To see the other types of publications on this topic, follow the link: Modernist poetry.
Journal articles on the topic 'Modernist poetry'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Modernist poetry.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Muhammad Ramzan, Shah Faisalullah, and Dr. Abdul Karim Khan. "Post-modernist Elements in Javed Ihsas’s Poetic Collection ‘Ayina (The Mirror)’." sjesr 4, no. 2 (June 15, 2021): 374–79. http://dx.doi.org/10.36902/sjesr-vol4-iss2-2021(374-379).
Full textAbstract:
Javed Ihsas is a prominent contemporary Pashto poet, critic, and columnist. He writes poetry with the new spirit and style of the modern critical theories of literature and philosophy. In his verses, we can observe the elements of Modernism and Post-modernism as well. In this study, we explored the post-modernist elements in his poetry, especially in his Pashto poetic collection titled Ayina. The word 'Ayina' is a Pashto word that means 'The Mirror'. The very title of the collection gives a symbolic representation in the sense that it depicts a realistic picture of society. This study is an attempt to examine the Post-modernist elements in his poetry by using a post-modernist approach. The poet touches on the elements of post-modernism in his poetry such as the element of social construction; the notion that ideas, politics, and language are socially constructed, consumerism, postponement, etc. This study explores the post-modernist elements in Javed Ihsas’ poetry which are will prove a beacon light for the young poets.
2
Ingelbien, Raphael. "Metres and the Pound: Taking the Measure of British Modernism." European Review 19, no. 2 (April 14, 2011): 285–97. http://dx.doi.org/10.1017/s1062798710000554.
Full textAbstract:
Seen in the broader context of European modernism, British modernist literature stands out through the limited role of collective avant-gardes and the conservative or reactionary politics of the writers who make up the canon of modernist poetry. This article explores how these peculiarities are replicated in the use of traditional poetic forms (metres in particular) in the works of W.B. Yeats (1865–1939), Ezra Pound (1885–1972) and T.S. Eliot (1888–1965). As modernist (rather than avant-garde) writers, those poets rejected or backed away from free verse and simultaneously cultivated forms that harked back to older and less insular poetic traditions than the ones that dominated mainstream English poetry in the Victorian period.
3
Hodgkins, Hope Howell. "Rhetoric versus Poetic: High Modernist Literature and the Cult of Belief." Rhetorica 16, no. 2 (1998): 201–25. http://dx.doi.org/10.1525/rh.1998.16.2.201.
Full textAbstract:
Abstract: High-modernist writers professed a disdain for rhetoric and yet found it hard to escape. They scorned the artifice of traditional, overt rhetoric and they did not wish to acknowledge that all communication is rhetorical, whether frankly or covertly. They especially distrusted “persuasion by proof” just as they distrusted traditional religion, aversions which had significant consequences for modernist literature. Modernists such as Pound favored poetry over the more frankly rhetorical genre of fiction. They valued the poet's privilege, first articulated by Aristotle and later by Sidney, of writing only of possibilities and therefore escaping the constraints of rhetoric and of historical veracity. Nevertheless, in order to justify their poetics, these modernists developed the concept of poetic belief first popularized by Matthew Arnold and elaborated upon by I. A. Richards and T. S. Eliot. Ultimately that modernist poetics became not only a substitute for religion but a new form of the rhetoric which modernists had hoped to avoid. The poetic theory helped the literature create a covert religious rhetoric that frequently denied its own existence in a ploy for audience belief.
4
Caccavale, Fiammetta, and Anders Søgaard. "Predicting Concrete and Abstract Entities in Modern Poetry." Proceedings of the AAAI Conference on Artificial Intelligence 33 (July 17, 2019): 858–64. http://dx.doi.org/10.1609/aaai.v33i01.3301858.
Full textAbstract:
One dimension of modernist poetry is introducing entities in surprising contexts, such as wheelbarrow in Bob Dylan’s feel like falling in love with the first woman I meet/ putting her in a wheelbarrow. This paper considers the problem of teaching a neural language model to select poetic entities, based on local context windows. We do so by fine-tuning and evaluating language models on the poetry of American modernists, both on seen and unseen poets, and across a range of experimental designs. We also compare the performance of our poetic language model to human, professional poets. Our main finding is that, perhaps surprisingly, modernist poetry differs most from ordinary language when entities are concrete, like wheelbarrow, and while our fine-tuning strategy successfully adapts to poetic language in general, outperforming professional poets, the biggest error reduction is observed with concrete entities.
5
Carson, L. "Cinematic Modernism: Modernist Poetry and Film." Genre 41, no. 1-2 (January 1, 2008): 211–15. http://dx.doi.org/10.1215/00166928-41-1-2-211.
Full text
6
Nichols, John G. "Ezra Pound's Poetic Anthologies and the Architecture of Reading." PMLA/Publications of the Modern Language Association of America 121, no. 1 (January 2006): 170–85. http://dx.doi.org/10.1632/003081206x96177.
Full textAbstract:
Between 1914 and 1933, Ezra Pound edited four anthologies of poetry: Des Imagistes, Catholic Anthology, Profile, and Active Anthology. These compilations arose out of crucial stages of Pound's career in the teens, when he reacted against Victorian poetry, and in the 1930s, when he acted as a spokesperson for the modernist movement. Using the anthology as a vehicle for the presentation of innovative poetry as well as a guidebook on how to read it, Pound experimented with anthology formats to propel readers into the project of modernism through devices such as elliptical prefaces and fragmentary notes. He sought to train readers for the demands of interpreting modernist poetry and to reclaim control over an audience educated by burgeoning university literature departments and the mainstream poetic anthologies they employed. (JGN)
7
MacLeod, Glen G. "Cinematic Modernism: Modernist Poetry and Film (review)." William Carlos Williams Review 26, no. 1 (2006): 101–2. http://dx.doi.org/10.1353/wcw.2007.0005.
Full text
8
Trotter, David. "Cinematic Modernism: Modernist Poetry and Film (review)." Modernism/modernity 13, no. 2 (2006): 394–96. http://dx.doi.org/10.1353/mod.2006.0054.
Full text
9
Rogić Musa, Tea. "Protumodernost modernoga – pjesnički protusvijet Julija Benešića." Poznańskie Studia Slawistyczne, no. 17 (November 6, 2019): 221–35. http://dx.doi.org/10.14746/pss.2019.17.15.
Full textAbstract:
This article deals with the poetry of Julije Benešić (his collection Istrgnuti listovi – Torn Pages) in the context of Croatian modernist poetry based on three assumptions: the first, deductive one is that Benešić’s literary, literary-historical, theatrical and public personality is a potential metonymy of the entire Croatian culture of the first two decades of the 20th century; the second, literary-historical assumption is that the choice to use free verse can be read as a counter-modernist gesture against rationalism and structure of rhymed verse of Croatian modernist poetry; third, from the cultural-historical point of view, it is assumed that Benešić’s poetical profile is a reflection of his counter-modernist attitude that was shaped beyond the dominant poetical practices of modernism. The goal of this presentation is as much a cultural-historical as it is a literary-historical one, aimed at proving a thesis by which a small poetical contribution by Julije Benešić is synecdoche for the condition and the atmosphere of Croatian culture of the late modernism and the first interwar years. The notion of counter-modernism is historiographically restricted here and encompasses Benešić’s disputing statements in relation with the dominant paradigm in synchrony with the modernist period. The choice of free verse is understood as a statement of notion about the restraints of the poetics of rhymed verse of Croatian modernism. Since free verse was not part of the canon at the time, Benešić tried to use it to legitimize his own work and democratize the system of poetical competencies.
10
Buckridge, Patrick. "Colin Bingham, the Telegraph and poetic modernism in Brisbane between the wars." Queensland Review 23, no. 2 (December 2016): 151–63. http://dx.doi.org/10.1017/qre.2016.26.
Full textAbstract:
AbstractBrisbane has sometimes been represented as a bulwark of literary traditionalism against the advances of poetic modernism in the southern capitals during the first half of the twentieth century. But as William Hatherell showed in The Third Metropolis, modernism had a brief but intense flourishing in the northern city during and immediately after World War II. This article traces the reception and practice of poetic modernism in Brisbane even earlier than that, in the period between the wars, both in the form of a vigorous critical debate over ‘modernistic poetry’ in the Courier-Mail and elsewhere, and also in the composition and publication of a significant quantity of self-consciously modernist poetry in Brisbane's evening daily, the Telegraph, with the active encouragement of the paper's literary editor, Colin Bingham, from 1930 to 1939.
11
Butkus, Vigmants. "Kaža Biņķa „Vējgrābslis” un Aleksandra Čaka „Pilsētas zēns” kā lietuviešu un latviešu modernisma programmas." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 58–66. http://dx.doi.org/10.37384/aplkp.2021.26-1.058.
Full textAbstract:
The article analyses two poems: a poem “A Giddy-Headed” (Vėjavaikis, 1923) by Kazys Binkis (1893–1942) and a poem “A City Brat” (Pilsētas zēns, 1929) by Aleksandrs Čaks (true name Aleksandrs Čadarainis, 1901–1950). The analysis is based on a kind of poetics that could be called micropoetics. Both poems are treated as the modernist programmes of unique Lithuanian and Latvian literatures compared in all essential aspects: 1) conception of man and world; 2) relation to earlier literary trends; 3) genre, expressive means, etc. “A Giddy-Headed” expresses a more abstract, more symbolic, more passionate variant of modernism closer to futurism. “A City Brat” conveys a more realistic, more ironic instance of modernism. Lithuanian modernist poetry, represented by “A Giddy-Headed”, is much closer to the traditional rustic and ethnic culture. In comparison with Latvian poetry, this poetry lacks a stronger urbanistic paradigm, nuanced expression, and a more self-critical attitude.
12
Roche, Hannah. "Myths, Legends, and Apparitional Lesbians: Amy Lowell's Haunting Modernism." Modernist Cultures 13, no. 4 (November 2018): 568–89. http://dx.doi.org/10.3366/mod.2018.0230.
Full textAbstract:
By the end of the twentieth century, Amy Lowell's poetry had been all but erased from modernism, with her name resurfacing only in relation to her dealings with Ezra Pound, her distant kinship with Robert Lowell, or her correspondence with D. H. Lawrence. The tale of how Pound rejected Lowell's Imagism, rebranding his movement as Vorticism and spurning the ‘Amygism’ of Lowell's Some Imagist Poets anthologies (1915–1917), has become something of a modernist myth. Recent critics have begun the project of re-evaluating and ultimately reinstating Lowell, but the extent of her contribution to modernist poetry and poetics – and her influence on other, more popular, twentieth-century writers – has not yet been acknowledged. This essay encourages readers to see the apparitional Lowell, both in the male-dominated world of modernism and in celebrated works by writers that followed. By drawing attention to the weighty impact of Lowell's poetry on Lawrence – and, later, on Ted Hughes and Sylvia Plath – I provide compelling reasons not only to revisit Lowell but also to reassess those texts that are haunted by her presence.
13
Salar Abdulqadr, Kizhan, Roz Jamal Omer, and Ranjdar Hama Sharif. "Ezra Pound's Poetry between Victorianism and Modernism: A Historical-Biographical Analysis." Technium Social Sciences Journal 21 (July 9, 2021): 826–32. http://dx.doi.org/10.47577/tssj.v21i1.3817.
Full textAbstract:
This paper examines the short poems of Ezra Pound, a group of works that have long been the subject of academic discussion in the field of literary analysis. Although Ezra Pound is typically considered a Modernist poet, some clear elements of Victorianism can be discerned within his revolutionary forms of poetry. The paper will offer a historical and biographical background to Pound's work before moving on to an analysis and discussion of the poet's short poems. While previous studies of Ezra Pound's poetry have adopted various critical approaches, we believe that this is the first study that compares the influence of Modernism and Victorianism on the work of this important figure in English verse of the early twentieth century.
14
Callison, Jamie. "David Jones's ‘Barbaric-Fetish’: Frazer and the ‘Aesthetic Value’ of the Liturgy." Modernist Cultures 12, no. 3 (November 2017): 439–62. http://dx.doi.org/10.3366/mod.2017.0186.
Full textAbstract:
Much recent critical interest in the relationship between modernism and religion has concerned itself with the occult, spiritualism, and theosophy as opposed to institutional religion, relying on an implicit analogy between the experimental in religion and the experimental in art. I argue that considering Christianity to be antithetical to modernism not only obscures an important facet of modernist religious culture, but also misrepresents the at-once tentative and imaginative thinking that marks the modernist response to religion. I explore the ways in which the poet-painter David Jones combined sources familiar from cultural modernism – namely Frazer's The Golden Bough – with Catholic thinking on the Eucharist to constitute a modernism that is both hopeful about the possibilities for aesthetic form and cautious about the unavoidable limitations of human creativity. I present Jones's openness to the creative potential of the Mass as his equivalent to the more recognisably modernist explorations of non-Western and ancient ritual: Eliot's Sanskrit poetry, Picasso's African masks, and Stravinsky's shamanic rites and suggest that his understanding of the church as overflowing with creative possibilities serves as a counterweight to the empty churches of Pericles Lewis’ seminal work, Religious Experience and the Modernist Novel.
15
Niroula, Dhundi Raj. "Arcane Register of Language as a Strategy in Nepali Modernist Poetry." Patan Pragya 6, no. 1 (December 31, 2020): 152–64. http://dx.doi.org/10.3126/pragya.v6i1.34413.
Full textAbstract:
This research paper tries to provide an analysis of the Nepali modernist poetry written from 1960onwards approximately for a decade. Literary critics holding different views have been vocal about this unique kind of poetry. They have variously labled the modernist poetry as esoteric, reactionary, obscure, monochromatic, status-quoist and devoid of communicative rationality. After judging the rationale and critical validity of these observations, this researcher argues that the poetry of this period has aimed to express the complexities of the time. So, a number of times, these poets have used an arcane register of language that contains revolutionary zeal at the level of both form and content. Even though the modernist poets in the west came to adulthood amid political, technological, social and scientific transformations commonly identified with modernization, such phenomena were not experienced by Nepali poets, whom we have labeled as the modernist, at their home country. They just derived consciousness from the West and experiment in Nepali poetry. Nepali modernist poetry poses challenges to the reader as it has highly experimented with syntax, rhythm, graphology and semantics as well. The reason behind the intellectualization of the poetry through arcane register of language was their strategy to conceal revolutionary spirit of their poetry from the intolerant despotic regime.
16
Sousa, Fábio D’Abadia de. "POEMAS E FOTOGRAFIAS NA BUSCA PELO ETERNO." Revista Observatório 2, no. 5 (December 25, 2016): 510. http://dx.doi.org/10.20873/uft.2447-4266.2016v2n5p510.
Full textAbstract:
As possíveis semelhanças entre a poesia e a fotografia é o que analisamos neste texto. A partir da obra do modernista Oswald de Andrade, discutimos alguns elementos de aproximação entre a visualidade fotográfica e a imagem poética. Defendemos que parte da poesia oswaldiana - na qual predomina uma linguagem clara, direta, simples, sem adornos e que apresenta uma visualidade explícita - passa a impressão de que o poeta tenta colocar para o leitor cenas que se assemelham a fotografias.
PALAVRAS-CHAVE: Poesia; modernismo; fotografia.
ABSTRACT
The possible similarities between poetry and photography is what we analyze in this text. From the work of the modernist Oswald de Andrade, we discussed some elements of approximation between the photographic visuality and the poetic image. We argue that part of Oswald's poetry - in which clear, direct, simple, unadorned language and explicit visuality predominates - gives the impression that the poet tries to put scenes that resemble photographs to the reader.
KEYWORDS: Poetry; modernism; photography.
RESUMEN
Las posibles similitudes entre la poesía y la fotografía es lo que se analiza en este texto. Desde el modernista obra de Oswald de Andrade, se discuten algunos elementos de enfoque entre la imagen visual y poética fotográfica. Se argumenta que parte de la poesía Oswaldian - en la que predomina un lenguaje claro, directo, sencillo, sin adornos y tiene una visualidad explícita - da la impresión de que el poeta trata de poner las escenas de lectores que se asemejan a las fotografías.
PALAVRAS CLAVE: Poesía; modernismo; la fotografía.
17
Grace, Sherrill, and Charles Altieri. "Painterly Abstraction in Modernist American Poetry: The Contemporaneity of Modernism." American Literature 63, no. 1 (March 1991): 166. http://dx.doi.org/10.2307/2926601.
Full text
18
Bell, Ian F. A., and Charles Altieri. "Painterly Abstraction in Modernist American Poetry: The Contemporaneity of Modernism." Yearbook of English Studies 23 (1993): 362. http://dx.doi.org/10.2307/3508031.
Full text
19
Caserio, R. L. "Painterly Abstraction in Modernist American Poetry: The Contemporaneity of Modernism." Modern Language Quarterly 54, no. 4 (January 1, 1993): 583–88. http://dx.doi.org/10.1215/00267929-54-4-583.
Full text
20
Stutesman, Drake. "Review: Cinematic Modernism: Modernist Poetry and Film By Susan McCabe." Film Quarterly 60, no. 3 (2007): 93–94. http://dx.doi.org/10.1525/fq.2007.60.3.93.
Full text
21
Rodríguez Martínez, Nora. "Modernismo en la poesía de Manuel Machado: tradición e innovación en el soneto alejandrino." Rhythmica. Revista Española de Métrica Comparada, no. 13 (January 1, 2015): 193. http://dx.doi.org/10.5944/rhythmica.16164.
Full textAbstract:
En este trabajo se estudia la renovación modernista que Manuel Machado desarrolla en su poética, especialmente el soneto alejandrino. En este sentido, se van a analizar las distintas innovaciones modernistas que el autor introduce en su poesía: las dislocaciones acentuales que dan ligereza y dinamismo al ritmo, la presencia o ausencia de palabras agudas o esdrújulas al final de hemistiquio que afectan al cómputo silábico, los encabalgamientos, la rima y los juegos fónicos, que buscan una poesía más expresiva y sugerente.This piece of work studies the modernist renewal developed by Manuel Machado in his poetry, especially the alexandrian sonnet. In this sense, it analyzes the different modernist innovations which the author introduces in his poetry: the accentual dislocations that give lightness and dynamism to the rhythm, the presence or absence of acute or esdrujula words at the end of hemistich affecting the syllabic computation, the syllable cross-overs, the rhyme and the phonics games, that seek a more expressive and evocative poetry.
22
Furey, Hester L. "IWW Songs as Modernist Poetry." Journal of the Midwest Modern Language Association 34, no. 2 (2001): 51. http://dx.doi.org/10.2307/1315140.
Full text
23
Berntsen, Dorthe. "How Is Modernist Poetry "Embodied"?" Metaphor and Symbol 14, no. 2 (April 1999): 101–22. http://dx.doi.org/10.1207/s15327868ms1402_2.
Full text
24
Shahi, Sushil Kumar. "Modernist Quest in Devkota’s Poetry." International Journal of English Literature and Social Sciences 6, no. 3 (2021): 375–83. http://dx.doi.org/10.22161/ijels.63.52.
Full text
25
AU, Chung-to. "Contesting Space in Semi-colonial Shanghai: The Relationship between Shanghai’s Modernist Poetry and the City." Asian Studies 1, no. 2 (November 29, 2013): 107–23. http://dx.doi.org/10.4312/as.2013.1.2.107-123.
Full textAbstract:
The introduction of urban study and colonial/postcolonial theories to modernist research in the 1980s has helped us to have another look at the nature of cities. Although a lot of studies have been conducted on Shanghai’s modernist poetry, the notion of a colonial or semi-colonial city, in Shanghai’s case, is seldom addressed. This article will focus on the disparity between the built environment and the literary space created in Shanghai’s modernist poetry. This study discusses whether Shanghai’s modernist poetry is a literary product or a product of its environment by examining the poems of Chen Jingrong, Tang Shi, Hang Yuehe and Tang Qi.
26
Mata Buil, Ana. "Poet-translators as double link in the global literary system." Beyond transfiction 11, no. 3 (November 7, 2016): 398–415. http://dx.doi.org/10.1075/tis.11.3.05mat.
Full textAbstract:
Based on the diachronic and international study of American Modernism and its translation into Spanish, this article aims to analyze the complementary role of poet-translators as a double link in the global literary system. On the one hand, when translating other authors, poet-translators introduce them to a new audience. On the other hand, their translations complement their own poetic creations. While translating poetry, poet-translators assimilate the original poet’s style and images, which will later filter in their own poetic works. But, at the same time, these literary agents — consciously or unconsciously — introduce their own style marks into their translations. In order to illustrate the analysis, those people whose role as poet-translators stands out have been chosen among all the translators of Modernist poets into Spanish. Added to this discussion is commentary on some examples of Modernist poets who were also translators, including Yvor Winters, Marianne Moore, Langston Hughes, Hilda Doolittle, and Ezra Pound.
27
Squires, Geoffrey. "Modernism, Empiricism, and Rationalism." Irish University Review 46, no. 1 (May 2016): 38–47. http://dx.doi.org/10.3366/iur.2016.0199.
Full textAbstract:
Modernism is usually defined historically as the composite movement at the beginning of the twentieth century which led to a radical break with what had gone before in literature and the other arts. Given the problems of the continuing use of the concept to cover subsequent writing, this essay proposes an alternative, philosophical perspective which explores the impact of rationalism (what we bring to the world) on the prevailing empiricism (what we take from the world) of modern poetry, which leads to a concern with consciousness rather than experience. This in turn involves a re-conceptualisation of the lyric or narrative I, of language itself as a phenomenon, and of other poetic themes such as nature, culture, history, and art. Against the background of the dominant empiricism of modern Irish poetry as presented in Crotty's anthology, the essay explores these ideas in terms of a small number of poets who may be considered modernist in various ways. This does not rule out modernist elements in some other poets and the initial distinction between a poetics of experience and one of consciousness is better seen as a multi-dimensional spectrum that requires further, more detailed analysis than is possible here.
28
Pascual Battista, Rosario. "José Emilio Pacheco: lector y antólogo del modernismo." Literatura Mexicana 32, no. 1 (January 20, 2021): 163–90. http://dx.doi.org/10.19130/iifl.litmex.2021.1.26857.
Full textAbstract:
José Emilio Pacheco (1939-2014) devoted part of his essay production to reconstruct the past of letters and, in particular, was interested in the Modernist movement. From two anthological texts: Anthology of Modernism [1884-1921] (1970) and Modernist Poetry. A General Anthology (1982), and a selection of journalistic notes that he published in the Mexican magazine Proceso, Pacheco aimed at broadening the spectrum of Modernist figures and avoiding to keep to a single figure, such as that of the Nicaraguan Rubén Darío. This article reconstructs the dialogues and reciprocities that José Emilio Pacheco traces with the literary tradition of Modernism and that are sustained, on the one hand, in connections between poets, as it is the case of Manuel Gutiérrez Nájera and José Martí and, on the other hand, in the recovering of poets less well-known by literary criticism, such as Salvador Díaz Mirón.
29
HAVRYLIV, Tymofii. "THE CITY IN THE MODERNIST POETRY. URBAN POEMS BY BOHDAN IHOR ANTONYCH AND GEORG HEYM." Ukraine: Cultural Heritage, National Identity, Statehood 33 (2020): 480–93. http://dx.doi.org/10.33402/ukr.2020-33-480-493.
Full textAbstract:
For the first time in literary studies, a comparative analysis of the urbanistic poetry of Bohdan Ihor Antonych and Georg Heym is realized. The common and divergent in semantic codes and characteristic practices from which the poetics of both authors grows are investigated. The city is the defining topos of modernist writing and the central category of the modernist worldview. In no other epoch did the city enjoy the attention of writers as at the end of the 19th century and in the first third of the 20th century. The modern city acquires its outlines only in the middle of the 18th century, and the modernist city from the second half of the 19th century, but especially in the early 20th century through dialectical denial and overcoming the «city of enlightenment». The metaphor of the sea and the semantics of the element, usually water, characterize expressionist speech. Expressionist lyrics are imbued with apocalyptic visions. Urban modernist poetry is an extrapolation of the inner world (states of consciousness) to the outer world. Negative fascination is a defining feature of urbanistic discourse in expressionist poetry. Expressionist urbanistic lyricism is a romantic revolt against urbanization as a defining structural element of the civilizational evolution of mankind, and demonization is the main instrument of criticism of the city in expressionist lyricism. Special attention is paid to the function of memory and remembrance in big-city modernist poetry. While in Heym, a representative of early expressionism in German literature, the city appears as a topos of the apocalypse, in Antonych, the picture of the city is significantly more differentiated – and figuratively, and tonally, and substantial. The thematic blurring of Heym's urban landscapes is opposed by Antonychʼs structural urban subtopoi, the key one being the square. Antonychʼs poetics moves from the concrete to the abstract; his apocalypse is more mundane, aestheticized and playful, and the trumpets of the last day trumpet in the squares, which lovers meet. Antonychʼs city is more vitalistic than Heimʼs, even when the lyrical subject inflicts a flood on him. Not only expressionist but also formalistic and cubist melodies are heard in it. The article uses methods of textual, paratext, and contextual analysis, method of distributive analysis, method of poetic analysis, method of semantic analysis, method of stylistic analysis, method of phonological analysis, hermeneutic and post-structuralist methods. Keywords: modernism, expressionism, urbanistic lyrics, urban landscape, memory, remembrance.
30
Black. "“Bury Your Heart”: Charlotte Mew and the Limits of Empathy." Humanities 8, no. 4 (November 8, 2019): 175. http://dx.doi.org/10.3390/h8040175.
Full textAbstract:
Charlotte Mew’s strikingly original and passionate poetry remains under-examined by modernist critics, yet it holds great importance in presenting an alternative version of modernism that foregrounds issues surrounding gender, sexuality and otherness. Mew’s work explores key modernist themes such as alienation, fragmentation and psychological disruption from the perspectives of those on the margins of society, and in doing so challenges narrow definitions of the movement by highlighting the multiplicity and plurality of voices and concerns within it. Whilst Mew’s decentred position often informs painful reflections on shame, exclusion and powerlessness, the culmination of so many marginalised voices in the poems and Mew’s overriding compassion for the vulnerable creates a powerful challenge to the centre that contests traditional accounts of modernism as defined by white, European men. This article will explore how female experience informs Mew’s exploration of empathy between the marginalised and how personal experience of gender-based oppression inspires compassion for other vulnerable groups who suffer under similar power dynamics or social prejudices. It will consider how female experience shapes both the content of the poems and her choice of poetic forms that allow for concealment of self against the fear of exposure. It will also draw upon contemporary feminist readings of modernist literature and emotion to examine the ways in which gender informs Charlotte Mew’s treatment of key modernist themes and how this challenges conventional understanding of the movement.
31
Dowthwaite, James. "Edward Sapir and Modernist Poetry: Amy Lowell, H.D., Ezra Pound, and the Development of Sapir's Literary Theory." Modernist Cultures 13, no. 2 (May 2018): 255–77. http://dx.doi.org/10.3366/mod.2018.0208.
Full textAbstract:
In this article, I look at the connections between the eminent linguist Edward Sapir (1884–1939) and modernist poetry. In his career, Sapir provided extensive knowledge about North American languages and promoted an influential relativistic approach to language and culture. His understanding of language, particularly its cultural values, was informed by his understanding of literature. I look, in particular, at the ways that Sapir applied his theories of language to his contemporaries in modernist poetry, with specific focus on Amy Lowell and Hilda Doolittle. Sapir saw modernist poetry as being based on the same linguistic principles as his broader theories of language and culture. I argue that Sapir's theoretical writing is not simply a key by which we should read modernist approaches to language, but is made up of important literary connections which point to his influence and standing in the modernist network.
32
Wang, Yong, and Olga V. Vinogradova. "Contemporary Chinese poetry and Russian modernist and postmodernist poetry: influence and analogy." RUDN Journal of Studies in Literature and Journalism 24, no. 4 (December 15, 2019): 704–12. http://dx.doi.org/10.22363/2312-9220-2019-24-4-704-712.
Full textAbstract:
For the last thirty years, Chinese poetry mostly has been well-known for three schools, namely: “Misty Poetry”, “Intellectual Writing”, and “Folk Writing”. Russian poets of diff erent periods were among those who had a notable impact on the works of Chinese poets. Russian lyric poets praising freedom, love, and relationships with nature became the main source of inspiration for “misty” poets. “Intellectual” poets felt their being close to the Russian Silver Age poets: A. Akhmatova, A. Blok, B. Pasternak, M. Tsvetaeva. Their poems include examples of direct addressing to them. “Folk” poets created an enormous and diverse area of postmodernist poetic texts, which is in sync with Russian poets of postmodernism. In the fi rst part of the article, the authors review the contemporary Russian poetry, in particular the “second avant-garde” poetry, in relation with the contemporary Chinese poetry that was “moved in time” for some decades, but came across the same processes of rising and the dialogue with society (sometimes provocative), with the world poetry, processes of introspection and experimental search. The second part of the article deals with the aspects of infl uence, made by Russian poets of different periods upon Chinese poetry, and with the issues of further development of contemporary Chinese poetry.
33
Polovinkina, O. "ENGLISH MODERNISM AND AMERICAN ‘TOURISTS’." Voprosy literatury, no. 1 (September 30, 2018): 209–24. http://dx.doi.org/10.31425/0042-8795-2018-1-209-224.
Full textAbstract:
In recent years, modernist studies have tended to nationalize issues, putting forward specific features of American and British modernist writings. This article treats Anglo-American modernism in terms of ‘the inverted conquest’ (A. Mejias-Lopez) with America ‘wrestling cultural authority from its former European metropolis’. The article starts with the subject of periphery and centre changing places, first in the imagination of American writers and then in reality. In F. M. Ford’s novelThe Good Soldierthe situation is seen as if the American would absorb the English. An American John Dowell outmatches and ultimately disparages ‘the good soldier’ and a superior Briton Ashburnham. The novel is analyzed as a result of pushing together two ways of writing - English and American (Jamesonian). Louis MacNeice treats the ‘Americanization of poetry’ inModern Poetry: A Personal Essay(1938). InAspects of Modern Poetry(1934) Edith Sitwell affirms the triumph of T. S. Eliot’s early poetry over ‘the bareness of the line’ in Housman’sA Shropshire Lad, famous for its poetical Englishness. A sort of latent urge to reaffirm Englishness against advancing Americanism is obvious in Virginia Woolf’s essays on American writers.
34
Machado, Lino. "Notas sobre um hermético “Jardim”: (ou a poesia como mistério programado)." Aletria: Revista de Estudos de Literatura 13, no. 1 (June 30, 2005): 105–11. http://dx.doi.org/10.17851/2317-2096.13.1.105-111.
Full textAbstract:
Resumo: Discussão do hermetismo do poema “Jardim”, de Carlos Drummond de Andrade. Enfoque do texto por meio da estética do Simbolismo.Palavras-chave: poesia modernista brasileira; hermetismo; Carlos Drummond de Andrade.Abstract: A discussion of hermeticism in the poem “Jardim”, by Carlos Drummond de Andrade, undertaken in terms of Symbolist aesthetics.Keywords: Brazilian modernist poetry; hermeticism; Carlos Drummond de Andrade.
35
Hayman, Emily. "English Modernism in German: Herberth and Marlys Herlitschka, Translators of Virginia Woolf." Translation and Literature 21, no. 3 (November 2012): 383–401. http://dx.doi.org/10.3366/tal.2012.0089.
Full textAbstract:
The Austrian-born translators Herberth and Marlys Herlitschka exercised considerable influence over the reception of British modernist literature in German-speaking nations. From the 1920s to the 1960s they undertook translations of challenging modernist works, including the poetry of Yeats and the novels of Lawrence and Woolf. This article surveys their lives and work, with a focus on their post-war rendering of Woolf's final novel, Between the Acts. Here the Herlitschkas' translational choices reveal a desire for reconciliation and effect a softening of the political jaggedness of Woolf's Blitz-era narrative, to emphasize instead the formalist experimentalism which had characterized pre-war modernism. The Herlitschkas' translation of Woolf can be read as an act both of nostalgia and rehabilitation, and also as an image of their understanding of what ‘modernism’ – the modernism which they helped to create – should look like.
36
Milentijević, Tijana. "Pessimism of Dimitrije Kantakuzin and Serbian modernists Dis and Pandurović: Comparative analysis." Zbornik radova Filozofskog fakulteta u Pristini 51, no. 2 (2021): 69–83. http://dx.doi.org/10.5937/zrffp51-30445.
Full textAbstract:
Although pessimism, which is the dominant motif of modernist poetry, is considered to have originated under the influence of Western models, we must not forget that it appeared in the Serbian literature of the Middle Ages. The motives of the transience of life, sin, anticipation of death, despair, and fear can be traced from the very beginnings of the formation of the original Serbian literature and were an expression of various social and historical troubles that gripped the Serbian people. This paper aims to examine how pessimism was realized in the poem Molitva Bogorodici by Dimitrij Kantakuzin and the poets of the Serbian modernism. The need to write this paper arose from the desire to determine the origin of the influence of the motif of the transience of life and death in the poetry of the Middle Ages on the one hand, and modernist poets, on the other.
37
Rusu, Iris. "Echoes of Sapphic Gods and Goddesses, Immortality, Eros and Thanatos in the Work of Modernist Women Poets." East-West Cultural Passage 20, no. 1 (June 1, 2020): 84–109. http://dx.doi.org/10.2478/ewcp-2020-0005.
Full textAbstract:
Abstract In the context of Modernism’s constant return to the past that results in self-knowledge and innovation, certain women writers found Sappho’s writings relevant for their own poetic endeavours. My article will mainly focus on the mythological aspects of both Sappho’s and the modernist women’s poetry. Invocations of and allusions to gods and goddesses and other mythical figures, which involve introspection and expressing certain erotic concerns in stylised ways, will be discussed in order to show how all these women poets innovated. and, in many different ways, significantly enriched the literature of their times. Critics have mainly focused on H.-D.’s poetry in relation to Sappho’s, most likely because the modernist poet had also translated (or adapted, according to most scholars) a number of Sappho’s poems. As regards other modernist women poets, such as, for instance, Amy Lowell or Marianne Moore, critics have refrained, for various reasons, from analysing their work in relation to Sappho’s. There are very few critical accounts of Sappho’s influence on their (and even H.-D.’s) poetry, and this article will, perforce, draw on these, but aims, all the while, to provide new and relevant insights.
38
Semenist, Ivan. "“Misty Poetry” as a reflection of the nature of Chinese literature of the “New Period” (second half of the 20th century)." Synopsis: Text Context Media 26, no. 4 (2020): 145–50. http://dx.doi.org/10.28925/2311-259x.2020.4.5.
Full textAbstract:
The subject of the study is the formation of “Misty Poetry” trend in Chinese literature of the late 20th century. The study aims at the disclosure of the dynamics of “Misty Poetry” within modernist paradigm against the backdrop of Chinese literature of the “New Period”. The method is grounded in identification of key modernist poetics categories, perceived and transformed in the versification practice of Misty Poetry. Sociocultural contextualization method is employed to locate Misty Poetry in the post Cultural Revolution aesthetic and ideological context of China. The study results cover the lyrical attempt at a modernistic search for identity in Chinese literature of the “New Period”. The pursuit of self and vaster category of identity is considered and comprehensively analyzed through the array of representative poetic texts (Zhang Ming, Meng Lang, Bei Dao, Duo Duo). “Misty Poetry” marked the beginning of the “New Period” in the history of modern Chinese literature. The trend demonstrated qualitative changes in the ideological foundations and artistic practice of the new poetry of China in the 20th century. “Misty Poetry” became a kind of aesthetic protest against the ideological and artistic clichés of the preceding cultural-historical era. The concept of “self” within the paradigm of Misty Poetry is corroborated to be perceived as an independent consciousness, not dictated by any ideology or doctrine, disclosed through the means of a poet’s internal thoughts depictions, both conscious and subconscious. The paper results demonstrate the transformative potential of the Misty Poetry trend poetics on prosodic level, level of stylistic imagery and genre specificity. The paper interpretative results explore the significance of the “Misty Poetry” in the way that it revived and gave a new impetus to the further development to the humanistic orientation of Chinese poetry. The novelty is connected with the aesthetic means of territorializing the marginal space that provides the poet and the poetic protagonist with a critical distance from the dominant discourse of the political-cultural establishment of post Cultural Revolution China are disclosed. The paper concludes the Misty Poetry trend drew attention to the subjective beginning in art and opened the discourse for an active search for a new artistic reality in which the legacy of classical poetry of China, the best humanistic traditions of the new poetry of the early 20th century and the modernist features of Western poetry were combined.
39
Hutton-Williams, Francis. "Against Irish Modernism: Towards an Analysis of Experimental Irish Poetry." Irish University Review 46, no. 1 (May 2016): 20–37. http://dx.doi.org/10.3366/iur.2016.0198.
Full textAbstract:
This essay rewrites the history of Irish poetic experiment away from modernism, or at least from contemporary industry-driven senses of the term which have multiplied to the point of overuse as a catch-all category. It is divided into two parts. The first part of the essay focuses on questions of literary history, defining some of the key trends of literary production and reception in Ireland during the 1920s and 30s. By surveying the negative impact of religion and censorship on literary development within the Irish Free State (1922–1937), the essay challenges the concept of Ireland as a place of widespread modernist assertion. The second part of the essay steers the discussion towards an ‘avant-garde’ trio of Irish writers, offering an extended and detailed characterisation of their poetry. It traces the emergence of an experimental Irish poetry with a selection of examples taken from Denis Devlin's Intercessions (1937), Thomas McGreevy's Poems (1934) and Samuel Beckett's Echo's Bones and Other Precipitates (1935), showing how poetic experiments of the 1930s challenge the lyric as a versifying form after Irish independence.
40
Matterson, Stephen, and Timothy Materer. "Modernist Alchemy: Poetry and the Occult." Modern Language Review 93, no. 3 (July 1998): 811. http://dx.doi.org/10.2307/3736537.
Full text
41
Paul R. Cappucci. "Six Modernist Moments in Poetry (review)." William Carlos Williams Review 27, no. 1 (2007): 80–83. http://dx.doi.org/10.1353/wcw.0.0002.
Full text
42
Landa, Sara. "On the Interplay between Poets’ and Philologists’ Translations of Chinese Poetry into German." Comparative Critical Studies 17, no. 2 (June 2020): 245–62. http://dx.doi.org/10.3366/ccs.2020.0361.
Full textAbstract:
‘[I]t has unfortunately become a fashion that people who obviously cannot claim to have any legitimation or any understanding in the field of sinology […], take hold of the sinological works of others and exploit them merely for business reasons’, complains the sinologist Leopold Woitsch in 1924, referring to Albert Ehrenstein's newest translations of Chinese poetry. The debate on who could authoritatively translate Chinese poetry was fiercely contested in German modernist circles and still rages to this day. Most scholars still contrast ‘poetical’ and ‘scholarly’ translations of Chinese poetry, either claiming that the former in an intuitive way come closer to the original, or criticizing the work of the poets who did not possess the linguistic and cultural background knowledge to dare approach Chinese poetry. However, it is exactly the interaction between the two modes that shaped the German reception of Chinese poetry in the twentieth century. Referring to a number of examples from the early-twentieth-century adaptations of Tang poetry, this article offers a more differentiated perspective on the cooperative and competitive relations between poets’ and scholars’ translations of Chinese poetry. Against the background of controversies surrounding ‘legitimate’ translations which shaped literary modernism in the early twentieth century, I show how the poetic and scholarly approaches were (and remain) closely interconnected, and discuss the thematic and aesthetic implications of this interrelationship.
43
Zhao, Guangxu, and Luise von Flotow. "Translating iconicities of classical Chinese poetry." Semiotica 2018, no. 224 (September 25, 2018): 19–44. http://dx.doi.org/10.1515/sem-2016-0206.
Full textAbstract:
Abstract In the history of translating classical Chinese poetry, there are two kinds of translators. The first kind translate classical Chinese poetry “by way of intellectual, directional devices” (Yip, Wai-lim. 1969. Ezra Pound’s Cathay. Princeton, NJ: Princeton University Press: 16). What these translators are concerned with most is the coherence of their translations. They give little attention to the ideogrammic nature of Chinese characters. I call them traditional translators. These translators include those in the history of translating classical Chinese poetry from its beginning to the first decade of the twentieth century, although there are still some who translate classical Chinese poetry in this way later. The second kind of translator is highly interested in the images created by ideogrammic Chinese characters and tries to convey them in target language. We call them modernist translators. These translators are represented by some American modernist poets such as Ezra Pound, Amy Lowell, Florence Ayscough, etc. From the point of view of iconicity, modernist translators’ contribution lies in their concern with the iconic characteristics of Chinese characters. But they did not give enough attention to syntactical iconicity and textual iconicity in classical Chinese poetry.
44
Przymuszała, Beata Przymuszała. "Zdystansowany inteligent. Emocje a afekt w poezji Barańczaka." Poznańskie Studia Polonistyczne. Seria Literacka, no. 36 (June 15, 2019): 107–23. http://dx.doi.org/10.14746/pspsl.2019.36.8.
Full textAbstract:
The article analyses Barańczak’s poetry to compare the cultural models of presenting emotions (especially characteristic to modernist poetry exploring emotional restraint) with the feeling of hurt and the resulting fear occasionally seen in his work: not expressed directly, yet affecting the perception of reality. The relation between emotions and affect powerfully shapes the image of the poetic persona in the poems of the author of Surgical Precision (Chirurgiczna precyzja), also affecting the literary language.
45
Nsiri, Imed. "Narrating the Self: The Amalgamation of the Personal and the Impersonal in Eliot’s and Adonis’ Poetry." Advances in Language and Literary Studies 9, no. 2 (April 30, 2018): 104. http://dx.doi.org/10.7575/aiac.alls.v.9n.2p.104.
Full textAbstract:
This article demonstrates how the self—reference to personal stories—infiltrates some, if not most, of the poems by two renowned modernist poets and literary critics: the American/Englishman T. S. Eliot and the Syrian/Lebanese ʿAlī Aḥmad Saʿīd, popularly known as Adūnīs or Adonis. The article compares the two poets’ depictions of the personal and the impersonal in poetry, and it reaffirms the great influence that Eliot’s poetry has on Adūnīs and other Arab modernist poets. While Eliot’s criticism discourages any biographical reading of his poetry, Adūnīs holds a different view by openly acknowledging the inclusion or existence of the personal in his poetry. Adūnīs’ poetry, in particular, stresses the link between texts and historical figures in the realm of literature.
46
Studniarz, Sławomir. "Beckett's Early Verse and the Modernist Long Poem: A Study of ‘Enueg I’." Journal of Beckett Studies 28, no. 2 (September 2019): 197–213. http://dx.doi.org/10.3366/jobs.2019.0268.
Full textAbstract:
The premise of the article is the contention that Beckett studies have been focused too much on the philosophical, cultural and psychological dimensions of his established canon, at the expense of the artistry. That research on Beckett's work is issue-driven rather than otherwise, and the slender extant body of criticism specifically on his poetic achievements bears no comparison with the massive exploration of the other facets of Beckett's artistic activity. The critical neglect of Beckett's poetry may not be commensurate with the quality of his verse. And it is in the spirit of remedying this oversight that the present article is offered, focusing on ‘Enueg I’, a representative poem from Echo's Bones, which exhibits all the salient features of Beckett's early poetry. It is argued that Beckett's early verse display the twofold influence, that of the transatlantic Modernism of Eliot and Pound, and of French poetry, specifically the visionary and experimental works of Rimbaud, Apollinaire, and the surrealists. Furthermore, the article also demonstrates that ‘Enueg I’ testifies to Beckett's ambition to compose a complex long Modernist poem in the vein of The Waste Land or The Cantos. Beckett's ‘Enueg I’ has much in common with Eliot's exemplary disjunctive Modernist long poem. Both poems are premised on the acutely felt cultural crisis and display the similar tenor in their ending. Finally, they both close with the vision of the doomed and paralyzed world, and the prevalent sense of sterility and dissolution. In the subsequent analysis, which takes up the bulk of the article, careful attention is paid to the patterning of the verbal material, including also the most fundamental level, that of the arrangements of phonemes, with a view to uncovering the underlying network of sound patterns, which contributes decisively to the semantic dimension of the poem.
47
Forrester, Sibelan. "Sons, Lovers, and the Laius Complex in Russian Modernist Poetry." Slavic Review 63, no. 1 (2004): 1–5. http://dx.doi.org/10.2307/1520266.
Full textAbstract:
In this introduction to the articles written by Jenifer Presto and Stuart Goldberg that focus on the psychosocial tensions between Russian modernist poets of slightly different generations, Sibelan Forrester explores the distinct options of filiation and affiliation as ways to imagine or describe poetic choices, modeling textual relationships on the familial or genetic, with the interest in personal psychology characteristic of the period. These modes of thinking are reflected in creative writing, diary entries or poetry, as well as in scholarship. The anticarnal bent of Russian symbolists, particularly of Aleksandr Blok, springs from the religious philosophy of the time. Imagining poetic creation as maternity turns out to be less threatening—at least, for a male poet—than treating it as paternity, which raises other concerns too close to home. Both Presto and Goldberg suggest that Blok rightly considered the Acmeists, especially Osip Mandel'shtam, a threat to his own poetic intentions.
48
Védrine, Hélène. "Adverts in ‘Little Reviews’ (1890–1930): Networks, Poetry and Design." Journal of European Periodical Studies 1, no. 2 (December 31, 2016): 87. http://dx.doi.org/10.21825/jeps.v1i2.2648.
Full textAbstract:
Between the 1880s and the 1920s, advertising proved fundamental to art and literature reviews since it fostered a new link between visual and consumerist culture. This article is based on fin de siècle and avant-garde magazines read in dialogue. It samples French and Belgian magazines illustrating innovations to 1880s periodicals and 1920s modernist magazines. The paper highlights the use of visual techniques in advertisements (page design, typography, etc.) that strengthen aesthetic and political stances. Advertising rhetoric masks aesthetic manifestos but also social and political agenda, revealed by visual displays of text. Publicity is also an important medium for poetic experimentation, embedded in ordinary advertising design already in the 1890s. Its subversive use informs new means of artistic expression, considered avant-garde innovations (collage, cadavre exquis, or typographic combinations). Advertising later represents new modernist stances within avant-garde magazines. Surrealism and Dada exploited publicity to promote their revolutionary aesthetic. In the 1920s, advertising being increasingly professionalized, specific designers used new visual means, strengthened artistic exchanges, and gradually erased the division between art and commercial culture in magazines. Thus modernism became part of a visual culture resonant with consumer commodities. Advertising ultimately exemplifies an interesting change in periodicals’ patterns, across literature and art reviews to the mainstream press, through posters, and decorative or architectural designs.
49
Parker. "“It’s Just a Matter of Form”: Edna St. Vincent Millay’s Experiments with Masculinity." Humanities 8, no. 4 (November 20, 2019): 177. http://dx.doi.org/10.3390/h8040177.
Full textAbstract:
Edna St. Vincent Millay occupies an uncomfortable position in relation to modernism. In the majority of criticism, her work is considered the antithesis to modernist experimentation: as representative of the ‘rearguard’ that rejected vers libre in favour of fixed poetic forms. Indeed, most critics concur that whilst Millay’s subject matter may have been modern and daring—voicing women’s sexual independence, for instance—her form was decidedly traditional. Millay also troubles notions of modernist impersonality by writing seemingly autobiographical lyrics that showcase feminine emotions. In this paper, I aim to challenge this view of Millay by focussing on the two avant-garde works that mark the outset and the zenith of her career: Aria da Capo (1921) and Conversation at Midnight (1937). These works are both formally innovative, blurring the boundaries between poetry and drama, causing Edmund Wilson to complain that Millay had “gone to pieces”. Moreover, both works engage in performances of masculinity, with women all but absent. Aria da Capo, first performed by the Provincetown Players in 1919, dramatizes the conflict between two shepherds as an allegory for the First World War. Conversation ventriloquises an all-male dinner party, ranging through the political issues of the Depression era and foreshadowing the war to come. I use both works to argue that Millay has a more interesting relationship to masculinity and modernism than has been hitherto captured by critics. Millay voices men in innovative ways, radically challenging constructions of both gender and poetic form in the process.
50
R, Bhagyalekshmi. "Surpassing the Ekphrastic Experience in Modernist Poetry." International Journal of English Literature and Social Sciences 4, no. 2 (2019): 263–68. http://dx.doi.org/10.22161/ijels.4.2.11.
Full text