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Journal articles on the topic 'Performance poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Gladun, Daryna. "Poetry-based performance as a method of Lesia Ukrainka’s heritage actualization." Synopsis: Text Context Media 28, no. 4 (2022): 183–88. http://dx.doi.org/10.28925/2311-259x.2022.4.2.

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The object of study is poetry-based performance as a productive method of poetry actualization, which allows creating a wide range of individual interpretations of the same poem through the personal experience of the performer. A poetry performance is a performance where poetry media (written and/or spoken words) are dominant. A pretext for poetry performances is optional as poetry text can be created during poetry performance ex nihilo. All poetry-based performances have pretexts that are used as starting points for the performances. However, the use of poetry media during the performance its

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2

Hoyles, Asher, and Martin Hoyles. "Black Performance Poetry." English in Education 37, no. 1 (2003): 27–37. http://dx.doi.org/10.1111/j.1754-8845.2003.tb00588.x.

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3

Thom, Marie. "Poetry and performance." Early Years Educator 12, no. 9 (2011): xii—xiii. http://dx.doi.org/10.12968/eyed.2011.12.9.xii.

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Hladun, D. V. "POETRY PERFORMANCE AND POETRY READING: TOUCHING POINTS." Тrаnscarpathian Philological Studies 2, no. 14 (2020): 157–61. http://dx.doi.org/10.32782/tps2663-4880/2020.14-2.29.

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5

Rahmawati, Aenun. "Reading poetry based on video modeling techniques of poetry performance records." LADU: Journal of Languages and Education 3, no. 3 (2023): 129–38. http://dx.doi.org/10.56724/ladu.v3i3.198.

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Background: Reading poetry is an effort to convey the poet's message to his listeners. Purpose: This study aims to analyze the process of learning to read poetry and improve results. Design and methods: This experiment analyzes the improvement of the learning process, including the stages of attention, retention, reproduction, and motivation, as well as the improvement of student learning outcomes when reading poetry in terms of intonation, pronunciation, volume, gestures, and expressions. This research was conducted on Literary Club extracurricular students at SDIT ALIF. The method used in th

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6

Davidson, Ian. "Visual Poetry as Performance." Performance Research 9, no. 2 (2004): 99–107. http://dx.doi.org/10.1080/13528165.2004.10872020.

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7

Grobe, Christopher. "The Breath of the Poem: Confessional Print/Performance circa 1959." PMLA/Publications of the Modern Language Association of America 127, no. 2 (2012): 215–30. http://dx.doi.org/10.1632/pmla.2012.127.2.215.

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This essay offers an early chapter in the conjoined history of poetry and performance art, literary criticism and performance studies. Beginning in the mid-1950s and with increasing fervor through the 1960s, American poetry lived simultaneously in print, on vinyl, and in embodied performance. Amid this environment of multimedia publicity, an oddly private poetry emerged. The essay locates confessional poetry in the performance-rich context of its birth and interrogates not only its textual voice but also its embodied, performed breath. Focusing on early confessional work by Robert Lowell and A

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8

Patrocínio, Paulo Roberto Tonani do. "Dois corpos, duas línguas e uma representação: notas sobre performances de Slam Poetry em línguas de sinais." Terceira Margem 26, no. 49 (2022): 137–53. http://dx.doi.org/10.55702/3m.v26i49.53356.

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O presente artigo busca traçar uma análise crítica de performances poéticas de Slam Poetry produzidas a partir do diálogo entre língua de sinais e língua oral, assinadas por poetas surdos e ouvintes. A partir da leitura destas performances, nosso objetivo é discutir aspectos teóricos relacionados à constituição destes novos sujeitos da enunciação e, em especial, ao uso estético da língua de sinais para a produção de uma performance poética e a dimensão política desta intervenção. Além disso, nosso estudo igualmente investiga quais as imagens e as representações que são construídas pelos poetas

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9

Anderson, Anne P. "Doing Poetry." Voices from the Middle 6, no. 2 (1998): 28–36. http://dx.doi.org/10.58680/vm19982249.

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Describes how an eighth-grade language-arts teacher teaches poetry via performance. Describes how she introduces poetry, performance, and audience. Shows how students (even non-readers and non-achievers) quickly show great eagerness to do poetry with enthusiasm, excitement, and energy; and now perform locally. Includes a poetry portfolio outline and a list of suggested performance poems.

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10

Anderson, Daniel. "Early Writing Metaphors in Performance." Mnemosyne 78, no. 2 (2025): 247–72. https://doi.org/10.1163/1568525x-bja10316.

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Abstract This article investigates the intersection of writing and performance in early Greek poetry. It takes as a springboard the performed literacy of Callias’ Alphabet Tragedy, and notes the wealth of references to books, writing, and literacy across Old Comedy. Whereas the papyrus roll came to represent poetry as writing from the final quarter of fifth-century BCE, earlier Greek poetry uses a range of writing technologies as metaphors for performance, such as the skytalē, the sphragis, and epigraphic inscription. Other indications that poetry is conceptualized in terms of its written medi

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11

Bello Minciacchi, Cecilia, Vincent Broqua, Johanna Drucker, Johan Gardfors, Martin Glaz Serup, and Fiona McGovern. "Language, Voice, and Performance." Tidskrift för litteraturvetenskap 47, no. 2 (2017): 22–33. http://dx.doi.org/10.54797/tfl.v47i2.8110.

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Language, Voice, and Performance. Notes on Lily Greenham’s Sound Poetry In this collective article, we argue for a wider recognition of Lily Greenham’s sound poetry, underscoring her artistic uses of multi lingualism and transnational collaboration. The form of the article is conceptual: in order to signal the importance given to poetry as a collabo rative and transnational activity in Greenham’s oeuvre, we have chosen to write the article in six languages and as a collaboration between six scholars with different backgrounds. The form of the article moreover reflects the privilege given

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12

West, M. L. "Akkadian Poetry: Metre and Performance." Iraq 59 (1997): 175. http://dx.doi.org/10.2307/4200442.

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13

BEASLEY, PAUL. "Vive la différencel Performance poetry." Critical Quarterly 38, no. 4 (1996): 28–38. http://dx.doi.org/10.1111/j.1467-8705.1996.tb02261.x.

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14

Haverkort, Marco, and Jan H. de Roder. "Poetry, language, and ritual performance." Journal of Historical Pragmatics 4, no. 2 (2003): 269–86. http://dx.doi.org/10.1075/jhp.4.2.07hav.

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In line with the proposal of de Roder (1999), we will draw an analogy between the structure of ritual, poetic language and natural language, exploiting Frits Staal’s conception of ritual as a set of recursively applicable formal procedures, and the biological ramifications of the Chomskyan postulate of Universal Grammar. The central hypothesis is that, in terms of evolution, poetry takes a position between age-old rituals and natural languages, as a sort of missing link. We will argue that the building blocks and mechanisms of natural language developed out of ritual acts and the associated rh

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15

Cho, Seo In. "Reading Poetry Slam:." Crossings: A Journal of English Studies 6 (December 1, 2015): 30–35. http://dx.doi.org/10.59817/cjes.v6i.183.

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Poetry slams have recently received critical attention in relation with troubadour tradition, beat generation and Harlem Renaissance. A few studies have analyzed some poems of poetry slams and most of them have set apart script from performance. However we have to pay attention to the performance which is mainly paralinguistic expressions to understand a slam poem comprehensively. A performed poem is distributed not as a written text but as a movie clip that contains the performer’s paralanguage expressions as well as linguistic contents of the poem. The key questions in this respect are: 1) w

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16

Higyed, Alexandru. "A Global Perspective on Performance Poetry: Through the Web – From American Performance to Romanian Poetic Practices." Romanian Journal of English Studies 20, no. 1 (2023): 52–61. http://dx.doi.org/10.2478/rjes-2023-0006.

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Abstract American Performance poetry influenced the way in which the practice developed in other countries. Contemporary African, Japanese, and Arab poets started to write more and more for the stage. Eastern Europe seems to have been highly influenced by this practice. In this paper, I will try to investigate how American Performance poetry managed to influence the Romanian Spoken Word scene.

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17

Wangmo, Chador, Yeshi Wangdi, Chokey Wangchuk, and Dechen Peday. "Enhancing the Outcome of Students’ Poetry Engagement through Poetry Performance." Asian Journal of Education and Social Studies 51, no. 5 (2025): 515–30. https://doi.org/10.9734/ajess/2025/v51i51937.

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Student’s performance in poetry has been consistently low compared to other genres like essays, short stories and drama. An analysis of the midterm examination result of a higher secondary school in Tsirang district reveals that significant number of students scored less in poetry than other literary genres. This pattern reflects a gap in understanding and engagement with poetry. As poetry implies a combination of analytical and imaginative skills, the existing teaching approaches might not adequately cater to the needs of students with different learning styles which would result in poor acad

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18

DOLAN, JILL. "Utopia in Performance." Theatre Research International 31, no. 2 (2006): 163–73. http://dx.doi.org/10.1017/s0307883306002100.

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The essay describes ‘utopian performatives’, which are moments of performance in which utopia is ‘done’ in the intensity of exchange between performers and spectators and among the audience. As an example, the essay discusses the performance Russell Simmons Presents Def Poetry Jam on Broadway, an evening of slam poetry presented by a multiracial cast for a young, unusually multiethnic audience. It describes a process of feeling together over obvious differences, inspired by an intensely present moment of theatre.

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19

Jorgensen, Cory. "Jarīr and al-Farazdaq’s Naqāʾiḍ Performance". Journal of Arabic Literature 54, № 1-2 (2023): 73–95. http://dx.doi.org/10.1163/1570064x-12341473.

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Abstract This article considers the flytings poetry (naqāʾiḍ) of Jarīr and al-Farazdaq (both d. circa 728 CE), which they performed over a period of decades in Basra, Iraq. Described as more entertaining than earlier (pre-Islamic) naqāʾiḍ, why the duo performed this “entertaining” poetry remains a question. I argue that the poets’ goal was to “win” the lampooning contest by amusing their audience. The result is a body of poetry that defended their reputation as performers. Here I analyze passages from Jarīr and al-Farazdaq’s naqāʾiḍ corpus that illustrate how the poets performed an entertainin

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20

Ogunnaike, Oludamini. "The Presence of Poetry, the Poetry of Presence." Journal of Sufi Studies 5, no. 1 (2016): 58–97. http://dx.doi.org/10.1163/22105956-12341283.

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The composition and performance of Arabic Sufi poetry is the most characteristic artistic tradition of West African Sufi communities, and yet this tradition has yet to receive the scholarly attention it deserves. In this article, I sketch an outline of a theory of Sufi poetics, and then apply this theory to interpret a performance of a popular Arabic poem of the Senegalese Shaykh Ibrahim Niasse (d. 1975), founder of the most popular branch of the Tijāniyya in West Africa.

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21

Whitley, David. "Poetry in Film: Performance, Identity, and Crisis." Caribbean Journal of Education 43, no. 1 (2021): 68–84. http://dx.doi.org/10.46425/c054301v954.

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This paper will examine the way poetry – and particularly the performance of poetry by adolescent characters – is represented in film. The paper argues that film offers a space within which it is possible to reflect in particularly probing ways on the relationship between poetry’s often contradictory roles in both expressing cultural norms and enabling repressed, neglected or forbidden aspects of individuals’ experience to be articulated. In particular, the performance of poetry by adolescents in films often takes place in dramatized contexts where the exercise of institutional authority is be

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22

Petievich, Carla, and Max Stille. "Emotions in performance: Poetry and preaching." Indian Economic & Social History Review 54, no. 1 (2017): 67–102. http://dx.doi.org/10.1177/0019464616683481.

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Emotions are largely interpersonal and inextricably intertwined with communication; public performances evoke collective emotions. This article brings together considerations of poetic assemblies known as ‘mushāʿira’ in Pakistan with reflections on sermon congregations known as ‘waʿz mahfil’ in Bangladesh. The public performance spaces and protocols, decisive for building up collective emotions, exhibit many parallels between both genres. The cultural history of the mushāʿira shows how an elite cultural tradition has been popularised in service to the modern nation state. A close reading of th

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23

Ekesa, Beatrice Jane. "Integration of Work and Leisure in the Performance of Spoken Word Poetry in Kenya." Journal of Critical Studies in Language and Literature 1, no. 3 (2020): 9–13. http://dx.doi.org/10.46809/jcsll.v1i3.23.

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Spoken word poetry, an emerging genre in Kenyan literature, is popular among the urban population. The performance of this creative work draws audience from different socio-economic backgrounds who view it as a source of entertainment. Majority of these poets begin off by staging performances in order to exercise their talents and entertain their audience without financial gain. However, once they get the desired popularity, their interests change and they begin to view the performance of spoken word poetry as an alternative source of income. It is against this background that this paper seeks

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24

Gladun, Daryna. "INTERMEDIAL RECODING OF GEO SHKURUPII'S WORKS IN THE VIDEO PERFORMANCES AT THE SEMINAR OF CREATIVE YOUTHS 2020." Слово і Час, no. 6 (December 2, 2021): 52–65. http://dx.doi.org/10.33608/0236-1477.2021.06.52-65.

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The paper focuses on poetry-based video performances conducted by the participants of the “Creative Youths Seminar” (CYS), which was founded in 1995. Adaptability is one of the most essential features of all seminar clusters. It leads to constant transformations in a general program and within poetry performance laboratory (existing as a part of CYS since 2015) in particular, due to socio-cultural and political context. In 2020, because of the quarantine restrictions, CYS for the first time changed its regular face-to-face form to a remoteone and took place online. Live performance cluster tra

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Mendelssohn, Anna, and Sara Crangle. "What a Performance." PMLA/Publications of the Modern Language Association of America 133, no. 3 (2018): 610–30. http://dx.doi.org/10.1632/pmla.2018.133.3.610.

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From the late seventies until her death, british-born writer and artist anna mendelssohn (1948–2009) authored fifteen poetry collections and at least two dozen short fictions and dramas, often publishing under the name Grace Lake. A consummate autodidact, Mendelssohn's passion was international vanguardism, a truth exemplified by the writers she translated: in Turkey in 1969, the poetry of political exile Nâzim Hikmet; from the late nineties, the work of Gisèle Prassinos, the surrealist child prodigy celebrated by André Breton. Mendelssohn's devotion to a modernist legacy situates her within t

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26

Phillips, John W. P. "The Poetic Thing (On Poetry and Deconstruction)." Oxford Literary Review 33, no. 2 (2011): 231–43. http://dx.doi.org/10.3366/olr.2011.0019.

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Deconstruction has sometimes been championed as if it was a kind of poetic (as opposed to say analytic) writing. The identification has encouraged some to relegate deconstruction to the shadows or sidelines, the sideshows, of serious philosophy. Both tendencies are foolish. There nonetheless remains the question of the relation between two enigmatic discourses: poetry and deconstruction; some deep complicity is surely implied. Reading in the texts of philosophy and poetry the adventure and performance of the names themselves, philosophy, poetry and deconstruction, it is possible to outline the

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27

Dobkowska, Sylwia, та Meghan Kuckelman. "Physical poetry: using Japanese Butо̄ in an EFL poetry performance project". English in Education 54, № 1 (2020): 58–73. http://dx.doi.org/10.1080/04250494.2019.1674622.

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Amâncio, Moacir. "EMMC. Performance / EMMC. Performance." Revista do Centro de Estudos Portugueses 40, no. 63 (2020): 25. http://dx.doi.org/10.17851/2359-0076.40.63.25-32.

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Resumo: A poesia do autor português Ernesto Manuel de Melo e Castro, radicado no Brasil, desconhece limites geográficos e da expressão, pautando-se pelos ritmos da liberdade. Sua obra, marcada pelo concretismo brasileiro, confirma o movimento, conferindo-lhe não um papel de superioridade e influência, mas um papel de diálogo, de junção das experiências e a busca de linguagens contemporâneas. O que não se limita à experimentação expressiva, pois implica a atuação num espectro amplo e da quebra de tabus. O questionamento incansável é a pauta de sua obra.Palavras-chave: poesia portuguesa; vanguar

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29

Santos, Fernando Brandão dos. "The singing of the Hellenes: poetry and performance." Classica - Revista Brasileira de Estudos Clássicos 25 (2012): 231–49. http://dx.doi.org/10.14195/2176-6436_25_12.

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30

Arnedo, Miguel. ""Afrocubanista" Poetry and Afro-Cuban Performance." Modern Language Review 96, no. 4 (2001): 990. http://dx.doi.org/10.2307/3735865.

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31

Chambers, Susan. "Reading Poetry Wrong: Prosody and Performance." English Language Notes 46, no. 1 (2008): 105–11. http://dx.doi.org/10.1215/00138282-46.1.105.

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32

Cornish, Matt. "Kinetic Texts: From Performance to Poetry." Modern Drama 58, no. 3 (2015): 302–23. http://dx.doi.org/10.3138/md.0757.

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33

Pradeau, Léon. "Cécile Mainardi's "Sorties": Poetry as Desire and Performance." Dalhousie French Studies, no. 125 (2024): 79–88. https://doi.org/10.7202/1118323ar.

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Cécile Mainardi is part of a generation of French poets who have been attempting, in the 1990s and 2000s, to activate their books in new ways—at galleries, art festivals, and performed readings. Though they are inscribed in the lineage of sound poetry and action poetry, these writers remain attached to the book, even if that medium is to be transcended. This article focuses on this tension by reading Mainardi’s poetic work through the lens of its desire to (be) perform(ed). The concept of “sorties,” borrowed from Jean-Marie Gleize (Sorties, 2009), helps explore the ways Mainardi articulates he

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34

Devanny, David, and Jack McGowan. "Voice-recognition augmented performance tools in performance poetry pedagogy." Research in Drama Education: The Journal of Applied Theatre and Performance 21, no. 3 (2016): 401–5. http://dx.doi.org/10.1080/13569783.2016.1194195.

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35

Silva, Caio Ruano da. "identidade coletiva do slam poetry." Plural 29, no. 01 (2022): 232–53. http://dx.doi.org/10.11606/issn.2176-8099.pcso.2022.190713.

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Slam poetry é uma forma de poesia performática criada por Marc Kelly Smith em Chicago na década de 1980, que a partir de então ganhou adeptos em diversos locais do mundo. Essa modalidade se baseia em cinco pilares principais: poesia, performance, interatividade, competição e comunidade. Relatos desses eventos têm demonstrado a especial afeição dos poetas pela abordagem de temas sociais e políticos em seus discursos. Contudo, a literatura acadêmica produzida sobre o tema pouco tem se aprofundado na discussão do slam poetry como uma manifestação de cunho político. Desse modo, o presente trabalho

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36

Schoone, Adrian. "Can Concrete Poems Fly? Setting Data Free in a Performance of Visual Enactment." Qualitative Inquiry 27, no. 1 (2019): 129–35. http://dx.doi.org/10.1177/1077800419884976.

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In researching the tutors working in alternative education centers in New Zealand, I sought ways to bring voice to their lived experiences through, initially, creating found poetry from interview transcripts. The poems helped bring their vital voices to the page. Even so, I found the emotion of tutors’ lived experiences buckled under the pressure of their compression into lines of poetry. Thus, I set the found words free to form nonlinear configurations in two and three dimensions. In the tradition of concrete poetry noted by Khlebnikov, I “loosed the shackles of syntax . . . to attach meaning

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37

Hughes, Janette Michelle, Laura Jane Morrison, and Cornelia Hoogland. "You Don’t Know Me: Adolescent Identity Development Through Poetry Performance." in education 20, no. 2 (2014): 59–77. http://dx.doi.org/10.37119/ojs2014.v20i2.160.

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Our study concerns adolescents using poetry writing as an interrogative and creative means of shaping and creating “voices” or “identities.” Toronto-based high school students were challenged to be creators (rather than solely consumers) of available social practices within a digital landscape using mobile devices and social networking platforms. The students engaged in the processes of creating poetry that included experimentation with form (including spoken word, found, and rhyming couplet poetry), research, and writing-induced challenges of received ideas. Their creations of their multiple

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Perelman, Bob. "Performance Typing." boundary 2 47, no. 4 (2020): 139–56. http://dx.doi.org/10.1215/01903659-8677863.

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This essay reviews the publication of Larry Eigner’s selected poems and provides an introduction to Eigner (1927–96) and his place in US poetry. It gives an account of his life, describing his lifelong disability from cerebral palsy and the trajectory of his poetic career, which ended with over three thousand poems and great acclaim from US innovative poetic communities. It then relates Eigner to those communities, specifically Black Mountain in the 1950s and 1960s and the Language writers decades later. Eigner’s poetry is glancingly compared with that of Keats and of Dickinson, but the main j

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Chang, Haoxiang, Beitong Li, Fengwei Wang, and Yue Bin. "Thematic classification of ancient Chinese poetry using TwinEmbedAttentionNet." Applied and Computational Engineering 39, no. 1 (2024): 302–14. http://dx.doi.org/10.54254/2755-2721/39/20230619.

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Ancient Chinese poetry, a reflection of Chinas rich cultural and philosophical fabric, encapsulates the evolving socio-cultural nuances of its historical epochs. Despite its cultural significance, there remains an evident lacuna in comprehensively classifying its recurring themes, due in part to the conciseness and polysemy intrinsic to the language and the essentiality of embedded cultural and historical contexts. Addressing this challenge, this study introduces TwinEmbedAttentionNet, a pioneering method tailored for the thematic classification of ancient Chinese poetry. This approach synergi

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40

Gainsford, Peter. "Homer and hip-hop: improvisation, cultural heritage, and metrical analysis." Melbourne Historical Journal 38 (July 1, 2010): 5–17. https://doi.org/10.5281/zenodo.343882.

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Homeric epic and modern hip-hop are discussed as performance poetry, with particular attention to how both genres construct the social identity of the community in which they are performed. Parallels are also drawn with slam poetry. The character of the oral accumulative style is outlined, with examples from both Homer and hip-hop.

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41

Dickie, June F. "The Importance of Literary Rhythm When Translating Psalms for Oral Performance (in Zulu)." Bible Translator 70, no. 1 (2019): 64–81. http://dx.doi.org/10.1177/2051677018824771.

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Poetry must be heard, and heard in a way that is pleasing and memorable. Much of the beauty and rhetorical power of poetry arises from prosody, that is, patterns of rhythm and sound. Rhythm is composed of four elements that work together to provide aesthetic and emotive strength. It is an important feature of both biblical and Zulu poetry, and thus the translator of psalms (translating into Zulu or any Bantu language) must pay attention to aural components of the source and receptor texts. A recent empirical study invited Zulu youth to participate in translating and performing three praise psa

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42

Xakimova, Maqsadxon Dilshodbekovna. "THE LIVERPOOL POETS AND THEIR APPROACH TO POETRY." Results of National Scientific Research 1, no. 1 (2022): 147–52. https://doi.org/10.5281/zenodo.6481406.

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<em>The article is a brief introduction to the work of the "Liverpool poets", a group of young beat poets from Liverpool: A. Henry, R. McGough, B. Patten, popular in Great Britain in the 60s of the twentieth century. Contemporaries of the famous "Liverpool Four", "Liverpool poets" gained recognition not only due to the extreme popularity of Liverpool among young people around the world, but also due to their own original experiments with oral poetic word. The focus on direct live contact with the audience largely determined the specifics of their creative method.

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Xakimova, Maqsadxon Dilshodbekovna. "THE LIVERPOOL POETS AND THEIR APPROACH TO POETRY." EURASIAN JOURNAL OF ACADEMIC RESEARCH 2, no. 2 (2022): 576–79. https://doi.org/10.5281/zenodo.6327492.

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The article is a brief introduction to the work of the "Liverpool poets", a group of young beat poets from Liverpool: A. Henry, R. McGough, B. Patten, popular in Great Britain in the 60s of the twentieth century. Contemporaries of the famous "Liverpool Four", "Liverpool poets" gained recognition not only due to the extreme popularity of Liverpool among young people around the world, but also due to their own original experiments with oral poetic word. The focus on direct live contact with the audience largely determined the specifics of their creative method. The

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44

Elmougy, Sahar. "Performance Poetry as a Performative Act: A Close Listening to Andrea Gibson’s Poetry." Cairo Studies in English 2020, no. 2 (2021): 154–73. http://dx.doi.org/10.21608/cse.2021.173097.

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45

Bickford, Tyler. "Music of Poetry and Poetry of Song: Expressivity and Grammar in Vocal Performance." Ethnomusicology 51, no. 3 (2007): 439–76. http://dx.doi.org/10.2307/20174545.

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46

Fang, Alex C., Wan-yin Li, and Jing Cao. "In search of poetic discourse of classical Chinese poetry." Chinese Language and Discourse 2, no. 2 (2011): 232–49. http://dx.doi.org/10.1075/cld.2.2.04fan.

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We address the issue of poetic discourse in classical Chinese poetry and propose the use of imageries as characteristic anchors that stylistically differentiate poetic schools as well as individual poets. We describe an experiment that is aimed at the use of ontological knowledge to identify patterns of imagery use as stylistic features of classical Chinese poetry for authorship attribution of classical Chinese poems. This work is motivated by the understanding that the creative language use by different poets can be characterised through their creative use of imageries which can be captured t

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Todorut, Ilinca. "Mobilizing Workers Poetry." TDR: The Drama Review 68, no. 1 (2024): 170–84. http://dx.doi.org/10.1017/s1054204323000539.

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Under lockdown in a boarding school in China, students staged a performance based on poetry written by Chinese migrant workers. The poems guided an exploration of biotechnical interdependencies in and between local and global environments and the composition of the resistance script and movement score of laboring bodies embedded in the poems.

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Ojaide, Tanure, and Ode Ogede. "Art, Society, and Performance: Igede Praise Poetry." World Literature Today 73, no. 1 (1999): 199. http://dx.doi.org/10.2307/40154639.

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Cole, Debbie. "Enregistering Diversity: Adequation in Indonesian Poetry Performance." Journal of Linguistic Anthropology 20, no. 1 (2010): 1–21. http://dx.doi.org/10.1111/j.1548-1395.2010.01045.x.

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Esterhammer, Angela. "Coleridge's "The Improvisatore": Poetry, Performance, and Remediation." Wordsworth Circle 42, no. 2 (2011): 122–28. http://dx.doi.org/10.1086/twc24045847.

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