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Journal articles on the topic 'Metapoetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 March 2023

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1

Dunn, Francis M. "Metapoetry in Euripides by Isabelle Torrance." Classical Journal 113, no. 3 (2017): 370–71. http://dx.doi.org/10.1353/tcj.2017.0014.

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2

Layton, Susan. "Parody and Metapoetry in Puškin's ‘Gavriiliada’." Russian Literature 43, no. 1 (1998): 59–77. http://dx.doi.org/10.1016/s0304-3479(97)85640-2.

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3

Marčetič, Adrijana. "A Tribute to Princip: Metapoetry and Commentaries." Transcultural Studies 11, no. 2 (2015): 163–70. http://dx.doi.org/10.1163/23751606-01102001.

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Just after the end of the Great War Miloš Crnjanski wrote a poem dedicated to Gavrilo Princip, the assassin of Archduke Franz Ferdinand of Austria, in Sarajevo, on 28 June 1914. The title of the poem is “A Tribute to Princip” (“Spomen Principu”), and it was first published in Crnjanski’s early book of poetry Lyrics of Ithaca (Lirika Itake, 1919). Forty years later Crnjanski wrote a commentary on the poem, a sort of its prose paraphrase, and entitled it “On the Poem about Princip” (“Uz pesmu o Principu”); it was published in his Commentaries on Lyrics of Ithaca (Komentari uz Liriku Itake, 1959)

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4

INGLEHEART, JENNIFER. "THE LITERARY ‘SUCCESSOR’: OVIDIAN METAPOETRY AND METAPHOR." Classical Quarterly 60, no. 1 (2010): 167–72. http://dx.doi.org/10.1017/s0009838809990516.

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5

Mutlag, Abdulkadhim Hashim, and Ahmed Hasan Mousa. "Chaos in Worlds: A Critical Quest for Metapoetry." International Journal of Early Childhood Special Education 13, no. 2 (2021): 108–13. http://dx.doi.org/10.9756/int-jecse/v13i2.211045.

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Metapoetry is a self–reflexive poetic construction on poetry. It penetrates the process of writing poetry from a self-oriented view. This study purports to scrutinize the term from a critical-aesthetic and culture perspective. It aims at interpreting selected metapoems, classic and modern. The study hypothesizes that metapooesis is not progressive of modernity; it is practiced through the history of worldwide literature. Therefore, the study is not confined to the exploration of the Anglo-Saxon world of poetry. Rather, it will draw on the German, Persian and Arab Poetics as well. One finding o

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6

Vives Pérez, Vicente. "Procedimientos retóricos de la poesía posmoderna española." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada 1, no. 18 (2012): 358. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.201218563.

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La poesía posmoderna española, la que irrumpe con la denominada Generación del 68, presenta procedimientos retóricos comunes sobre los que sustenta su gran diversidad estilística. Se trata de la metapoesía, la indeterminación, la kenofilia poética y la resemantización del tópico muerte. Aunque aquí se analizan por separado, tales mecanismos retóricos generan en su intersección los ejes creadores de la lírica posmoderna española. Palabras clave: Poesía posmoderna española, generación del 68, metapoesía, indeterminación, tópico muerte. The Spanish postmodern poetry, which rushes into called 68´s

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7

Gregory, Justina. "Book review: Metapoetry in Euripides, written by Torrance, I." Mnemosyne 67, no. 5 (2014): 839–42. http://dx.doi.org/10.1163/1568525x-12341749.

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8

Hacken, Hilde ten. "Parody and Metapoetry in Two Poems by Gloria Fuertes." Romance Studies 25, no. 4 (2007): 339–48. http://dx.doi.org/10.1179/174581507x235651.

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9

Azouqa, Aida O. "Metapoetry between East and West: ^˛Abd al-Wahhāb al-Bayātī and the Western Composers of Metapoetry—A Study in Analogies." Journal of Arabic Literature 39, no. 1 (2008): 38–71. http://dx.doi.org/10.1163/157006408x310843.

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10

Teterina, Liliya. "ОN ONE FORM OF POETOLOGICAL REFLEXIVITY IN LYRICS OF GILLIAN ALLNUTT, CAROL ANN DUFFY, SIMON ARMITAGE". English and American Studies 1, № 17 (2020): 124–30. http://dx.doi.org/10.15421/382021.

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The aim of this paper was to consider one form of poetological reflexivity connected with the interaction of poetry with non-poetic discourses in the context of contemporary culture. Poetological reflexivity is understood here as foregrounding in poetry author’s contemplations dealing with the creative process, including such philological aspects as aesthetic criteria, normative cannons, relationship with the art of predecessors, interpretation of language expressive means, stylistic devices, poetic techniques (meter, rhyme, stanza, rhythmic modifiers) and others, incorporated into the texture

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11

Stetkevych, Jaroslav. "Modernity and Metapoetry in Muḥammad ʿAfīfī Maṭar’s Hunt Poem: Ṭardiyyah". Journal of Arabic Literature 43, № 2-3 (2012): 137–71. http://dx.doi.org/10.1163/1570064x-12341245.

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12

İldeş, Özgür. "Metaşiir (Metapoetry) Kavramı ve Ahmet Cemâl Nâbedid’in “Şeytan Arabası” Şiirinde Metaşiir." Türkiyat Mecmuası / Journal of Turkology 32, no. 2 (2022): 671–716. http://dx.doi.org/10.26650/iuturkiyat.1165700.

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13

Roselli, David Kawalko. "EURIPIDEAN METAPOETRY - (I.) Torrance Metapoetry in Euripides. Pp. xiv + 365, ills. Oxford: Oxford University Press, 2013. Cased, £75, US$135. ISBN: 978-0-19-965783-4." Classical Review 64, no. 2 (2014): 365–67. http://dx.doi.org/10.1017/s0009840x14000699.

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14

Pavlou, Maria. "Metapoetics, Poetic Tradition, and Praise in Pindar Olympian 9." Mnemosyne 61, no. 4 (2008): 533–67. http://dx.doi.org/10.1163/156852508x252821.

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AbstractScholarly discussions of Pindar's Olympian 9 normally examine the opening reference to Archilochus' kallinikos hymn, the mythical exemplum of Heracles' theomachy, and the narrative of the foundation of Opus separately. The present study will attempt to examine these references together, as forming a dynamic whole. As will become clear, such an approach can provide a more successful reading of the poem because it accounts better for its constituent parts, better integrates metapoetry and poetry throughout, and offers valuable insights into Pindar's attitude towards previous poetry and t

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15

Mascia, Mark J., and Mark S. Mascia. "The Sonnet As Mirror: Metapoetry and Self-Referentiality in Lope de Vega's "Rimas"." Calíope 7, no. 1 (2001): 51–72. http://dx.doi.org/10.2307/44799333.

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16

Gala, Candelas. "Postmodern Metapoetry and the Replenishment of the Spanish Lyrical Genre, 1980-2000 (review)." Arizona Journal of Hispanic Cultural Studies 11, no. 1 (2008): 211–12. http://dx.doi.org/10.1353/hcs.2008.0023.

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17

Dimoglidis, Vasileios. "Plot-makers in Euripides’ Ion." Cuadernos de Filología Clásica. Estudios griegos e indoeuropeos 32 (March 2, 2022): 115–34. http://dx.doi.org/10.5209/cfcg.77616.

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The aim of this paper is to examine the plot-makers in Euripides’ Ion, focusing in this way on an aspect of the Euripidean metapoetry. Ion’s four characters (Apollo, Xuthus, Creusa, and Ion) are transformed into plot-makers, with each of them trying to compose a plot. I have suggested that Apollo is the poet’s double, and thus his plot echoes that of Euripides. The fact that, despite the various deviations (unsuccessful sub-plots), the plot is redirected every single time to the god’s original plot, credits Apollo with the title of a successful theatrical writer (internal playwright), a title

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18

د. مشاري عبدالعزيز الموسى, د. مشاري عبدالعزيز الموسى. "Badi‘iyyat in Praise of the Prophet: Gift Exchange Theory." journal of King Abdulaziz University Arts And Humanities 28, no. 13 (2020): 236–55. http://dx.doi.org/10.4197/art.28-13.8.

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this study approaches badi‘iyyat in light of gift exchange theory by Marcel Mauss. It tries to solve the problem of badi‘iyyat definition and their goal. The value of the study lies in the new practical way of applying this theory on badi‘iyyat, which will pave the way for future studies to apply the same theory on other literary texts. It begins with exploring different notions of understanding badi‘iyyat and their goal. The study proposes a definition of them. Then, it moves to apply the gift exchange theory on three of badi‘iyyat to observe their potential to be a reward or gift, the textua

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19

Bonilla Navarro, José Francisco. "Tendencias temáticas y discursivas de la poesía centroamericana del siglo XIX (Trends in Topics and Discourse in 19th-Century Central American Poetry)." LETRAS 2, no. 60 (2017): 45. http://dx.doi.org/10.15359/rl.2-60.2.

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El estudio es una exploración histórica sobre algunos aspectos del desarrollo de la poesía centroamericana a lo largo del siglo XIX, como parte de un proyecto más amplio para la recuperación documental y comentada, de una importante manifestación del género lírico, escasamente tratado por la crítica. Se describe la recopilación El Parnaso centroamericano (1882), del que se hacen observaciones sobre sus criterios de selección, la temática predominante, y las tendencias estético-discursivas de los poemas recogidos: poesía panegírica, poesía patriótica, poesía amorosa, metapoesía.The study is a h

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20

Aqeel, Asim, Saba Rasheed, and Hafiz Nauman Ahmed. "South-Asian niche as the poetic helicon of Taufiq Rafat: a metapoetic study." Acta Scientiarum. Language and Culture 44, no. 2 (2022): e60893. http://dx.doi.org/10.4025/actascilangcult.v44i2.60893.

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The genre of metapoetry thematizes the fictional elements – the inspiration of a poet, his poetic process, meta-poetic metaphors, the role of the poet in society, and intertextual references – partaking in the making of poetry explicitly or implicitly carried through a poem within a poem technique. This paper presents Eva Müller-Zettlemann’s theoretical pronunciation of meta-poetic elements, i. e., poetic inspiration, poetic process, and meta-poetic metaphors, at play in the metalyrics of Taufiq Rafat from his anthologies Arrival of the Monsoon: Collected Poems 1947-78 (1985) and Half Moon: Po

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21

Myers, K. Sara. "THE CULEX’S METAPOETIC FUNERARY GARDEN." Classical Quarterly 70, no. 2 (2020): 749–55. http://dx.doi.org/10.1017/s0009838821000045.

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The Culex is now widely recognized as a piece of post-Ovidian, possibly Tiberian, pseudo-juvenilia written by an author impersonating the young Virgil, although it was attached to Virgil's name already in the first century c.e., being identified as Virgilian by Statius, Suetonius and Martial. Dedicated to the young Octavian (Octaui in line 1), the poem seems to fill a biographical gap in Virgil's career before his composition of the Eclogues. It is introduced as a ludus, which Irene Peirano suggests may openly refer to ‘the act of impersonating Virgil’, and, like many of the poems in the Appen

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22

Gorelov, Oleg S. "Stream as a metapoetic performance." Ivanovo state university bulletin Series "The Humanities", no. 4 (December 20, 2022): 5–14. http://dx.doi.org/10.46726/h.2022.4.1.

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23

Bustos, María Natalia. "Theocritus’ Idyll 15: A Metapoetic Manifesto." Akropolis: Journal of Hellenic Studies 3 (December 8, 2019): 150–66. http://dx.doi.org/10.35296/jhs.v3i0.42.

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The article discusses the metapoetic import of Idyll 15. The tapestries and the Adonis song evidence a metapoetic significance, as well as the votive offerings described in this song. In addition, throughout the poem, the association of cloths and poetry is encouraged. The poem functions as a “metapoetic manifesto” designed to indicate the poetic qualities defended by Theocritus. At the same time, it promotes itself as an example of the refined literature and art promoted by the Ptolemaic court and by Arsinoe, and introduces a recognition and appraisal of Arsinoe as responsible for the patrona

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24

Ekström, Martin Svensson. "Metapoetic Readings around Ekphrasis and Fu 賦". Prism 17, № 2 (2020): 353–98. http://dx.doi.org/10.1215/25783491-8690420.

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Abstract The author argues that the Greek tradition of ekphrasis and the Chinese genre of fu 賦 share at least two essential characteristics: they are devoted to exhaustive descriptions and are manifestly nonmetaphorical. The six texts under scrutiny—Mei Sheng's fu poem “Qi fa,” book 6 of Quintilian's Institutio oratoria, Zuo Si's preface to his “Sandu fu,” Xunzi's analysis of Zhou tombs and funerary rituals in his “Li lun” essay, the “Shield of Achilles” episode in the Iliad, and the metaphorical section of Sima Xiangru's “Shanglin fu”—all employ a similar set of rhetorical strategies but with

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25

Heslin, Peter. "Metapoetic Pseudonyms in Horace, Propertius and Ovid." Journal of Roman Studies 101 (June 14, 2011): 51–72. http://dx.doi.org/10.1017/s0075435811000062.

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AbstractTwo poets addressed by Propertius in his first book are in fact pseudonyms. Ponticus was formed on the model of Horace's Alpinus to designate someone who embodies the antithesis of the poet's Callimachean sensibilities. Bassus is none other than Horace himself, who was then in the course of writing iambics. In the eleventh epode, Horace responded in kind by creating the pseudonyms Pettius, Lyciscus and Inachia, all of which derive from aspects of Propertius' first book. This exchange between Horace and Propertius has echoes in their later work. We conclude by examining why Ovid seems t

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26

Sears, Dianne E. "The Two-Way Text: Ponge’s Metapoetic “Fable”." L'Esprit Créateur 31, no. 2 (1991): 50–57. http://dx.doi.org/10.1353/esp.1991.0042.

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27

Bustos, M. N. "METAPOETIC REFLECTIONS IN THREE AETIA OF THE ARGONAUTICA." Akroterion 66 (2021): 59–77. http://dx.doi.org/10.7445/66--1018.

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This article studies three aetia in the Argonautica that have metapoetic significance as comments on Apollonius’ Callimachean poetics. In the first aetion (1.1132–1139), the Pyrrhic dance reflects the Argonauts’ key role as active agents in the creation of the plot and shows its Callimachean allegiance in the repurposing of traditional martial imagery. In the second one (4.1719–1730), the meagerness of the Argonauts’ offering to Apollo at Anaphe and the light jesting between Medea’s maidens and the Argonauts are programmatic reflections of the ‘lean’ poetics advocated by Callimachus in the Aet

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28

Jon, Bumsoo. "시적 영감과 철학적 절제:키츠의 하이페리온 시편에 나타난 메타시적 암시". Criticism and Theory Society of Korea 27, № 3 (2022): 315–32. http://dx.doi.org/10.19116/theory.2022.27.3.315.

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If Hyperion centers on the contrasting fates of Hyperion and Apollo—gods associated with music, poetic inspiration, truth and prophecy—the primary themes of power, loss, struggle, and suffering can be read metaphorically as metapoetic allusions to the succession of literary generations, articulating the nature of poetry and writing. When rewriting his unfinished Greek fragments into a first-person narrative in 1819, John Keats conducts a major reassessment of Moneta’s role in the project, the Roman equivalent of Mnemosyne, the goddess of memory and the mother of the Muses. He redefines Moneta’

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29

Barcz, Anna. "Wróbel – drogowskaz, na drodze jeż. O przemocy wobec zwierząt w metapoetyckiej refleksji Anity Jarzyny." Teksty Drugie 5, no. 2020 (2020): 238–48. http://dx.doi.org/10.18318/td.2020.5.14.

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[A sparrow as a signpost, a hedgehog on the road: on violence against animals in Anita Jarzyna’s metapoetic reflection] Recenzja: A. Jarzyna Post-koiné. Studia o nieantropocentrycznych językach (poetyckich), Wyd. UŁ, Łódź 2019

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30

Crone, Anna Lisa. "Echoes of Nietzsche and Mallarmé in Mandel'štam's Metapoetic ‘Petersburg’." Russian Literature 30, no. 4 (1991): 405–29. http://dx.doi.org/10.1016/0304-3479(91)90079-g.

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31

Pogorelova, Irina. "Authorial strategy in the metapoetic discourse of russian literature." Актуальные направления научных исследований XXI века: теория и практика 3, no. 1 (2015): 320–25. http://dx.doi.org/10.12737/10640.

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32

Zholkovsky, A. K. "On the main-meta-song by Bulat Okudzhava." Voprosy literatury, no. 5 (November 29, 2021): 126–50. http://dx.doi.org/10.31425/0042-8795-2021-5-126-150.

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The article analyses Bulat Okudzhava’s ‘The Main Song’ [‘Glavnaya pesenka’] (1962). The poem’s metapoetic leitmotif and expressive structure are examined in a broader context of corresponding common literary motifs, Okudzhava’s poetic invariants, and immediately contemporary subtexts, including in song lyrics. The intertextual ﬁeld comprises poems of the same metric structure, namely, three-foot amphibrachs. M. Gasparov speciﬁed themetre’s appropriate halos: suggestions of a drinking song ( ‘zazdravnaya,’ sung to toast someone’s health); a ballad; an allusion to Heine’s manner (memory, dreams,

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33

Kroon, Caroline. "Voce voco. Some Text Linguistic Observations on Ovid Heroides 10." Mnemosyne 65, no. 2 (2012): 238–50. http://dx.doi.org/10.1163/156852510x547974.

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Abstract In his article Voce voco. Ariadne in Ovids Heroides und die ‘weibliche Stimme’ (Mnemosyne, this issue), Christoph Pieper proposes a metapoetic interpretation of Ovid Heroides 10 in terms of a gradual awakening (and subsequent faltering) of Ariadne’s literary voice. The present contribution serves as a supplement to this article, in that it provides some text linguistic support for this metapoetic reading. In a linguistically and narratologically oriented discussion of the structure of Heroides 10, it is shown how epic and elegy literally merge in this poem, for instance by means of an

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34

Grądziel-Wójcik, Joanna. "Autobiographical, metapoetic, essayistic in the poetic oeuvre of Bogusława Latawiec." Autobiografia 10 (2018): 63–76. http://dx.doi.org/10.18276/au.2018.1.10-06.

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35

Bawardi, Basiliyus. "Unsī al-ājj and the metapoetic text: Writing hybridization 1." Middle Eastern Literatures 10, no. 1 (2007): 35–55. http://dx.doi.org/10.1080/14752620701214716.

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36

Altynvaeva, Gulnara M. "The dialogue with the classic writer as A. I. Solzhenitsyn’s metapoetic principle (Immersing into Chekhov)." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 21, no. 1 (2021): 90–93. http://dx.doi.org/10.18500/1817-7115-2021-21-1-90-93.

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In this article one of the metapoetic principles of A. I. Solzhenitsyn is analyzed – ‘a dialogue with a classic writer’. In his sketch Immersing into Chekhov Solzhenitsyn renders the pleasure of aesthetic insights from the encounters with Chekhov, enters into a conversation with him, argues with Chekhov’s world outlook. Thereby Solzhenitsyn’s own ‘creative lab’ is revealed to the reader.

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37

Semaan, Gaby. "The Hunt In Arabic Poetry: From Heroic to Lyric to Metapoetic." American Journal of Islamic Social Sciences 35, no. 3 (2018): 76–79. http://dx.doi.org/10.35632/ajiss.v35i3.483.

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In his book, The Hunt in Arabic Poetry: from Heroic to Lyric to Metapoet- ic, Jaroslav Stetkevych traces the evolution of Arabic hunt poetry from its origins as an integral part of the heroic ode (qaṣῑda) to becoming a genre by itself (ṭardiyya) during the Islamic era, and then evolving into a meta- poetic self-conscious expression of poets in our modern time. The book is a collection of a revised book chapter and a number of revised articles that Stetkevych published between 1996 and 2013 discussing Arabic hunt poet- ry at different periods spanning from the pre-Islamic age, known in Arabic a

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Semaan, Gaby. "The Hunt In Arabic Poetry: From Heroic to Lyric to Metapoetic." American Journal of Islam and Society 35, no. 3 (2018): 76–79. http://dx.doi.org/10.35632/ajis.v35i3.483.

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In his book, The Hunt in Arabic Poetry: from Heroic to Lyric to Metapoet- ic, Jaroslav Stetkevych traces the evolution of Arabic hunt poetry from its origins as an integral part of the heroic ode (qaṣῑda) to becoming a genre by itself (ṭardiyya) during the Islamic era, and then evolving into a meta- poetic self-conscious expression of poets in our modern time. The book is a collection of a revised book chapter and a number of revised articles that Stetkevych published between 1996 and 2013 discussing Arabic hunt poet- ry at different periods spanning from the pre-Islamic age, known in Arabic a

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39

LOPATIN, MIKHAIL. "Tornando Indietro: Dante's Tornata and Metapoetic Returns in the Trecento Madrigal." Music Analysis 38, no. 1-2 (2019): 204–40. http://dx.doi.org/10.1111/musa.12134.

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40

Pierzak, Damian. "Ovid and Statius, Thebaid 6.54–78. Necessary Allusions or a Metapoetic Dialogue?" Symbolae Philologorum Posnaniensium Graecae et Latinae 29, no. 2 (2019): 57–70. http://dx.doi.org/10.14746/sppgl.2020.xxix.2.4.

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Statius’ description of the funeral games held in honor of the baby Opheltes contains several utterances reminiscent of Ovid. The paper aims to show that these should not be read as the so-called necessary allusions, but rather as the poet’s complex dialogue with his predecessor.

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41

Roy, Sydnor. "HOMERIC CONCERNS: A METAPOETIC READING OF LUCRETIUS, DE RERUM NATURA 2.1–19." Classical Quarterly 63, no. 2 (2013): 780–84. http://dx.doi.org/10.1017/s0009838813000256.

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Suave, mari magno turbantibus aequora ventise terra magnum alterius spectare laborem;non quia vexari quemquamst iucunda voluptas,sed quibus ipse malis careas quia cernere suave est.suave etiam belli certamina magna tueri 5per campos instructa tua sine parte pericli.sed nil dulcius est, bene quam munita tenereedita doctrina sapientum templa serena,despicere unde queas alios passimque videreerrare atque viam palantis quaerere vitae, 10certare ingenio, contendere nobilitate,noctes atque dies niti praestante laboread summas emergere opes rerumque potiri.o miseras hominum mentes, o pectora caeca!qu

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42

Weber, Christian P. "Beyond the Poem: Strategies of Metapoetic Reflection in Goethe’s Erster Weimarer Gedichtsammlung." Goethe Yearbook 20, no. 1 (2013): 25–57. http://dx.doi.org/10.1353/gyr.2013.0008.

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43

Warwick, Celsiana. "Nossis’ Dildo: A Metapoetic Attack on Female Poetry in Herodas’s Sixth Mime." TAPA 150, no. 2 (2020): 333–56. http://dx.doi.org/10.1353/apa.2020.0013.

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Kołodziej, Dorota. "(Prze)grać w kości. Franz Mon: granice poezji, granice interpretacji." Przestrzenie Teorii, no. 31 (December 6, 2019): 71–92. http://dx.doi.org/10.14746/pt.2019.31.3.

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This article attempts to discuss borders of interpretation in the light of concrete poetry. The paper compares Franz Mon’s pieces to earlier works, especially A throw of the dice will never abolish chance by Stephane Mallarme. This research is conducted in the context of Mon’s and Mallarme’s metapoetic commentary, who both show interest in the categories of playing and musical scores. The article attempts to transfer this perspective into an interpretation of four texts by Mon.

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Giusti, E. "CAESAR CRISS-CROSSING THE RUBICON: A PALINDROMIC ACROSTIC IN LUCAN (1.218–22)." Classical Quarterly 65, no. 2 (2015): 892–94. http://dx.doi.org/10.1017/s0009838815000051.

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Lucan's account of Caesar crossing the Rubicon (1.213–22) is dense with metapoetic allusion. Although the river has been specified as a small stream at Caesar's arrival (ut uentum est parui Rubiconis ad undas, 1.185), it becomes swollen, tumidus, as soon as Caesar ‘breaks the delay of war’ and ‘carries his standards in haste over the [now] swollen river’ (inde moras soluit belli tumidumque per amnem | signa tulit propere, 1.204-5). This has been pinpointed both as a metapoetic signpost of Lucan's engagement with the anti-Callimachean swollen river of grandiose epic (Callim. Hymn 2.108-9) at th

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Kronenberg, Leah. "A PETRONIAN PARROT IN A NERONIAN CAGE: A NEW READING OF STATIUS’SILVAE2.4." Classical Quarterly 67, no. 2 (2017): 558–72. http://dx.doi.org/10.1017/s0009838817000660.

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Critics generally agree that Statius’Silvae2.4, a poem about a dead parrot dedicated to Statius’ patron Atedius Melior, is modelled closely on Ovid'sAmores2.6, a poem about Corinna's dead parrot. In particular, many read Statius’ poem as picking up on the metapoetic strand in the Ovidian model, in which the parrot may be interpreted as a poet-figure, though they also note that Statius’ poem shows more of a concern for the tensions involved in a poet's relationship to his patron (and the emperor). I agree with this general interpretation of the poem and its metapoetic aspect; however, there are

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Foskolou, Sofia. "When the ear gets an earful : metapoetic connotations audible in Persius' satiric programme." Graeco-Latina Brunensia, no. 1 (2022): 29–41. http://dx.doi.org/10.5817/glb2022-1-3.

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Bouxsein, Hilary. "That Would Have Been Better." Mnemosyne 73, no. 3 (2020): 353–76. http://dx.doi.org/10.1163/1568525x-12342650.

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Abstract While contrary-to-fact conditions in Homeric narrative have already received considerable attention, those that occur in character speech, which potentially share some of the important and even metapoetic qualities as narrative conditions, have been understudied. This paper begins by offering a new classification of different kinds of counterfactuals that occur in direct speech, incorporating some of the methods of pragmatic linguistics. By building on this classification, it becomes possible to see new resonances in the way that Homeric characters speak and present themselves.

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ÖHRMAN, MAGDALENA. "ADDING AN AUDIENCE: NOTES ON MARTIAL 11.104." Bulletin of the Institute of Classical Studies 56, no. 1 (2013): 117–21. http://dx.doi.org/10.1111/j.2041-5370.2013.00053.x.

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Abstract This paper considers once more Mart. 11.104 and its use of mythological examples in 11.104.13–16. The paper focuses particularly on the significance of the audience of a group of slaves, an embellishment of the mythological examples peculiar to Martial, and uses this addition as a stepping‐stone for a metapoetic reading. Through the reconfiguration of the mythological examples themselves and through the addition of an audience, Martial not only distinguishes his own epigrammatic text from his elegiac and epic intertexts but also reflects on the aims and workings of especially Ovidian

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Jacoby, Leslie S. "The Hunt in Arabic Poetry: From Heroic to Lyric to Metapoetic by Jaroslav Stetkevych." Comitatus: A Journal of Medieval and Renaissance Studies 48, no. 1 (2017): 273–76. http://dx.doi.org/10.1353/cjm.2017.0046.

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