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Journal articles on the topic 'Performance poets'
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1
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 the British Poetry Revival, a label applied to a wave of avant-garde poets that surfaced in the sixties and seventies. Given that she spent her last three decades in Cambridge, Mendelssohn can be further located on the margins of “that most underground of poetic brotherhoods, the Cambridge Poets” (Leslie 28). Mendelssohn's poems appeared in journals receptive to experimentalism, among them Parataxis, Jacket, Critical Quarterly, and Comparative Criticism. In the 1990s, Mendelssohn was anthologized in collections released by Virago, Macmillan, and Reality Street. Iain Sinclair included her in his influential Conductors of Chaos (Picador, 1996); in 2004, she featured in Rod Mengham and John Kinsella's Vanishing Points (Salt Publishing, 2004) alongside John Ashbery and Susan Howe. Her most readily available text remains Implacable Art (Salt Publishing, 2000). Increasingly recognized in her later years, Mendelssohn gave poetry readings at the University of Cambridge, London's Southbank Centre, and the Centre Georges Pompidou in Paris, among many other venues.
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Bharadwaj, S. "Dylan Thomas’s “In Country Sleep”: His Paradoxical Sensibility." Studies in Linguistics and Literature 4, no. 4 (2020): p12. http://dx.doi.org/10.22158/sll.v4n4p12.
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In “In Country Sleep”, Dylan Thomas offers the Yeatsian paradoxical sensibility, the process of magnanimous impersonal art as salvation to the tumultuous Auden who condescends to the mortal levelling charges of conspiracy, war mongering, tilting and toppling against him as his performance as an artist of Yeatsian pagan altruistic art songs has undone his success, popularity and appeal among the contemporary poets. Auden, despite the loss of his grandeur, continues with the Eliotian metaphysical process of aesthetic amoral art song that has made him great in the early phase. The time-conscious political poets of the thirties, while heading towards the romantic ideals of their early phase, mounts up their rage against Thomas for his deviation in the later art songs from his early poems of pity. The young Movement poets commend Auden’s early poem for the parable of pure poetry and aesthetic success and defends his avenging move against Thomas. The introductory poem implies that it is Thomas’s introspective process of individuation and integration, coherence and co-existence, his paradoxical sensibility, his tragi-comic vision of Grecian altruistic art song that guards his sober and benign functioning as an ardent emulator of the pagan altruistic tradition of Hardy, Yeats, Houseman and Blake, as a poet of reconciliation, harmonization and cosmopolitan culture analogous to his functioning in the early poem 18 Poems.
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Matos, Lucas de Mello Cabral e. "Em defesa do corpo, em defesa da voz: a situação da performance vocal do poema e de sua investigação." Elyra, no. 18 (2021): 43–63. http://dx.doi.org/10.21747/2182-8954/ely18a3.
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The main purpose of this article is to understand the lack of importance given to research and critical thinking regarding the vocal performance of poems in studies of Brazilian poetry. In this sen-se, it’s important to recognize that our context is still centered in a world view that can be characterized as graphocentrism or scriptsm. The immediate consequence of such is that we lack proper tools to cate-gorize, historicize, archive, and, in summon, critique vocal performances produced by Brazilian contem-porary poets. Thus, it’s important to establish that, from critical, methodological and historical points of view, the most important research on vocal performance is yet to be made. The article closes with an analysis of a vocal performance, using criteria adequate to an oral based medium, as an example of the possibilities entangled in the research and critical thinking of vocal performance to understand different aspects of contemporary poetry
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Ishii, Satoshi. "Hyaku‐nin Isshu(single poems by a hundred Poets):A Japanese text‐performance tradition." Text and Performance Quarterly 9, no. 4 (1989): 334–35. http://dx.doi.org/10.1080/10462938909365945.
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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 entertaining lampoon for their audience. Central to the discussion is an analogy of their poetry with the modern lampoon genre known as “the Dozens,” which further elucidates the performative aspects of this poetic corpus.
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Skarbek-Kazanecki, Jan. "When poetry becomes autobiography: anecdote as an interpretative tool in the Greek classical epoch." Tekstualia 2, no. 61 (2020): 19–36. http://dx.doi.org/10.5604/01.3001.0014.3810.
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The article discusses the role of biography in the reception of archaic poetry in the classical period. As it is illustrated by a fragment of Critias (295W), in the fi fth century B.C. the archaic poetic traditions, previously transmitted orally through performance, began to be interpreted from a biographical perspective: fi rst-person statements were mostly associated with the poets themselves and treated as a source of biographical information; in other words, archaic poetry came to be seen as a kind of autobiography. Anecdotes about poets were used to interpret the same poems which had provided the basis for these false stories: as an interpretative tool, they simplifi ed old compositions, not always clear for the reader. Until the 1980s, classical philologists often relied on false testimonies from the classical and Hellenistic era, limited by their attachment to the biographical perspective.
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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 through ontological annotation. A corpus of lyric songs written by Liu Yong and Su Shi in the Song Dynasty is used, which is word segmented and ontologically annotated. State-of-the-art techniques in automatic text classification are adopted and machine learning methods applied to evaluate the performance of the imagery-based features. Empirical results show that word tokens alone can be used to achieve an accuracy of 87% in the task of authorship attribution between Liu Yong and Su Shi. More interestingly, ontological knowledge is shown to produce significant performance gains when combined with word tokens. This observation is reinforced by the fact that most of the feature sets with ontological annotation outperform the use of bare word tokens as features. Our empirical evidence strongly suggests that the use of imageries is a powerful indicator of poetic discourse that is characteristic of the two poets concerned in the study.
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Howard, Krystal. "Youth Poets in Children's Literature, Media, and Performance." Children's Literature Association Quarterly 47, no. 4 (2022): 355–56. http://dx.doi.org/10.1353/chq.2022.0044.
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CÖMERT, Erkam. "ELAZIĞ-HARPUT MÜZİĞİNDE DİVAN VE GAZEL FORMUNUN EDEBİ UNSURLARLA İLİŞKİSİ." TOBIDER - International Journal of Social Sciences 6, no. 1 (2022): 62–85. http://dx.doi.org/10.30830/tobider.sayi.10.3.
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As an ancient city, Harput has hosted many civilizations. The existence of different ethnic and belief groups in the region has led to cultural diversity and richness. This situation is also reflected in the local music. With this study, it has been tried to reveal how the Divan and Gazel genres in Folk Literature entered the music of Elazığ-Harput, their performance in the local music and the relationship of these musical forms with Divan literature. The study is limited to dealing with the relation of Divan and Gazel form in Elazığ-Harput region and its music with Divan Literature. It is a qualitative study in the context of determining how Divan and Gazel, which are both long air types and maqams, are used in local music in Elazığ-Harput music. Since Harput is an important cultural center, many poets grew up in the region. These poets who grew up in Harput were influenced by Divan poets and their poems. Divan is also used as a maqam specific to Elazığ-Harput music. This scope of work; Literature and references were searched by making use of graduate theses, library catalogues, internet primary and secondary sources, printed refereed journal-article indexes, and printed bibliography books in the YÖK thesis database.
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Khaninova, Rimma. "Dombra in Kalmyk folklore and Lyrics of the 20th – early 21st centuries: poetics of a musical instrument." Бюллетень Калмыцкого научного центра Российской академии наук, no. 1 (May 15, 2024): 178–208. http://dx.doi.org/10.22162/2587-6503-2024-1-29-178-208.
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The relevance and novelty of the article is determined by the fact that the poetics of a musical instrument was not the object and subject of research in Kalmyk folklore and poetry. Among the national musical instruments, the dombra retains its functionality at the present stage. The study of dombra as a thing and as a musical instrument in the translation of folk culture and art is of interest in a historical-functional, comparative-comparative sense when referring to both folklore and poetry, since it demonstrates the tradition, the continuity of the works of poets on this topic. In Kalmyk oral folk art, the dombra as a musical instrument is often found. It is mentioned in epics, fairy tales, legends, riddles, and songs. The material for the article were selected folklore works and representative poems of Kalmyk poets of the 20th – early 21st centuries. The purpose of the article is to consider the poetics of dombra as a thing and a musical instrument in Kalmyk folklore and lyrics to identify the continuity of traditions in the modern period. Results. The Kalmyks, unlike other Turkic-Mongolian peoples, apparently have not preserved folklore works about the appearance of the dombra as such, since it is considered a borrowed instrument. There are no such poems in Kalmyk lyrics. In Kalmyk folklore, the dombra is shown in its musical function; usually it does not have a plot-forming role. Among Kalmyk poets, poems about dombra are usually associated with the Dzhangarchi’s performance of folk epic songs, with folk rituals and holidays, singing and dancing. Depending on the time and space reflected in such texts, dombra is shown against the backdrop of historical and personal events, demonstrating a thematic range. A number of texts are dedicated to famous performing musicians and masters of dombra art. The analysis involved poems created in the Kalmyk and Russian languages, and also compared the original texts and their Russian translations.
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Cairns, Francis. "Money and the Poet: The First Stasimon of Pindar Isthmian 2." Mnemosyne 64, no. 1 (2011): 21–36. http://dx.doi.org/10.1163/156852511x505015.
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AbstractThe first stasimon of Pindar Isthmian 2 has long been problematic: it appears to privilege past over present poetry and to stigmatise contemporary poets, including Pindar himself, as mercenary. This paper summarises previous solutions to this problem, none fully satisfactory, and, after modifying the logic of the first stasimon, proposes the following new solution. Pindar’s ‘past poetry’ (contrary to the view of earlier scholarship) does not consist of monodic love songs but of choric paidikal enkômia performed at low cost by amateur choruses of fellow paides, whereas his ‘present poetry’ is performed by professional choruses and musicians who were expensively costumed and trained and highly paid. The issue, then, is not the poets’ fees (for poets were always remunerated) but the high costs of contemporary choric performance. Those costs do not stigmatise Pindar as greedy, but they do further emphasise the patron’s generosity in funding Isthmian 2 and its performances.
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Nuriadi, Nuriadi. "BOOK REVIEW. DISTOPIA." Jurnal Humaniora 27, no. 3 (2016): 384. http://dx.doi.org/10.22146/jh.v27i3.22440.
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Robert Frost, one of the most prominent American poets of the mid-20th century, once stated that “literature is a performance in words” (Barnet et al., 1961: 1). The phrase “performance in words” specifically refers to the real significance of language in the presentation of a literary work. If there is no language, then there will be absolutely no literature or literary work. Language serves not only as a medium for the work’s existence but also for a work to be called a work of art. Related to this proposition, poetry as a literary genre certainly exists because of the language by which the poets or the authors pour out their artistic and creative craftmanship, and through which readers can really read, enjoy, and concretize the poets’ ideas and messages.
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Swartz, Michael D. "Singing in the Vernacular: Response." Aramaic Studies 17, no. 2 (2019): 256–71. http://dx.doi.org/10.1163/17455227-01702004.
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Abstract One of the most significant themes shared by the studies in this issue is intertextuality. Several authors conduct systematic analyses of the relationship between Aramaic poems and their biblical antecedents, while one study argues that the repetition of refrains in Jewish Aramaic poetry has much in common with the practice of public acclamation in the Greco-Roman world. Each of these studies also advances the question of the Sitz im Leben of Jewish Aramaic poetry in Palestine in late antiquity, including the context of its performance. The historical context of these poems is reflected in the way the poets addressed the conditions of their times. This response ends by singling out a number of further questions.
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Bender, Mark. "Treading Poetic Borders in Southwest China and Northeast India." Prism 18, no. 2 (2021): 431–55. http://dx.doi.org/10.1215/25783491-9290672.
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Abstract Since the 1980s ethnic minority poets writing in the borderlands of Southwest China and Northeast India emerged on the world stage from within currents of dramatic environmental, political, economic, and demographic change, cresting in momentum by the 2010s. Within these borderlands of the Eastern Himalayas, burgeoning populations, propelled by sociopolitical agendas, ecological disasters, and other factors, stress borders and resources in areas increasingly open to exploitation by regional and international corporations and governments. Minority poetic voices throughout the region often respond to these radical environmental and cultural shifts with imagery of the environment delivered in very personal terms. Poets not only assume individual voices but also take on metonymic personae, speaking for concerns of their own groups via print, live performance, and digital formats. Mutual awareness of these cross-border poetries is slowly emerging, revealing that themes of poems from within these border areas are often parallel, with common concerns, though local characteristics. Cultural shifts and accommodation to new or revised modes of living and reactions to increasingly severe challenges to the local and regional environments surface repeatedly in the poetry. Some poems tread boundaries between the human and nonhuman inhabitants of these border areas, speaking for—or as—plants, animals, and geographic features.
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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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Figueredo, María. "Poetry, Bodies and the Shadow of Nation at the 2012 London Olympics." Letras Femeninas 42, no. 1 (2016): 115–27. http://dx.doi.org/10.14321/letrfeme.42.1.0115.
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Abstract This essay examines the poetic performances of Rocío Cerón, Melisa Machado and Lía Colombino at the Poetry Parnassus, a non-competitive cultural event planned as part of the 2012 London Olympics. They were chosen to represent Mexico, Uruguay and Paraguay, three of the Latin American nations that competed athletically at the 2012 event. After describing this competition, the essay goes on to explore the performative and communicative strategies used by each of these three poets and it does so by relying on the notion of poesía expandida. The final three sections contain an analysis of the brief selections each of the poets performed. Despite marked differences between these poets, the essay argues that they share an interest in dismantling postcolonial notions of subjectivity, and that they do so by highlighting the importance of the body in the performance of their poetry, and the importance of the prehistoric origins of their respective selves in their poetic imagery. Only Cerón addresses her relationship with her national heritage directly in the poem she chose to perform; but the other two poets’ marked preoccupation with their animal, pre-cultural bodies reveals a generalized uncertainty, or discomfort, towards the postcolonial histories they have inherited.
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Muxfeldt, Kristina. "A Companion to Schubert's Schwanengesang : History, Poets, Analysis, Performance (review)." Notes 58, no. 1 (2001): 80–82. http://dx.doi.org/10.1353/not.2001.0161.
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Sigurðardóttir, Þórunn. "Ræningjarímur séra Guðmundar Erlendssonar í Felli og erlendar fréttaballöður." Gripla 34 (2023): 295–346. http://dx.doi.org/10.33112/gripla.34.10.
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News ballads are poems about recent events or the poets’ contemporaries that were printed on cheap paper and sold by street vendors or performed/sung in the squares and streets of towns and cities in Europe in the early modern period. This genre has not been studied in Icelandic literary history hitherto, since poems belonging to news ballads (or disaster ballads) have not been printed but only preserved in little-known manuscripts. We can see, however, from the book of poems by pastor Guðmundur Erlendsson (primarily in the manuscripts JS 232 4to and Lbs 1055 4to, preserved in the National Library of Iceland, Reykjavík) that seventeenth-century Icelandic poets knew of news ballads. Here I examine four of his poems belonging to this genre. One deals with an earthquake in Italy in 1627; the second describes the fall of the German city Magdeburg in 1631; the third describes the execution of King Charles I of England in grotesque and horrendous detail; and the fourth portrays the king himself, bidding farewell to his wife and children and to the crown. One may infer from the texts of Guðmundur’s poems that they were intended for performance and entertainment. They feature dramatic staging, an exciting plot, and a clear moral message addressed to the audience at the end. All the poems are based on real events that happened in the poet’s time; that is, natural disasters, disasters of war, and political execution. They are presumably translations of European ballads, but the poet places the events in the context of the reality of his audience in Iceland. The poems demonstrate that the genre of news ballads reached Iceland no later than the early seventeenth century, thus expanding the repertoire of early modern Icelandic poetry. Also of note is the fact that Guðmundur Erlendsson’s Rover rhymes do not deal with ancient heroes or fictional characters from the distant past, as was the general rule for seventeenth-century rhyme cycles, but with tragic events from the poet’s own time, the so-called “Turkish Raid” of 1627. In the rhymes, the trail of the raiders is traced around the country; place names are mentioned to support the veracity of the narrative, as are the names of people assaulted or captured by the raiders. The narrative is dramatic and suspenseful, and descriptions of the pirates’ actions are presented in grotesque detail. The last rhyme contains a warning to the audience and a moral message. The terrible events happened because of the disobedience and immorality of Icelanders, and the poet urges his compatriots to obey the Lord and pray for peace in the country, just as he did in the ballads. Thus, the poet not only translated European news ballads into Icelandic, introducing the genre to his audience/readers, but he also used the genre’s characteristics and subject matter in an innovative way in a rhyme cycle on a contemporary event in Iceland. It is entirely possible that the influence of news ballads was more prevalent in Icelandic poetry of later centuries. That needs, however, further research.
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MacArthur, Marit J. "Monotony, the Churches of Poetry Reading, and Sound Studies." Publications of the Modern Language Association of America 131, no. 1 (2016): 38–63. http://dx.doi.org/10.1632/pmla.2016.131.1.38.
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Engaging with and amending the terms of debates about poetry performance, I locate the origins of the default, neutral style of contemporary academic poetry readings in secular performance and religious ritual, exploring the influence of the beat poets, the black arts movement, and the African American church. Line graphs of intonation patterns demonstrate what I call monotonous incantation, a version of the neutral style that is characterized by three qualities: (1) the repetition of a falling cadence within a narrow range of pitch; (2) a flattened affect that suppresses idiosyncratic expression of subject matter in favor of a restrained, earnest tone; and (3) the subordination of conventional intonation patterns dictated by syntax, and of the poetic effects of line length and line breaks, to the prevailing cadence and slow, steady pace. This style is popularly known as “poet voice.” Recordings of four contemporary poets—Natasha Trethewey, Louise Glück, Michael Ryan, and Juliana Spahr—demonstrate this style, which contrasts with more expressive, idiosyncratic readings by poets as distinct as Frank Bidart and Kenneth Goldsmith.
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Bravi, Paolo, and Teresa Proto. "Intra-line and inter-individual variation in Sardinian arrepentina." Open Linguistics 5, no. 1 (2019): 496–510. http://dx.doi.org/10.1515/opli-2019-0027.
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AbstractS’arrepentina is a genre of extemporary poetry performed by semi-professional poets, both at informal gatherings and in public contests in south-central Sardinia. The name arrepentina refers both to the genre/performance in its entirety, and to the set of metrical forms and rhyme schemes used during the performance. Lines occur in non-strophic (stichic) form, and are made up of halflines linked by a complex system of rhymes. Unlike similar metrical forms, s’arrepentina is not performed in a “free rhythm” singing style. Typically, poets improvise their verses accompanied by an accordion, which provides a steady pulse. In this study, we investigate variation in nine arrepentinas and we aim to determine the degree of rhythmical variability in each halfline by measuring it against the underlying meter provided by the musical accompaniment. From the analysis, it emerges that the rhythmical variants are concentrated at specific positions, and their distribution suggests an asymmetry between the two halflines. Some inter-individual variation among the poets also appears in their preference for one type of variant over others.
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Sohini, Riya. "Decolonization through Spoken Word Poetry: A Postcolonial Analysis of Emi Mahmoud and Safia Elhillo’s poetry." International Journal of English Literature and Social Sciences 7, no. 6 (2022): 044–59. http://dx.doi.org/10.22161/ijels.76.8.
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Hip Hop has been a cultural wave creating and modifying the revolution started in the 1970s by Black people against systemic oppression, and while it manifests itself as a commodified narrativization against racism, sexism and other equally troublesome oppressive ideologies, it becomes a site for change through ethnographic performativity. Spoken Word poets have used this tool to bring marginal narratives to the center and challenge the heteropatriarchal lens, misogynoir and racist practices all around the world. Spoken word poetry has not been researched analytically or theoretically much previously, and even when it was, the research and statistics were limited to the technical aspects of performance. This paper deals with the idea of culture being a site for performance, and simultaneously performance being the action that precedes stereotypes and false representations of marginalized cultures throughout the global north. The spoken word poets use the stage as a liminal space for a multiplicity of cultures to thrive, and challenge the oppressive tools, including that of language, clothing, and voice used by mainstream cultures to oppress the said communities, and normalize their own traditions and morals. The paper reveals the performative tactics used by spoken word poets in order to deinstitutionalize systems of power, and establish a counter narrative of their own as a form of revolution.
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Jaime, Karen. "Patricia Herrera. Nuyorican Feminist Performance: From the Café to Hip Hop Theater." Modern Drama 64, no. 3 (2021): 378–80. http://dx.doi.org/10.3138/md.64.3.br3.
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Patricia Herrera fills a void in scholarship on the Nuyorican Poets Café. Her focus on women performers ( performeras) and their writing and performance challenges these artists’ marginalization and erasure, while the Nuyorican feminist aesthetic she proposes, as situated within intersectional feminism, underscores the work’s critical intervention in feminist performance theory.
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James, Kedrick. "Poetic Terrorism and the Politics of Spoken Word." Canadian Theatre Review 130 (March 2007): 38–42. http://dx.doi.org/10.3138/ctr.130.006.
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Late teen, early 1980s, and first gorging on poetry because it was the only thing that made sense, I became deeply enthused by hearing poems, as much as by reading them: to experience poetry as immanent, in synaesthetic plenty, all writing, reading, listening, speaking, watching, touching, tasting and smelling of poetry was involved. Poets whose work was about all the things language could do, and all the ways of doing it, really appealed to me. Among Canadian poets, I was not left wanting. Amazing work had already been achieved in the experimental spirit of the sixties and seventies: sound, visual, concrete and performance poetry; experimental theatre; choral and improvised forms; dub; and small press activism had all contributed to a robust literary environment. Best of all, we had great mentors and lots of critical work published to base our work on, to push the envelope toward an ever-more imaginative and unbridled poetic passion. One could follow the work of bpNichol, Steve McCaffery, Lillian Allen, bill bissett, Roy Kiyooka and so many more, set free to consider far-reaching visions of poetry’s future. It was this openness to experimentation, this breadth of imagination, that made Canadian poetry a wonderful ride that cost very little money and took you a long way.
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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.
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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.
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Dawson, Emma. "New New Zealand Poets in Performance by Jack Ross, Jan Kemp." World Literature Today 83, no. 3 (2009): 72–73. http://dx.doi.org/10.1353/wlt.2009.0133.
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Davis, Camea L., and Lauren M. Hall. "Spoken word performance as activism: Middle school poets challenge American racism." Middle School Journal 51, no. 2 (2020): 6–15. http://dx.doi.org/10.1080/00940771.2019.1709256.
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Khalfa, Jean. "Matisse’s Poets: Critical Performance in the Artist’s Book. By Kathryn Brown." French Studies 73, no. 2 (2019): 303–4. http://dx.doi.org/10.1093/fs/knz044.
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Silva de Freitas, Daniela. "Poetry and citizenship: notes on slam poetry in São Paulo and Rio de Janeiro from 2016-2020." Brasiliana: Journal for Brazilian Studies 10, no. 1 (2021): 176–95. http://dx.doi.org/10.25160/bjbs.v10i1.126113.
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The dispute towards the meanings of citizenship and poetry is one of the main concerns of the slam poetry produced in São Paulo and Rio de Janeiro between 2016 and 2020. This text analyzes works by Carol Dall Farra, Lucas Afonso, Luiza Romão, Luz Ribeiro, Mel Duarte, Roberta Estrela D’Alva, Tom Grito and Valentine and the context of their performance. It tries to foreground the mutually constitutive relationship between poetry and citizenship in the slam produced in these cities during this period. This relationship is grounded both at the level of the word, in the topics brought to discussion by the poets, and at the level of performance, in the enactment and collective pratice of slam poetry by the members of its community, its organizers, poets and audience members.
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Giordano, Matthew, and Angela Sorby. "Schoolroom Poets: Childhood, Performance, and the Place of American Poetry, 1865-1917." Journal of the Midwest Modern Language Association 39, no. 1 (2006): 179. http://dx.doi.org/10.2307/20464171.
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DeShazer, Mary K., and James McCorkle. "The Still Performance: Writing, Self, and Interconnection in Five Postmodern American Poets." American Literature 62, no. 3 (1990): 535. http://dx.doi.org/10.2307/2926772.
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Sherwood, Kenneth. "Elaborate Versionings: Characteristics of Emergent Performance in Three Print/Oral/Aural Poets." Oral Tradition 21, no. 1 (2006): 119–47. http://dx.doi.org/10.1353/ort.2006.0019.
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Olaoluwa, Senayon S. "From Simplicity to Performance: The Place of Second Generation Anglophone African Poets." English Studies 89, no. 4 (2008): 461–81. http://dx.doi.org/10.1080/00138380802011891.
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Forslid, Torbjörn, and Anders Ohlsson. "The Author on Stage: Björn Ranelid as Performance Artist." Culture Unbound 2, no. 4 (2010): 529–51. http://dx.doi.org/10.3384/cu.2000.1525.10231529.
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Media development has profoundly affected the literary public sphere. Authors as well as politicians may feel obliged to follow “the law of compulsory visibility” (John B. Thompson). All contemporary writers, be it bestselling authors or exclusive, high brow poets, must in one way or another reflect on their marketing and media strategies. Meeting and communicating with the audience, the potential readers, is of critical importance. In the article “The Author on Stage”, the authors consider how different literary performances by Swedish novelist Björn Ranelid (b. 1949) help establish his “brand name” on the literary market place.
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Tabor, Nathan L. M. "A Local Apocalypse: District Fairs and Poetry Recitation in Rural India." Journal of Urdu Studies 1, no. 1 (2020): 67–89. http://dx.doi.org/10.1163/26659050-12340005.
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Abstract Since the early twentieth century, Urdu poets have recited verse at locally-organized poetry gatherings held in country fairs across North India’s Gangetic plain. Critical engagement with these mushāʿarahs overturns assumptions about historical and affiliative aspects of vernacular and elite literary practices, revealing a patchwork of patronage, influence, and taste among poets and their audiences, while also highlighting unexpected routes of textual circulation outside urban locales. This essay examines poetry gatherings in and around the city of Muzaffarnagar located in North India’s Upper Doab. Ethnographic and archival materials tell a history of the performance arenas, tea stalls, and municipal structures of a semi-urban milieu that changes the scale of Urdu literary spaces over time.
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Dorsey, Charlie Hope. "In the Dark." Art/Research International: A Transdisciplinary Journal 3, no. 1 (2018): 247–57. http://dx.doi.org/10.18432/ari29335.
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The artist’s duty is to “reflect the times,” said Nina Simone. Poets too, have this political duty. As a queer Black woman, I share my lived experience(s) as a political form of engagement and resistance, both in writing and onstage. Inspired by Audre Lorde’s (1984) text Sister Outsider, this piece of personal performance poetry explores Della Pollock’s notion that performative writing is citational. Blending references to white poets such Emily Dickinson with allusions to writers, artists, and theorists of color, this piece makes space for black culture in the academy and recounts my return home after a period of self-imposed exile. It surveys the liminal space between the dark of writing and the light of performance and also critiques the hierarchal academic structures that subjugate knowledge, people, and spoken word poetry. It was originally written and performed in a show entitled Greyscale: Performing Across Difference, in the Marion Kleinau Theatre, in March 2017.
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Macrea, Claudia-Ioana, and Blanca Arias-Badia. "Subtitling Slam Poetry for the d/Deaf and Hard of Hearing Audiences." Między Oryginałem a Przekładem 28, no. 1 (55) (2022): 93–117. http://dx.doi.org/10.12797/moap.28.2022.55.05.
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Slam poetry is a competitive performance in which poets deliver their own, short pieces, and are judged by randomly chosen audience members. This form of performed poetry is an underexplored text type in audiovisual translation (AVT). To fill in this gap, this paper provides an introductory account of current practices in the translation of slam poetry, both at local and international competitions held onsite and online. After that, the paper describes the challenges entailed in making slam poetry accessible for the d/Deaf and Hard of Hearing by means of intralingual subtitles added to pre-recorded sessions. The focus of the analysis is placed on the translation of literary style constrained by the immediacy inherent to this form of performance, in which speech rates are typically high. Translation challenges and solutions are illustrated with examples taken from a small corpus of four poems. The study is based on the authors’ experience in collaboration with the non-profit organization Associació RED927 Literatura Oral responsible for the main slam poetry event in Barcelona (Spain).
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Terekhina, Vera N., and Natalia I. Shubnikova-Guseva (Guseva). "“The sister of music is poetry”: Poems of Russian poets in the romances of S.V. Rachmaninov." Philological Sciences. Scientific Essays of Higher Education, no. 6 (November 2023): 116–24. http://dx.doi.org/10.20339/phs.6-23.116.
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The article examines six of S.V. Rachmaninov’s 83 romances based on poems by famous poets of the Silver Age: “Dream” by F. Sologub, “The Pied Piper” by V. Bryusov, “To Her” A. Bely, “Au” by K. Balmont, “At Night in my Garden” by A. Isaakian (translated by A. Blok), “Daisies” by Igor Severyanin. These romances, written in the summer of 1916 in Ivanovka, turned out to be Rachmaninov’s last appeal to the poetic word. Attention is paid to the history of their creation and performance associated with the writer M.S. Shaginyan and the wonderful singer N.P. Koshits. Genre specifics, peculiarities of the fusion of poetry, music and vocal art are analyzed. It is shown that Russian lyrics inspired the musician to create new techniques of musical imagery, enriching the sound palette. In the musical drawing of Rachmaninov’s romances, along with a smooth rhythmic dominant, noticeable pauses, figures of “birdsong”, watercolor and graphic sketches of flowers appeared. Special attention is paid to the little-known history of Rachmaninov’s long-term communication with the author of the words to the romance “Daisies”, which is recognized as the best in the work under consideration. For this purpose, the letters of the Northerner to Rachmaninoff are given, as well as the text and circumstances of the creation of the poem “They all talk about one thing …” (1927) with a dedication to “Sergei Vasilyevich Rachmaninoff”.
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Jeon, Jihyun. "Linguistic Activism and its Origin." Communications in Humanities Research 3, no. 1 (2023): 1053–58. http://dx.doi.org/10.54254/2753-7064/3/2022836.
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Poetry, as a huge part of the artistic culture in the modern day, has had roles from records of stories and letters of flattery to a form of creative expression. Over the years, poetry gained a larger audience, with social media platforms promoting poets and their messages to society. Activist movements had the help of poems to deliver their voices for social justice, such as performance poetry used by black artists to advocate for their rights artistically. However, linguistic activism is not a newly emerging movement; instead, the idea of raising new ideas to society to cause political or social change existed far before our times. To further explore this connection, this paper will use cases from the past and relate concepts from different eras and will therefore propose a conclusion of the necessity of such a connection between art, innovation, social progression, and politics.
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Schmidt, Gary D. "Schoolroom Poets: Childhood, Performance, and the Place of American Poetry, 1865-1917 (review)." Lion and the Unicorn 30, no. 3 (2006): 410–13. http://dx.doi.org/10.1353/uni.2006.0037.
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Thomas, Joseph T. "Schoolroom Poets: Childhood, Performance, and the Place of American Poetry, 1865-1917 (review)." Children's Literature Association Quarterly 30, no. 4 (2005): 443–47. http://dx.doi.org/10.1353/chq.2006.0020.
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TIGNOL, EVE. "Nostalgia and the City: Urdushahr āshobpoetry in the aftermath of 1857." Journal of the Royal Asiatic Society 27, no. 4 (2017): 559–73. http://dx.doi.org/10.1017/s135618631700013x.
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AbstractAfter the Uprising of 1857, many poets from north Indian cities resorted to the Urdu nostalgic genre ofshahr āshobto recall mournfully pre-colonial urban landscapes and articulate emotional and poetic narratives of loss. This article proposes to open new perspectives for the historical study of collective memory and trauma among Urdu-speakingashrāfin the nineteenth century by looking at one collection of such poems entitled ‘The Lament for Delhi (Fuġhān-e Dehlī)’ (1863), which has recently started to attract the attention of historians. Although scholarship has generally emphasised the continuity of these poems with theshahr āshobtradition, this article re-assesses this body of texts through a careful analysis of their main literary motifs and highlights their originality and divergence from previousshahr āshobs. Beyond the stereotypical, the poems of ‘The Lament for Delhi’ both construct 1857 as cultural trauma through the use of powerful literary devices and the performance of collective grief as well as re-channel memory and melancholy into the urban landscape by emphasising its materiality and reinvesting it with new meanings and stakes. This paper more broadly underlines the importance of this under-studied source to understand the impact of 1857 on the imaginary of Urdu-speakingashrāfand on the cultural and social history of colonial India.
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GERSTLE, C. ANDREW. "The culture of play: kabuki and the production of texts." Bulletin of the School of Oriental and African Studies 66, no. 3 (2003): 358–79. http://dx.doi.org/10.1017/s0041977x03000259.
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This article examines the role of performance (defined in its broadest sense) in Japanese literary culture, specifically the relationship between performance and the production of physical texts, both script and illustration. It postulates the thesis that performance has been an essential part of artistic creation even among highly literate artists/writers in the genres of poetry (waka, renga, haikai, kyōka), Nō and kabuki drama. A case is made that artists' salons (including professionals and amateurs) were an integral part of cultural life and that their activities were as important as the physical texts produced in response to such performances. The core of the article focuses on the Kabuki ‘culture of play’ in Osaka, through which actors, poets, artists and fans participated both in performances and in the production of texts such as books on actors (yakusha ehon), books on theatre (gekisho), surimono (privately-commissioned prints commemorating a poetry gathering), single-sheet actor prints, and actor critique books (yakusha hyōbanki).
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Orel, Barbara. "Performing Literature and Staged Readings." Amfiteater 11, no. 1 (2023): 160–72. http://dx.doi.org/10.51937/amfiteater-2023-1/160-172.
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In 2005, on the initiative of playwright Simona Semenič and in close collaboration with performing arts theorist Rok Vevar, a group of playwrights and dramaturgs founded PreGlej within the Glej Theatre in Ljubljana, Slovenia. The group confronted the issues of playwriting and, within a few years, established a platform for the creation, development and international exchange of dramatic writing. Their work was committed to establishing the conditions necessary for creating dramatic texts. To this end, they used the form of staged readings – not only as a public presentation of dramatic plays but as a method for developing drama, bringing drama as a work in progress. The article shows that this kind of playwriting practice on Slovenian stages has its precursors in the experimental theatre practices of the 1960s and 1970s (as applied by the neo-avant-garde groups of poets 441/442/443, Nomenklatura and LKB – Literarni klub Branik, as well as in the performances of writers presenting their literary works at the Pekarna Theatre). Poets and writers staged their works, which were not primarily intended to be performed, creating theatrical forms of writing for the stage, which fit neither the conventions of drama nor the tradition of theatre. The staging of literature and staged readings are discussed in the context of performance writing, which characterises the multiple relationships between writing and performance, focusing on the process of writing as a performative act.
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Orel, Barbara. "Performing Literature and Staged Readings." Gledališke in medumetnostne raziskave 11, no. 1 (2023): 160–72. http://dx.doi.org/10.51937/amfiteater_2023_1/160-172.
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In 2005, on the initiative of playwright Simona Semenič and in close collaboration with performing arts theorist Rok Vevar, a group of playwrights and dramaturgs founded PreGlej within the Glej Theatre in Ljubljana, Slovenia. The group confronted the issues of playwriting and, within a few years, established a platform for the creation, development and international exchange of dramatic writing. Their work was committed to establishing the conditions necessary for creating dramatic texts. To this end, they used the form of staged readings – not only as a public presentation of dramatic plays but as a method for developing drama, bringing drama as a work in progress. The article shows that this kind of playwriting practice on Slovenian stages has its precursors in the experimental theatre practices of the 1960s and 1970s (as applied by the neo-avant-garde groups of poets 441/442/443, Nomenklatura and LKB – Literarni klub Branik, as well as in the performances of writers presenting their literary works at the Pekarna Theatre). Poets and writers staged their works, which were not primarily intended to be performed, creating theatrical forms of writing for the stage, which fit neither the conventions of drama nor the tradition of theatre. The staging of literature and staged readings are discussed in the context of performance writing, which characterises the multiple relationships between writing and performance, focusing on the process of writing as a performative act.
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Orel, Barbara. "Performing Literature and Staged Readings." Amfiteater 11, no. 1 (2023): 146–72. http://dx.doi.org/10.51937/amfiteater-2023-1/146-172.
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In 2005, on the initiative of playwright Simona Semenič and in close collaboration with performing arts theorist Rok Vevar, a group of playwrights and dramaturgs founded PreGlej within the Glej Theatre in Ljubljana, Slovenia. The group confronted the issues of playwriting and, within a few years, established a platform for the creation, development and international exchange of dramatic writing. Their work was committed to establishing the conditions necessary for creating dramatic texts. To this end, they used the form of staged readings – not only as a public presentation of dramatic plays but as a method for developing drama, bringing drama as a work in progress. The article shows that this kind of playwriting practice on Slovenian stages has its precursors in the experimental theatre practices of the 1960s and 1970s (as applied by the neo-avant-garde groups of poets 441/442/443, Nomenklatura and LKB – Literarni klub Branik, as well as in the performances of writers presenting their literary works at the Pekarna Theatre). Poets and writers staged their works, which were not primarily intended to be performed, creating theatrical forms of writing for the stage, which fit neither the conventions of drama nor the tradition of theatre. The staging of literature and staged readings are discussed in the context of performance writing, which characterises the multiple relationships between writing and performance, focusing on the process of writing as a performative act.
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Orel, Barbara. "Performing Literature and Staged Readings." Amfiteater 11, no. 1 (2023): 160–73. http://dx.doi.org/10.51937/amfiteater-2023-1/160-173.
Full textAbstract:
In 2005, on the initiative of playwright Simona Semenič and in close collaboration with performing arts theorist Rok Vevar, a group of playwrights and dramaturgs founded PreGlej within the Glej Theatre in Ljubljana, Slovenia. The group confronted the issues of playwriting and, within a few years, established a platform for the creation, development and international exchange of dramatic writing. Their work was committed to establishing the conditions necessary for creating dramatic texts. To this end, they used the form of staged readings – not only as a public presentation of dramatic plays but as a method for developing drama, bringing drama as a work in progress. The article shows that this kind of playwriting practice on Slovenian stages has its precursors in the experimental theatre practices of the 1960s and 1970s (as applied by the neo-avant-garde groups of poets 441/442/443, Nomenklatura and LKB – Literarni klub Branik, as well as in the performances of writers presenting their literary works at the Pekarna Theatre). Poets and writers staged their works, which were not primarily intended to be performed, creating theatrical forms of writing for the stage, which fit neither the conventions of drama nor the tradition of theatre. The staging of literature and staged readings are discussed in the context of performance writing, which characterises the multiple relationships between writing and performance, focusing on the process of writing as a performative act.
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DORCHIN, Uri. "IN SEARCH OF CREATIVE EXPRESSION: THE DIALECTICS OF RACE, POLITICS, AND LITERATURE IN CARIBBEAN DUB POETRY / IEŠKANT KŪRYBINĖS IŠRAIŠKOS: RASĖS, POLITIKOS IR LITERATŪROS DIALEKTIKA KARIBŲ DUB ŽANRO POEZIJOJE." Creativity Studies 10, no. 2 (2017): 159–73. http://dx.doi.org/10.3846/23450479.2017.1361875.
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This article examines dub poetry as an artistic form located along several borderlines, both spatial and cultural. Formulated by poets of African descent, the creative language of dub poets was often conceptualized through the framework of identity politics and an anti-colonial approach. Yet from the 1980s, dub poetry became institutionalized simultaneously within the pop culture industry and in “respectable” venues such as academic research, a process that calls its initial political orientation into question. In light of its differentiated formations, audiences, mediating devices, and forms of reception, however, we might view and evaluate dub poetry not exclusively through the prism of political speech, but also as a cultural form. Based on texts, recordings and performance analysis this article is a call to acknowledge dub poetry, and artistic expression in general, as the result of aesthetic decisions rather than exclusively moral ones.
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Ferrier, Ian. "Tools of Poetry in Performance in Canada." Canadian Theatre Review 130 (March 2007): 32–37. http://dx.doi.org/10.3138/ctr.130.005.
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This essay is a glimpse into the process I use to evaluate the work I see on the road while touring and the work that passes through the Words & Music Show in Montreal, a show 1 have been curating and producing for the past six years. Like many of the people who look at the work of a lot of poets, evaluation across genres is something I do unconsciously all the time. In the Words & Music Show, there is no telling what genre of performance to expect, but there is certainly a way of knowing which performers are worth hearing once every four years, which never again and which bring something new and powerful each time they come through the door. This essay tries to define a few of the facets of poetry in performance, to show how they arose naturally from a number of other, related media and to give a few examples of how they’re used in current practice.
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Turner, Cathy. "Palimpsest or Potential Space? Finding a Vocabulary for Site-Specific Performance." New Theatre Quarterly 20, no. 4 (2004): 373–90. http://dx.doi.org/10.1017/s0266464x04000259.
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A recent preoccupation with space and place has drawn together theorists and workers in a wide range of disciplines, including human geographers, archaeologists, architects, cartographers, psychoanalysts, sociologists, poets, novelists – and theatre practitioners. There are therefore a range of lenses, a range of vocabularies, through which site-specific theatre and performance can be considered. In this article, Cathy Turner focuses on Mike Pearson's descriptions of site-specific work, particularly his involvement with archaeology, before proposing that we might find a useful, complementary vocabulary within psychoanalytic theories of object relations. She refers to performances by Lone Twin and to her own work with site-specific company Wrights & Sites, who created An Exeter Mis-Guide and A Courtauld Mis-Guide in 2003. Cathy Turner has produced a number of site-specific ‘mis-guided walks’, tours, and performances in her work with Wrights & Sites since 1998. She recently completed a Research Fellowship at Exeter University, investigating writing processes in contemporary performance, including site-specific work. She is now a Teaching Fellow at Exeter University and an Associate Lecturer at Dartington College of Arts.
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Omidsalar, Mahmoud, and Dwight Fletcher Reynolds. "Heroic Poets, Poetic Heroes: The Ethnography of Performance in an Arabic Oral Epic Tradition." Western Folklore 55, no. 3 (1996): 250. http://dx.doi.org/10.2307/1500487.
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