his early fascination with mythology and mid-career attempts to achieve a perfect lyric structure continued to have obvious influences on Benn’s later writing but this personal and anecdotal period occasions a new balance between poetic image, lyric self, and abstract statement. In addition, the paper also traces Benn’s attempts to recover a more agentic lyric self within the larger poetic context of the post-war era, turning to poetic theories advanced by contemporaneous poets such as Ingeborg Bachmann and in Benn’s own momentous lecture on poetics, Probleme der Lyrik.

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21

Alpers, Paul. "Apostrophe and the Rhetoric of Renaissance Lyric." Representations 122, no. 1 (2013): 1–22. http://dx.doi.org/10.1525/rep.2013.122.1.1.

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Romantic models dominate our conception of lyric poetry. This essay questions the pertinence of these models to the Renaissance lyric by reading that poetry in the light of Jonathan Culler’s classic account of the romantic lyric in his Pursuit of Signs (1981). Culler famously argues that the definitive trope of lyric is apostrophe, in which first-person speakers address pointedly fictive personifications, such as a sick rose or the west wind, in order to emphasize subjective voicing over objective perception. As Culler helps us see, apostrophes are surprisingly important in Renaissance as well as romantic lyric. But the apostrophes of Renaissance lyric characteristically portray first-person speakers as writing in real time and space to “empirical listeners.” What makes Renaissance lyric distinctive is its persistently social mode of address. Through readings of apostrophic poetry by Waller, Donne, King, Sidney, Spenser, and Shakespeare, the essay calls for criticism of the lyric that pays closer attention to the differences among historically diverse lyric cultures.

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22

Paparousi, Marita. "Teaching Lyric Poetry: An Approach through Genre." Journal of Literary Education, no. 2 (December 6, 2019): 153. http://dx.doi.org/10.7203/jle.2.14833.

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A genre approach to teaching lyric poetry is the subject of this essay. Part one of the essay contains a discussion and critique of genre theory as it relates specifically to the use of genre as a framework to teach poetry. Part two examines the various ways lyric genre has been defined in literary theory and tries to offer a polyphonic range of perspectives about lyric genre’s most prominent characteristics. The final section suggests a sample lesson plan and student-centered activities intended to strengthen student’s understanding of lyric poetry.

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23

Comparini, Alberto. "Time and Lyric Poetry (Collections): A ‘Narrative-Diachronic’ Approach." Poetica 53, no. 1-2 (June 29, 2022): 153–77. http://dx.doi.org/10.30965/25890530-05301007.

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Abstract The essay addresses the problem of time in lyric poetry and proposes a narrative understanding of the lyric genre. I argue that temporality belongs to the lyric discourse as part of its transtextual structure as a result of the lyric’s organization in the book form. This transtextual structure gives lyric poetry a narrative framework and a specific type of temporality, the diachronic time, which contrasts with the temporality of the single poem, the synchronic time. By focusing on the relationships between opener and closure poems, I propose a narrative-diachronic model in order to reposition the temporality of lyric poetry in the book form. By dealing with Paul Celan’s second book of poems, Von Schwelle zu Schwelle (1955), the analysis will finally show how diachronic time corresponds to the narrative structure of the collection, and how time and the narrative are deeply linked in lyric poetry by means of the book form.

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24

Segal, Eyal. "Lyric Shame: The “Lyric” Subject of Contemporary American Poetry." Poetics Today 37, no. 1 (March 2016): 235–37. http://dx.doi.org/10.1215/03335372-3453066.

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25

OKATAN, Halil İbrahim. "Lirik Şiir Anlayışı ve Nedim’in Bir Gazelinin Lirik Şiir Ölçütleriyle Açıklanması Ölçütleriyle Yorumu." International Journal of Social Sciences 8, no. 33 (March 8, 2024): 586–616. http://dx.doi.org/10.52096/usbd.8.33.37.

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As is it well known, the arts of painting, music, sculpture and architecture are made with materials unique to them. Painting is applied with paint, music with sound, sculpture with materials such as stone, marble or bronze. The material of each is used only in that specific art. Poetry, on the other hand, is an art made with language, our common means of communication which we use every day and always in our daily lives. This situation leads to both convenience and difficulty for literature and especially for the art of poetry. Although architectural arts made of stone and marble survive for centuries, they eventually succumb to the wear and tear of time and decay. Poetry, which finds its expression in the spoken word, lives as long as humanity endures. What makes the art of poetry long-lasting is the magic that exists in the language and the music of the language which appeals to the ear. Elements such as rhyme, radif, internal harmony, repetition of sounds, proportionality, word sequence, appealing to emotions, consisting of common words, which are present in poetry, are parallel to the sounds emitted from musical instruments that we call lyrical. Just as every person likes and enjoys the sound of music, every person likes and enjoys "lyric poetry". Divan poetry or our classical poetry is consistent with the western definition/description of lyric poetry. In this article, lyricism in Divan poetry and a ghazal of Divan poet Nedim will be analyzed according to the conception of lyricism. Keywords: The conception and criteria of lyric poetry, the artistic conception of divan poetry, examples of lyric poetry from divan poets, lyric interpretation of Nedim’s ghazal

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26

McNeil, W. K., and Michael Taft. "Blues Lyric Poetry: An Anthology." American Music 4, no. 4 (1986): 476. http://dx.doi.org/10.2307/3052235.

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27

Geary, Edward A., Chaviva Hosek, and Patricia Parker. "Lyric Poetry: Beyond New Criticism." Rocky Mountain Review of Language and Literature 40, no. 4 (1986): 246. http://dx.doi.org/10.2307/1566587.

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28

Ruddy. "Imagine this as Lyric Poetry." Criticism 57, no. 3 (2015): 503. http://dx.doi.org/10.13110/criticism.57.3.0503.

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29

Wolf, Werner. "Aesthetic Illusion in Lyric Poetry?" Poetica 30, no. 3-4 (August 14, 1998): 251–90. http://dx.doi.org/10.30965/25890530-0300304003.

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30

Jakimiuk-Sawczyńska, Walentyna. "Sacrum in Teffi’s lyric poetry." Studia Wschodniosłowiańskie 13 (2013): 225–34. http://dx.doi.org/10.15290/sw.2013.13.17.

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31

HUTCHINGS, G. J. M. "ELIZABETHAN LYRIC: POETRY FOR SINGING—POETRY FOR SPEAKING." English Studies in Africa 30, no. 2 (January 1987): 57–68. http://dx.doi.org/10.1080/00138398708690839.

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32

Park, Seonah. "Muriel Rukeyser’s Motherhood Poetry: Lyric Poetry and Publicness." Institute of British and American Studies 58 (June 30, 2023): 3–26. http://dx.doi.org/10.25093/ibas.2023.58.3.

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This paper attempts to redefine motherhood as a female experience through the motherhood poetry of a modernist American poet, Muriel Rukeyser. In contemporary terms, motherhood tends to be defined as a feminine experience in which the relationship between mother and child is created, whereas Rukeyser's motherhood poetry emphasizes the intersection of such motherhood with the public values of society and the expansiveness of lyric poetry. Living in a time of upheaval and chaos in the war-driven world order, Rukeyser needed to keep a keen eye on the world as the space in which she and her child lived and would live, and thus it was inevitable for her to discuss motherhood in public discourse. Thus, the environment of motherhood brought about an ongoing search for her own place in the public sphere, and if this search can be seen as self-creative in nature, then motherhood poetry, which poetizes this search can be understood as a work that poetizes ongoing social participation. Through a reading of Rukeyser's work that expands the lyrical subject of the poems from the self to the public space, this paper examines how the individual specificity of the maternal experience expands into the universal experience of women and what that means for our reading of the poems today.

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33

Kuczera-Chachulska, Bernadetta. "O Zgorzelskiego teorii liryki: genologia i aksjologia." Colloquia Litteraria 21, no. 2 (January 13, 2018): 61. http://dx.doi.org/10.21697/cl.2016.2.4.

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Czesław Zgorzelski is known predominantly as a historian of literature. But Zgorzelski was also a distinguished theoretician of the lyric poetry. His most renowned disciple, Marian Maciejewski, wrote about it in his commentaries to the works of Zgorzelski. Zgorzelski’s works on the lyric poetry contain, very important observations on the nature of the lyric poetry, and the model, gradual changes within this genre. Zgorzelski’s findings in this area are fundamental and can be applied into other non-Romantic areas of reaserch.

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34

Kozlyk, Ihor. "Навіщо писати про Стуса, або Продовжуючи початок." Sultanivski Chytannia, no. 12 (June 1, 2023): 27–35. http://dx.doi.org/10.15330/sch.2023.12.27-35.

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The article contains thoughts on the motivation of new appeals to the literary understanding of Vasyl Stus’s lyrical heritage (1938–1985). Aim. To focus on the need for a non-inertial approach to V. Stus’s lyric poetry as a living artistic phenomenon. Methods. Systematization and analysis of assessments of Stus’s lyric poetry in correlation with the poet's self-assessment of his own poetic works. Results and research novelty. The idea of a non-inertial approach to the lyrical poetry by V. Stus is substantiated. Practical meaning. The article can be used in the research of the methodological grounds of the scientific study of literary and artistic phenomena and in the process of studying V. Stus’s works in universities and schools.

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35

Kuhn, John. "Funerary Epigraphy and the Form of George Herbert’s “The Water-course”." SEL Studies in English Literature 1500-1900 62, no. 2 (March 2024): 373–99. http://dx.doi.org/10.1353/sel.2024.a927935.

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Abstract: This article argues that George Herbert’s lyric “The Water-course” draws on the forms of Renaissance funerary epigraphy and specifically on the technique of conflated-line inscription known as “ versus concordantes ” found on intramural monuments in the period. Understanding Herbert’s poem in relation to this technique allows us, broadly, to see one point of connection between lyric poetry and epigraphy. This article argues for the reclassification of “The Water-course” as a pseudo-inscriptional epitaph, demonstrates its links to the poems around it at the close of “The Temple,” and shifts our understanding of its stanza form, uncovering its links to a group of meta-poetic sexain lyrics inside Herbert’s collection that reflect ambivalently on the moral status of poetry writing.

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36

Thomas, Nicola. "The New German Nature Lyric." Humanities 9, no. 2 (June 4, 2020): 50. http://dx.doi.org/10.3390/h9020050.

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Naturlyrik has long been a contested category in German poetry, but however politically suspect some may find ‘Gespräch(e) über Bäume’ (Brecht), they are vitally important in the era of anthropogenic environmental collapse. The current generation of German-language poets have sought new ways of writing about the natural world and environments; these differ from, and draw on, pre-twentieth-century Naturlyrik as well as the complex, often critical, representations of nature in poetry after the Second World War. Representations of gardens and other human-‘managed’ natural spaces, references to and rewritings of German literary tradition, and the exploration of non-human voices and subjects all serve as means of restoring subjective fullness and complexity to Naturlyrik. The questions of voice and form which are central to the idea of the lyric genre as a whole are implicated in the development of a contemporary nature poetry beyond both Brecht and Benn, and Anthropocene Naturlyrik is pushing German lyric poetry itself into a new phase.

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37

Wang, Chunhui. "Modern women’s poetry of St. Petersburg: The creative work of T. S. Tsarkova." Philology. Issues of Theory and Practice 16, no. 8 (August 14, 2023): 2327–32. http://dx.doi.org/10.30853/phil20230365.

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The aim of the study is to identify the themes, techniques, features and sociocultural significance of T. S. Tsarkova’s poetry. Several determining factors have been established for the analysis of T. S. Tsarkova’s creative work: this is a woman poet, a poet from St. Petersburg, a poet-philologist (not only by training, but also by profession). The paper is novel in that it is the first to introduce into scientific use previously unexplored materials, i.e. T. S. Tsarkova’s poems demonstrating a harmonious combination of the traditions of St. Petersburg poetry and the motifs of female lyric poetry. It was shown that the author’s poetic system is distinguished by a wide range of themes concerning timeless and topical issues, as well as the variation of stylistic registers. As a result, the main themes of T. S. Tsarkova’s poetic works were highlighted and characterised: lyric poetry related to purely women’s themes; philosophical lyrics; poems imbued with St. Petersburg themes; poems that emotionally capture the events of the era contemporary to the poet.

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38

Kornberg, Morani. "Lyric, Nation, and Dialogism." Poetics Today 41, no. 4 (December 1, 2020): 595–617. http://dx.doi.org/10.1215/03335372-8720085.

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This article introduces, for the first time, the marginalized writings of Israeli-statehood-generation poet Maxim Ghilan (1931–2005), who lived in self-exile in Paris as a result of his political activism. By investigating the relationship between lyric poetry and nationalism, the article introduces Ghilan’s early poetry, followed by a close analysis of his groundbreaking and understudied poem “In Enemy Land,” written upon his return to Israel. Ghilan’s poetry overturns nationalist discourse by revisiting the events of 1948 and evoking the dual notion of return, namely, the Israeli Law of Return and the Palestinian Right of Return. In an effort to contribute to New Lyric Studies, the article offers a new form of lyric reading, the “trans-national lyric,” a hyphenated form of transnationalism used to emphasize crossing over and moving beyond the nation. The trans-national lyric dismantles the lyric speaker’s sovereign position and consequently uncovers the silent — and silenced — dialogic voices that are an inseparable part of the genre. The article concludes with an analysis of lyric address and the ethical role of reading, whereby readers are implicated in the process of forced remembering and historical revision.

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Ramić, Ibnel, and Ikbal Smajlović. "Some characteristics of patriotic lyric poetry by Safvet-beg Bašagić." Zbornik radova Islamskog pedagoškog fakulteta u Zenici (Online), no. 21 (December 15, 2023): 423–46. http://dx.doi.org/10.51728/issn.2637-1480.2023.423.

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One of the most significant figures of Bosniak cultural and literary revival during the period of Austro-Hungarian rule in Bosnia was certainly Safvet-beg Bašagić. With an exceptionally wide range of occupations and diverse activities in the field of culture and social and political activity in general, he enormously contributed to the affirmation of the national and cultural identity of Bosniaks and their inclusion in the European socio-historical and cultural context. In the relatively rich literary opus of Safvet-beg Bašagić, one of the most important places certainly belongs to his patriotic lyric poetry. In the current paper, we will point out the sources of his lyric poetry, some of its poetic characteristics, and the most important traits of the two phases that appear in the development of this type of Bašagić's lyric poetry. Keywords: Austro-Hungarian period, revival literature, cultural revival, patriotic lyric poetry

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Scholz, Gunther. "Lyric poetry in the information society." Semiotic studies 3, no. 3 (October 27, 2023): 39–44. http://dx.doi.org/10.18287/2782-2966-2023-3-3-39-44.

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Poetry seems to have become a kind of a foreign body in the modern society because it does not contain what we call information. But while information conveys actual truth, poetry can articulate the other one: while the permanent flood of information puts people into constant tension and emotional unrest, poetry can provide counterbalance. With the information society spreading worldwide, new forms of culture have emerged alongside with new forms of work, and rap is one of them. Just as one recognizes both opportunities and dangers in the information society, this new form of poetry is also judged aesthetically, ethically and sociologically in very different ways. This is not surprising, since there are very ordinary as well as artistic forms of rap.

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Romanova, Lidiya Nikolaevna. "Poetry book and ensemble unity in Yakut women’s poetry at the turn of the XX – XXI centuries." Litera, no. 12 (December 2020): 61–73. http://dx.doi.org/10.25136/2409-8698.2020.12.34525.

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The object of this research is the women's poetry of Yakutia of the turn of the XX – XXI centuries. The subject of this research is the evolution of the lyrical poetry book in modern Yakut women's poetry. Works of the two leading lyricists of modernity Natalia Kharlampieva and Olga Koryakina-Umsuura served as the material for this research. Comparative-typological analysis of their works is aimed at determination of genre characteristics of the lyric poetry book and the ensemble unity of the poetry book of various years. The author examines the specificity of the lyric poetry book as a metagenre and its genre characteristics. Special attention is given to the ideological-thematic, architectonic and leitmotif components that unite the works into a single, holistic literary text. The author also explores the problem of formation of the ensemble unity of books of poems within the limits of works of a single author, which unifying principle is a lyrical metaplot that develops from book to book. The lyrical poetry book is presented as a form of authorial self-identification. The main conclusions of consists in determination of specificity of formation of the lyric poetry book and ensemble unity in Yakut women's poetry, its individual authorial and ethnic unique features. The comparative material allows revealing the dominant genre attributes of metagenre formations that imply “novelism” of the entirety of poetry books by Natalia Kharlampieva, and the cyclicity, intertextual coherence of the books by Umsuura. The author’s special contribution consists in elaboration of the methods for analyzing book macrocyclic forms through the prism of their motif-leitmotif systematicity and architectonic completeness. The novelty of this work is defined by the fact that for the first time in Yakut literary studies, Yakut women's lyrics is described as a developing system, aiming for “larger” macro-forms as an opportunity to systemically present the fullness of authorial worldview.

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Zelić, Tomislav. "The Nondiscursive Aesthetics of Music, Lyric Poetry, and Tragedy." Philosophy and Literature 47, no. 2 (October 2023): 342–58. http://dx.doi.org/10.1353/phl.2023.a913810.

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Abstract: Is it possible to speak about the unspeakable as it is represented in music, lyric poetry, and tragedy? The answer is yes, if we adopt a purely aesthetic perspective. The answer is no, if we adopt the perspective of the transcendental subject as the metaphysical source of music, lyric poetry, and tragedy. In this paper, I conceptualize the nondiscursivity of music, lyric poetry, and Attic tragedy in the philosophical aesthetics of Kant, Schopenhauer, and Nietzsche. I also make a few incidental remarks to Plato's Socrates and Aristotle as well as the Theban plays by Sophocles.

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Laletina, Olga S., and Iwei Zhang. "Describing the verse of Russian émigré poets: Poetry by Nikolay A. Shegolev and its metrical system." Vestnik of Saint Petersburg University. Language and Literature 18, no. 4 (2021): 661–79. http://dx.doi.org/10.21638/spbu09.2021.402.

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The article analyses Russian émigré poetry: it describes the lyric poetry of Russian emigrants in the Far East, its connection to the poetry of the metropolis and the western branch of Russian emigration. The work is focused on one of the least studied issues in the history of Russian émigré poetry, i. e., the specific development of its verse. Lyric poetry by Nikolay A. Shegolev (1910–1975), a poet of the so-called “Russian China”, offers extensive material in this respect. His poetry has been overlooked in terms of academic verse analysis to date; however, many scholars note that he was very much involved in experimental poetry. This article presents the results of a unique comprehensive analysis of Shegolev’s metrical system. The analyzed corpus includes all of Shegolev’s lyric texts available today, i. e., 110 works, 2470 verses. The authors’ analysis embraces the different literary contexts of Russian poetry: Silver age poetry, Soviet poetry, and the émigré poetry of the western branch. Statistical calculations demonstrate that Shegolev’s lyric poetry is distinct due to a vast variety of meters and verse patterns (i. e., combinations of metric and strophic forms). Evidence is provided to substantiate the assumption that in most poems the choice of a particular model is associated with motifs, theme, plot and style. It is concluded that the logic of Shegolev’s experimental verse was shaped by his individual pragmatic vision: in the setting of historic and cultural emigration, the poet was desperately pursuing ways to preserve the connection between pre-revolutionary and Soviet culture, and to naturally synthesize the heritage of classic Russian poetry with Russian poetry of the new era.

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Kuhn-Treichel, Thomas. "Performanz, Textualität und Kognition." POEMA 1, no. 1 (January 2023): 25–37. http://dx.doi.org/10.38072/2751-9821/p3.

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This paper traces recent developments in the study of early Greek lyric poetry and suggests some tracks that could be followed in the near future. Research on early Greek lyric poetry has undergone significant change over the last five decades. From the 1970ies onwards, scholars tended to emphasize the performative context of the songs, including its social or cultic function. Only in recent years have interpreters started to rediscover the textual dimension of the poems, i.e. their status as literary texts that were intended to be received beyond their primary performance. Other vibrant fields of research that have been recently, or could be fruitfully, applied to early Greek lyric poetry include historical narratology, diachronic narratology, and cognitive poetics. In order to illustrate some of these developments and potential, I summarize recent approaches to the problem of the poetic ›I‹ in Pindar, including my own model, and suggest the more general phenomenon of underdetermined reference as a possible topic for future research on different branches of lyric poetry.

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Gherman, Oxana. "Strategii interactive de predare a textului liric." Revistă de Ştiinţe Socio-Umane = Journal of Social and Human Sciences 44, no. 1 (2020): 31–46. http://dx.doi.org/10.46727/jshs.2020.v44.i1.p31-46.

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This article contains a series of methodological recommendations for teaching lyrical texts at Romanian language and literature lessons. There are presented in a systematic way different didactic strategies and landmarks for organizing lessons, taking into account the process of learning/ understanding the lyric text in several fundamental stages: pre-reading activities (which ensure the emotional and intellectual preparation of the students for the process of decoding the studying text), various methods of reading poetry at the lesson and postreading activities (analysis, interpretation, evaluation and integration). For each stage of the didactic approach are proposed some interactive methods of working with the lyric text which facilitate the reception of the poetry by the students and stimulate their cognitive, affective and creative involvement in the working process.

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Scheyer, Lauri, and Zanyar Kareem Abdul. "THE FUNCTION OF POETRY IN THE MODERN WORLD: A CASE STUDY OF WALT WHITMAN AND AUDRE LORDE’S POEMS." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 6, no. 2 (December 27, 2022): 245–50. http://dx.doi.org/10.30743/ll.v6i2.5226.

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Lyric poetry has historically referred to a genre that we think of as brief, musical, and personal as well as subjective. This article addresses the role of lyric poetry in the modern world, and how critical analysis enables us to better appreciate the potential impact of poetry today. Specifically, we will offer brief contrastive assessments of two landmark exemplars of American poets, Walt Whitman and Audre Lorde. These two figures demonstrate some of the varied ways of the American poetry tradition. We compare Walt Whitman, a canonical white male poet from the 19th century, with an equally important 20th century African American woman poet, Audre Lorde. These American poets differ in historical periods, sex, race, and other factors, yet both uphold the conventional functions of lyric poetry and prove its continuing relevance to a global readership. The results show that as the reflection of human life, poetry could represent honesty, realism, democracy and even power.

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Richter, Sandra, Toni Bernhart, Felix Dieterle, Gabriel Viehhauser, Gunilla Eschenbach, Jonas Kuhn, Nadja Schauffler, et al. "Der Klang der Lyrik." POEMA 1, no. 1 (January 2023): 39–51. http://dx.doi.org/10.38072/2751-9821/p4.

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The research project »text sound«: mixed-methods-analysis of lyric poetry in text and tonal sound (funded by the Federal Ministry for Education and Research, BMBF) aims to undertake a systematic and diachronic investigation of the relationship between literary texts, especially lyric poetry from the Romantic period, and their phonetic realisation in recitations or musical performances. Ideas of orality, sound and voice, which are particularly associated with poetry, are investigated empirically and also theorised in the line with modern approaches to the analysis of lyric poetry. Of particular importance is the experimental approach of speech synthesis, i.e. using computers to artificially produce a human sounding voice; this approach makes it possible to explore an ideal-typical realisation of the text and to test the aesthetic peculiarity of human realisations.

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Klimek, Sonja, Claudia Hillebrandt, and Ralph Müller. "Editorial." POEMA 1, no. 1 (January 2023): 9–12. http://dx.doi.org/10.38072/2751-9821/p1.

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The editorial introduces POEMA as a yearbook dedicated to the systematic and comparative study of lyric poetry and poems. Hence, it presents the first issue of POEMA as a collection of statements on the state of the art and future prospects of lyric poetry research by scholars from various disciplines.

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Cantillo Lucuara, Mayron Estefan. "“Come, Dark-eyed Sleep”: Michael Field and the Performance of the Lyric as a Radical Fantasy." Revista Alicantina de Estudios Ingleses, no. 35 (July 28, 2021): 43. http://dx.doi.org/10.14198/raei.2021.35.02.

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This article seeks to illustrate how the Michael Fields articulate their Sapphic poetry in Long Ago (1889) not only in keeping with their own Shakespearean aspirations and with Robert Browning’s hybrid formula of dramatic lyrics, but also in connection with Jonathan Culler’s theory of the lyric as a performative genre. Much recent scholarship has broken ground in the rediscovery and reappraisal of the Fields’ literary stature, yet the general critical approach has been divisive in addressing their poetry and their verse dramas separately. Some critics have taken heed of how their lyrics in general exhibit an intrinsic dramatic temper, yet no systematic inquiry has discussed how this lyrical dramaticity is manifest in any particular instance. Thus, this article singles out Long Ago’s second poem for its powerful performative energy, offering a close reading of each line, and demonstrating that it amounts to a hybrid dramatic lyric, as well as a tragic and transgressive performance in which a new Sappho takes centre stage as a Dionysian apologist of radical erotic fantasies.

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Thomson, Patricia, and Winifred Maynard. "Elizabethan Lyric Poetry and Its Music." Modern Language Review 84, no. 1 (January 1989): 117. http://dx.doi.org/10.2307/3731958.

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