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Journal articles on the topic 'Nineteenth-century poetry'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

Baym, Nina, A. Robert Lee, Agnieszka Salska, Barton Levi St Armand, Emily Dickinson, and Thomas H. Johnson. "Nineteenth-Century American Poetry." Modern Language Review 83, no. 3 (July 1988): 694. http://dx.doi.org/10.2307/3731324.

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2

Jones, Chris. "Anglo-Saxonism in Nineteenth-Century Poetry." Literature Compass 7, no. 5 (May 2010): 358–69. http://dx.doi.org/10.1111/j.1741-4113.2010.00704.x.

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3

Thacker, Robert, and Steven Olson. "The Prairie in Nineteenth-Century American Poetry." American Literature 67, no. 2 (June 1995): 387. http://dx.doi.org/10.2307/2927798.

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4

Szili, József. "Nation-Religion in Nineteenth-Century Hungarian Poetry." Hungarian Studies 16, no. 1 (August 2002): 3–28. http://dx.doi.org/10.1556/hstud.16.2002.1.1.

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5

Gray, F. Elizabeth. "Journalism and Poetry in the Nineteenth Century." Journalism Studies 18, no. 7 (October 8, 2015): 807–25. http://dx.doi.org/10.1080/1461670x.2015.1090884.

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6

CHADWICK, C. "Review. Nineteenth-Century French Poetry. Bishop, Michael." French Studies 48, no. 4 (October 1, 1994): 475. http://dx.doi.org/10.1093/fs/48.4.475-a.

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7

Mason, Emma. "Introduction: Exploring Forgiveness in Nineteenth-Century Poetry." Literature Compass 11, no. 2 (February 2014): 61–73. http://dx.doi.org/10.1111/lic3.12123.

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8

Stauffer, Andrew M. "An Image in Lava: Annotation, Sentiment, and the Traces of Nineteenth-Century Reading." PMLA/Publications of the Modern Language Association of America 134, no. 1 (January 2019): 81–98. http://dx.doi.org/10.1632/pmla.2019.134.1.81.

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Drawing first on an annotated copy of the poetry of Felicia Hemans that my students discovered in the stacks of the University of Virginia's library, this essay goes on to examine the marks made by female readers in three nineteenth-century copies of Hemans's poetry to reveal the dynamics of sentiment in author-reader networks of Romantic and Victorian poetry. Seeing Hemans through the eyes of individual female readers surfaces a lost world in which poetry was valued as a collaborative, intimate language of the heart. Specific historical copies allow us best to apprehend this world, but, in the wake of wide-scale digitization, nineteenth-century books are simultaneously newly visible and newly at risk. This essay makes the case for retaining them and for integrating them into our accounts of nineteenth-century literary history.
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9

CHAUDHURI, ROSINKA. "Cutlets or Fish Curry?: Debating Indian Authenticity in Late Nineteenth-Century Bengal." Modern Asian Studies 40, no. 2 (April 18, 2006): 257–72. http://dx.doi.org/10.1017/s0026749x06001740.

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Current discussions on the development of modern literary genres and aesthetic conventions in nineteenth-century colonial Bengal have tended, perhaps because of its relative neglect in the modern day, to ignore the seminal role of poetry in formulating the nationalist imagination. In academic discourse, the coming together of the birth of the novel, the concept of history and the idea of the nation-state under the sign of the modern has led to a collective blindness toward the forceful intervention of poetry and song in imagining the nation. Thus Dipesh Chakrabarty, in a chapter devoted to poetry in Provincializing Europe, ironically elides any mention of it at the crucial instance of the formulation of national modernity, when he takes his argument about the division between the prosaic and the poetic in Tagore further to say, without mentioning the seminal role of poetry, that: ‘The new prose of fiction—novels and short stories—was thus seen as intimately connected to questions of political modernity’. Partha Chatterjee discusses, in the introduction to The Nation and Its Fragments, the shaping of critical discourse in colonial Bengal in relation to drama, the novel, and even art, but ignores completely the fiercely contested and controversial processes by which modern Bengali poetry and literary criticism were formulated. ‘The desire to construct an aesthetic form that was modern and national’, to use his words, ‘was shown in its most exaggerated shape’ not, it is my contention, in the Bengal school of art in the 1920s as he says, but long before that in the poetry of Rangalal Banerjee, Hemchandra Bandyopadhyay, Madhusudan Dutt, and Nabinchandra Sen, and in the literary criticism and controversy surrounding their work.
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10

Chapman, Alison. "INTERNATIONALISING THE SONNET: TORU DUTT'S “SONNET – BAUGMAREE”." Victorian Literature and Culture 42, no. 3 (June 6, 2014): 595–608. http://dx.doi.org/10.1017/s1060150314000163.

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“When the history of theliterature of our country comes to be written, there is sure to be a page in it dedicated to this fragile exotic blossom of song” (Dutt xxvii). This sentence is Edmund Gosse's famous final flourish to his memoir of Toru Dutt, which introduced her posthumous volumeAncient Ballads and Legends of Hindustan, published in 1882, five years after her death from tuberculosis at the age of twenty-one. But what would Dutt's page look like in the history of “our country,” by which Gosse means of course England? This question is a tricky one, because placing a late nineteenth-century Bengali who was a Europhile, a Christian convert, and an English-language woman poet within a British Victorian tradition is a simplistic, if not a problematic appropriation of a colonial subject into the centre of the British Empire. Where Dutt belongs has long preoccupied critics who try to recuperate her poetry for an Indian national poetic tradition, or for a transnational, cosmopolitan poetics. The issue of placing Dutt allows us also to press questions about the conception of Victorian poetry studies, its geographical, cultural, and national boundaries, not just in the nineteenth-century creation of a canon but in our current conception of the symbolic map of Victorian poetry. But, while recent critics have celebrated her poetry's embrace of global poetry as a challenge to the parochialism of national literary boundaries, Dutt's original English-language poetry also suggests an uneven, uncomfortable hybridity, and a wry, ironic interplay between distance and proximity that unfolds through her use of poetic form. This essay investigates what it means to “make something” of Toru Dutt, in the nineteenth century and in the twenty-first century, what is at stake for Victorian poetry studies in privileging Dutt and her multi-lingual writing, and whether her celebrated transnationalism might not also include a discomfort with hybridity that reveals itself through the relation between space and literary form in her poetry.
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11

Contreras-Ameduri, Clara. "“Strange women teaching stranger things”: mediumship and female agency in nineteenth- century american spiritualist poetry." Revista de Estudios Norteamericanos, no. 23 (2019): 119–40. http://dx.doi.org/10.12795/ren.2019.i23.06.

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12

Whittall, Arnold, and Lawrence Kramer. "Music and Poetry: The Nineteenth Century and After." Journal of Music Theory 30, no. 2 (1986): 304. http://dx.doi.org/10.2307/843580.

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13

Green, Richard D., and Lawrence Kramer. "Music and Poetry: The Nineteenth Century and After." Notes 42, no. 2 (December 1985): 299. http://dx.doi.org/10.2307/897436.

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14

Stephenson, Glennis. "Connections and Traditions in Nineteenth-Century Women’s Poetry." Victorian Literature and Culture 22 (March 1994): 337. http://dx.doi.org/10.1017/s1060150300004009.

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15

Minahen, Charles D., and Christopher Prendergast. "Nineteenth-Century French Poetry: Introductions to Close Reading." SubStance 21, no. 2 (1992): 142. http://dx.doi.org/10.2307/3684915.

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16

Lindenberger, Herbert, and Lawrence Kramer. "Music and Poetry: The Nineteenth Century and After." Studies in Romanticism 26, no. 3 (1987): 471. http://dx.doi.org/10.2307/25600672.

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17

Lau, Beth, G. Kim Blank, Margot K. Louis, and John Beer. "Influence and Resistance in Nineteenth-Century English Poetry." Studies in Romanticism 37, no. 1 (1998): 112. http://dx.doi.org/10.2307/25601277.

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18

Gross, Harvey, and Lawrence Kramer. "Music and Poetry: The Nineteenth Century and after." Comparative Literature 39, no. 2 (1987): 189. http://dx.doi.org/10.2307/1770550.

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19

Larkin, Peter, and Isobel Armstrong. "Language as Living Form in Nineteenth Century Poetry." Yearbook of English Studies 17 (1987): 307. http://dx.doi.org/10.2307/3507717.

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20

Frayne, John P., and Lawrence Kramer. "Music and Poetry: The Nineteenth Century and after." Modern Language Review 83, no. 4 (October 1988): 936. http://dx.doi.org/10.2307/3730913.

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21

Whidden, Seth Adam. "On Poetry and Collaboration in the Nineteenth Century." French Forum 32, no. 1 (2008): 73–88. http://dx.doi.org/10.1353/frf.2008.0028.

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22

Abbott, Helen. "EDITORIAL: Poetry, Performance, Music in Nineteenth-Century France." Dix-Neuf 17, no. 1 (April 2013): 1–8. http://dx.doi.org/10.1179/12z.00000000028.

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23

Regan, Stephen. "Landscapes of mourning in nineteenth-century English poetry." Nineteenth-Century Contexts 41, no. 1 (December 17, 2018): 23–33. http://dx.doi.org/10.1080/08905495.2018.1545434.

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24

Acquisto, Joseph, and Adrianna M. Paliyenko. "The Cultural Currency of Nineteenth-Century French Poetry." Romance Studies 26, no. 3 (July 2008): 195–97. http://dx.doi.org/10.1179/174581508x322301.

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25

Creese, Helen, and Laura Bellows. "Erotic Literature in Nineteenth-Century Bali." Journal of Southeast Asian Studies 33, no. 3 (October 2002): 385–413. http://dx.doi.org/10.1017/s0022463402000309.

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Two nineteenth-century Balinese genres in which the erotic predominates are epic kakawin poetry and tutur (religious manuals) on sexual yoga. The article points to the strong intertextual links between these diverse genres. Through their focus on practical sexual matters and on the pursuit of sexual pleasure as integral to spiritual growth, tutur and kakawin also offer insight into notions of gender and sexuality in nineteenth-century Bali.
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26

Ardrey, Caroline. "Visualising Voice: Analysing spoken recordings of nineteenth-century French poetry." Digital Scholarship in the Humanities 35, no. 4 (November 8, 2019): 737–58. http://dx.doi.org/10.1093/llc/fqz073.

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Abstract This article presents a digitally assisted mode of close listening as an innovative way of analysing poetry, through the implementation of a recently developed web-based tool called Visualising Voice, initially conceived to facilitate performance studies of French poetry. This article begins by establishing the status of close listening practices and their importance as a means of studying poetry in French, as well as considering the possibilities afforded by applying these practices to studying poetry in other languages. It then goes on to examine how the Visualising Voice tool can be applied to case studies of two poems—Charles Baudelaire’s ‘L’Albatros’ (‘The Albatross’) and Paul Verlaine’s ‘Green’—each performed by three different speakers. This article argues that close listening using the Visualising Voice tool reveals subtle differences in the handling of metrical features and differences in performance styles of the same poem, which would be unlikely to be perceived by traditional listening methods. This article thus contends that close listening practices not only take the study of poetry beyond traditional modes of textual analysis but also that facilitating these practices through digital methodologies—such as those offered by the Visualising Voice tool—can transform the way in which poetry is read and understood beyond the academic sphere, in particular by general and younger audiences.
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27

DE VOOGT, ALEXANDER J. "Muyaka's poetry in the history of Bao." Bulletin of the School of Oriental and African Studies 66, no. 1 (February 2003): 61–65. http://dx.doi.org/10.1017/s0041977x03000053.

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Literary and archaeological evidence date mancala playing rules to the seventeenth century and mancala game boards at least to the sixth century A.D. Individual mancala games are rarely identified since different rules may be used on identical boards. The mancala game of Bao is a possible exception since its board often has distinctive square holes in the centre which also require characteristic rules. Muyaka bin Haji composed a poem on Bao in the early nineteenth century. The composition of the poem and the references to situations in the game indicate that his game is directly related to today's game of Bao. Muyaka's poem allows the rules of Bao to be dated to the beginning of the nineteenth century, almost a century before the earliest physical evidence of this game. In addition, it provides the earliest evidence of game rules which can be related to a contemporary mancala game.
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28

Accilien, Cécile, Norman R. Shapiro, and Cecile Accilien. "Creole Echoes: The Francophone Poetry of Nineteenth-Century Louisiana." Rocky Mountain Review of Language and Literature 59, no. 2 (2005): 103. http://dx.doi.org/10.2307/3655056.

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29

Tucker, H. F. "Of Monuments and Moments: Spacetime in Nineteenth-Century Poetry." Modern Language Quarterly 58, no. 3 (January 1, 1997): 269–97. http://dx.doi.org/10.1215/00267929-58-3-269.

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30

O'Gorman, F. "The Figure of Music in Nineteenth-Century British Poetry." Music and Letters 88, no. 1 (October 25, 2006): 153–55. http://dx.doi.org/10.1093/ml/gcl057.

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31

Stauffer, Andrew. "Poetry, Romanticism, and the Practice of Nineteenth-Century Books." Nineteenth-Century Contexts 34, no. 5 (December 2012): 411–26. http://dx.doi.org/10.1080/08905495.2012.738080.

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32

Metzidakis, Stamos. "A Neo-Formalist Approach to Nineteenth-Century French Poetry." Romance Studies 26, no. 4 (November 2008): 273–85. http://dx.doi.org/10.1179/174581508x359455.

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33

Hendrickson, Norejane J., and Nancy Taylor Coghill. "Nineteenth Century Children's Poetry: A Reflection of the Age." Children's Literature Association Quarterly 11, no. 2 (1986): 72–77. http://dx.doi.org/10.1353/chq.0.0595.

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34

Lootens, Tricia. "BENGAL, BRITAIN, FRANCE: THE LOCATIONS AND TRANSLATIONS OF TORU DUTT." Victorian Literature and Culture 34, no. 2 (August 25, 2006): 573–90. http://dx.doi.org/10.1017/s1060150306051321.

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To a far greater degree than many of us have yet realized, late-nineteenth-century women's poetry may be a poetry of alien homelands: of cultural spaces, that is, in which the domestic proves alien, even as technically alien territory comes to represent some form of home. And partly for this reasosn, to explore poetry in English may require moving not only beyond Britain, but also beyond English itself. Think, for example, of Christina Rossetti, who composed poems in Italian; of Mathilde Blind, with her German accent and translation of the French edition of theJournal of Marie Bashkirtseff; of Agnes Mary Frances Robinson Darmesteter Duclaux, whose poetry preceded a long, successful career of writing in great part in and for the French; of Louisa S. Bevington Guggenberger, with her German home and husband; or, for that matter, of nineteenth-century India's first influential English-speaking woman poet, Toru Dutt. As generations of Indian critics have stressed, as early anthologizer E. C. Stedman made clear, and as certain editors of recent nineteenth-century poetry collections have also acknowledged, Dutt's writing played a suggestive role within late-century understandings of “British literature.” Indeed, even now, growing attention to her work is helping extend our conception of the geographical origins of “Victorian” poetry from Britain to Bengal. Still, if we are to develop a full exploration of Dutt's cultural presence, we may need to move further as well, connecting Indo-Anglian literature to that of France.
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35

Weaver, Sarah. "Chris Jones, Fossil Poetry: Anglo-Saxon and Linguistic Nativism in Nineteenth-Century Poetry." Victoriographies 9, no. 3 (November 2019): 319–21. http://dx.doi.org/10.3366/vic.2019.0357.

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36

Phelpstead, Carl. "Chris Jones. Fossil Poetry: Anglo-Saxon and Linguistic Nativism in Nineteenth-Century Poetry." Review of English Studies 70, no. 297 (July 10, 2019): 984–87. http://dx.doi.org/10.1093/res/hgz076.

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37

Denisova, Nataliya, and Dinara Yusipova. "A Comparative Analysis of Temporal Structure of English Poetic Texts for Adults and Children." Journal of Language and Education 2, no. 2 (June 1, 2016): 6–13. http://dx.doi.org/10.17323/2411-7390-2016-2-2-6-13.

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Poetry has always been under the focus of scholars’ attention, though the problem of performing a comparative analysis of children’s and adults’ poetry has not received enough attention yet. The study undertaken is aimed to fill in this gap and provide the analysis of English poetry for adults and children with the attempt to identify some grammatical peculiarities of the corresponding poetic texts. The scope of the texts for examination is limited to English poetry of the nineteenth – twentieth centuries focused on the animal theme. The analysis of the temporal structure of the texts selected was based on the method elaborated by Ludmila Nozdrina in her work “Poetics of grammar categories” (2004). The results of the study have proved the hypothesis stated: there are some differences in temporal structuring of the nineteenth–twentieth century poetic English texts focused on the animal theme. The main difference lies in targeting the poem: whether it appeals to adults or children. The current study contains quantitative information on the usage of certain grammatical phenomena within the texts analyzed, and the attempts of their interpretations. Consequently, the study might be of particular interest for those scholars who do research on differentiating grammatical peculiarities of poetry in general and drawing differences between children’s and adults’ poetry, in particular.
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38

Keegan, Bridget. "‘Incessant toil and hands innumerable’: Mining and Poetry in the Northeast of England." Victoriographies 1, no. 2 (November 2011): 177–201. http://dx.doi.org/10.3366/vic.2011.0028.

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In this essay, Keegan begins with a broad discussion of the representation of miners and mining in British poetry prior to 1900. She then offers an overview of poetry written specifically by miners. The essay focuses on two poets, both lead miners in the northeast of England in the second half of the nineteenth century, and both of whose works speak to the cultural and economic impact of rural diaspora. For Thomas Blackah (1828–95) and Richard Watson (1833–91), their unique poetic identities are bound up in their particular dale with its particular dialect. While any poet's intentions in writing are many, both clearly see poetry as preserving and affirming declining communities and celebrating and conserving the natural environment that is a defining feature of that community. Their poetry highlights the distinctive language and the natural environment of their native northeastern regions, and these elements define how they conceive of themselves as artists. Blackah's and Watson's poetry depicts a rootedness in the landscape that exists in tension with the displacements caused by changing industrial and economic conditions.
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39

Wolosky, Shira. "Women's Bibles: Biblical Interpretation in Nineteenth-Century American Women's Poetry." Feminist Studies 28, no. 1 (2002): 191. http://dx.doi.org/10.2307/3178503.

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40

Scott, Clive, and Carol de Dobay Refelj. "Word and Figure: The Language of Nineteenth-Century French Poetry." Modern Language Review 84, no. 2 (April 1989): 477. http://dx.doi.org/10.2307/3731619.

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41

Charnley, Joy. "Gretchen Schultz:An Anthology of Nineteenth-Century Women’s Poetry from France." Nouvelles Questions Féministes 29, no. 1 (2010): 128. http://dx.doi.org/10.3917/nqf.291.0128.

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42

Michael Cohen. "Whittier, Ballad Reading, and the Culture of Nineteenth-Century Poetry." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 64, no. 3 (2008): 1–29. http://dx.doi.org/10.1353/arq.0.0010.

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43

Morgan, Robert P. "Music and Poetry: The Nineteenth Century and after. Lawrence Kramer." Modern Philology 84, no. 3 (February 1987): 337–40. http://dx.doi.org/10.1086/391566.

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44

Youngquist, Paul. "Brown Romantics: Poetry and Nationalism in the Global Nineteenth Century." Modern Language Quarterly 81, no. 3 (September 1, 2020): 380–83. http://dx.doi.org/10.1215/00267929-8351623.

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45

Taher-Kermani, Reza. "The Persian Presence in Nineteenth-Century English Poetry: A Taxonomy." Iranian Studies 49, no. 1 (October 30, 2014): 77–98. http://dx.doi.org/10.1080/00210862.2014.961392.

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46

Parker, A. "The Poetry of the Future; or, Periodizing the Nineteenth Century." Modern Language Quarterly 71, no. 1 (January 1, 2010): 75–85. http://dx.doi.org/10.1215/00267929-2009-022.

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47

Goodridge, John. "Some Rhetorical Strategies in Later Nineteenth-Century Laboring-Class Poetry." Criticism 47, no. 4 (2007): 531–47. http://dx.doi.org/10.1353/crt.2007.0009.

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48

Bledsoe, Robert Terrell. "The Figure of Music in Nineteenth-Century British Poetry (review)." Victorian Studies 48, no. 3 (2006): 553–55. http://dx.doi.org/10.1353/vic.2006.0107.

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49

Craciun, Adriana. "Romantic Satanism and the Rise of Nineteenth-Century Women's Poetry." New Literary History 34, no. 4 (2003): 699–721. http://dx.doi.org/10.1353/nlh.2004.0005.

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50

Philippon, Daniel J. "The Prairie in Nineteenth-Century American Poetry by Steven Olson." Western American Literature 30, no. 3 (1995): 319–20. http://dx.doi.org/10.1353/wal.1995.0053.

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