Academic literature on the topic 'Poem book'
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Journal articles on the topic "Poem book"
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Newlands, Carole. "‘Book-Ends’: Statius Silvae 2.1 and 2.7." Ramus 35, no. 1 (2006): 63–77. http://dx.doi.org/10.1017/s0048671x00000928.
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My purpose in this article is straightforward, to counter some misconceptions about two of Statius' poems,Silu.2.1, his consolatory poem for the death of the twelve-year old Glaucias, andSilu.2.7, his consolatory poem for the death of the poet Lucan. These are the first and last poems of Book 2. Poems of lament and consolation constitute the majority of the poems of Statius'Siluae. Yet these poems have been generally dismissed as wearisomely rhetorical and have been largely overlooked in the critical literature aboutconsolationesas they endorse lamentation, elaborate upon it, and thus run counter to philosophical strictures against overt grief. Issues of class also surely play a role in their dismissal as trivial poems. Unlike Augustan poems of lament—for instance Ovid's poem on the death of Tibullus—two of the poems in Book 2 mourn a child of low birth and a young slave (Silu.2.1 andSilu.2.6). A proper understanding of the social occasions and circumstances in whichSilu.2.1 andSilu.2.7 are embedded, however, will show that they can offer valuable insight into contemporary Flavian society. Such an understanding moreover can point the way to a freshliteraryappreciation of these poems, although that is not the chief aim of this article.
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Harrison, S. J. "Deflating the Odes: Horace, Epistles 1.20." Classical Quarterly 38, no. 2 (1988): 473–76. http://dx.doi.org/10.1017/s0009838800037083.
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Epistles 1.20, the last poem of its book, begins with an elaborate joke on the entry of Horace's book of epistles into the world and ends with a well-known σϕραγίς describing the poet himself. It will be argued here that this final poem recalls and subverts the pretensions of two earlier final poems in Horace's own Odes, and that its good-humoured depreciation of Horace himself is matched by a similar attitude towards his previous grand poetic claims as a lyric vates.
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Correia, Paulo Petronílio, and Michael Silva. "While Performance Poem: poetry n. 1 songs Book." Guará 7, no. 1 (2017): 6. http://dx.doi.org/10.18224/gua.v7i1.6207.
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This essay will make an assessment of the poem n° 1 of the book Songs of the Portuguese poet António Botto [1897-1959, Brazil]. To do so, you will notice text constituents to highlight aspects of the homoerostismo of the poem while performance. The work is based on sensations caused from the date the poem to raise hypothesis that the poetic text can introduce at least five moments of performance.Poema Enquanto Performance: a poesia n. 1 do livro CançõesEste ensaio fará uma apreciação do poema nº 1 do livro Canções, do poeta português António Botto [1897-1959, Brasil]. Para tanto, observará aspectos constituintes do texto para salientar o homoerostismo do poema enquanto performance. O trabalho se alicerça nas sensações provocadas a partir do encontro com o poema para levantar hipótese de que o texto poético pode instaurar, pelo menos, cinco momentos de performance.
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Elkins, Benjamin. "Felix Hausdorff’s Poem “Den Ungeflügelten”." Journal of Humanistic Mathematics 11, no. 2 (2021): 405–8. http://dx.doi.org/10.5642/jhummath.202102.23.
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In 1900, Felix Hausdorff published Ekstasen (Ecstasy) under the pseudonym Paul Mongré. The book is comprised of 157 poems (70 sonnets, 32 rondels, 25 "mixed poems", where Hausdorff effortlessly combines different types of poetic styles, and 30 more poems). Den Ungeflügelten (To The Wingless Ones) is the first poem in this book and provides an interesting self-portrait of Hausdorff as he embraces his muse with confidence. Here I present an English translation of this poem without (much) commentary.
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Correia, Éverton Barbosa. "Sevilha andando, com “A sevilhana que não se sabia” / Sevilha andando, with “A sevilhana que não se sabia”." O Eixo e a Roda: Revista de Literatura Brasileira 29, no. 2 (2020): 139. http://dx.doi.org/10.17851/2358-9787.29.2.139-158.
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Resumo: Em 1987, quando foi publicada a coleção de poemas de João Cabral de Melo Neto intitulada Crime na Calle Relator, “A sevilhana que não se sabia” era o segundo na ordem de exposição, logo após o poema homônimo ao livro. Aquele poema foi reproduzido como o primeiro da coleção seguinte do autor, intitulada Sevilha andando (1989), ao passo que deixou de figurar nas reedições do livro em que constara de início. Assim, o poema que era de um livro passou a compor outro, exclusivamente, por iniciativa do próprio autor, para quem importava a constituição do artefato estético que o livro vem a ser. Este traço diferencial na trajetória do autor incide retrospectivamente sobre toda sua obra, a partir desse evento marcante que interfere na compreensão do que constitui um livro, seja sua publicação ou a reunião de poemas que demanda uma apreciação particularizada, de caso a caso, dos poemas entrelaçados entre si. Acompanhando a repercussão do poema no contexto da obra poética em pauta, será feito um cotejo entre as edições disponíveis dos volumes implicados para se chegar a uma compreensão mais palpável do poema, perspectivado ao longo daquela produção poética.Palavras-chave: poesia brasileira moderna; João Cabral de Melo Neto; estilo; editoração.Abstract: In 1987, when the João Cabral de Melo Neto’s collection of poems was published under the title of Crime in Calle Relator (1987), “A sevilhana que não se sabia” was the second in the order of exhibition, shortly after the poem of the same name to the book. That poem was reproduced as the first of the author’s next collection, titled Sevilha andando (1989), while it ceased to appear in the reissues of the book in which it was initially listed. Thus, the poem that was from one book began to compose another, exclusively, at the initiative of the author himself, for whom it mattered the constitution of the aesthetic artifact that the book comes to be. This differential trait in the author’s trajectory focuses retrospectively on all his work, from this remarkable event that interferes with the understanding of what constitutes a book, be it its publication or the meeting of poems that demands an appreciation particularized, on a case-by-case basis, of the poems intertwined with each other. Following the repercussion of the poem in the context of the poetic work, it will be made a comparison between the available editions of the volumes involved, to reach a more palpable understanding of the poem, perspectived throughout that poetic production.Keywords: modern Brazilian poetry; João Cabral de Melo Neto; style; publishing.
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Hinds, Stephen. "Booking the return trip: Ovid and Tristia 1." Proceedings of the Cambridge Philological Society 31 (1985): 13–32. http://dx.doi.org/10.1017/s0068673500004739.
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Two journeys are implied by the existence of Tristia 1: one, by a poet, a from Rome to the gates of the Black Sea; the other, by a book, from the gates of the Black Sea back to Rome. Each of these journeys is explicitly, and prominently, discussed in Tristia 1; and each makes its presence felt in various ways throughout Tristia 1. Leaving for another day the outward voyage, described especially in the second, fourth, tenth and eleventh poems, I am going to deal in this essay with the return trip of Ovid's book to Rome, as anticipated at some length in the very opening poem of the collection. And (because that is still a somewhat unwieldy topic) I am going to focus on the final destination of Tristia 1 within Rome, as specified in the last twenty lines or so of this first poem: viz: the bookcase in Ovid's Roman home. In these programmatically charged lines, the personified first book of exile poetry finds itself face to face with the poetry books written by Ovid before his exile. I want in the ensuing pages to take a closer look than is usually taken at some details of this and other encounters with Ovid's past writings in the first poems from exile; and my hope is that this analysis will tell us a few things along the way about how the poet is trying here to relate his literary present to his literary past.
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Yulianto, Agus. "CITRAAN DALAM PUISI-PUISI KARYA RATNA ROSANA, SEORANG PENYAIR WANITA KALIMANTAN SELATAN." MABASAN 12, no. 2 (2018): 151–66. http://dx.doi.org/10.26499/mab.v12i2.55.
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The objective of this research is to find out elements of imagery and meaning of Ratna Rosana’s poems in her book of poem collections. The book is titled “Kabut Semu dalam Hadirmu”. This research is also aimed at knowing what dominant elements of imagery used by Ratna in the poetry that she wrote. The research problems are how are imagery and meaning of the Ratna Rosana’s poems in her book of poem collections described. What are the most dominant elements used by Ratna in her book of poem collections. This research uses descriptive qualitative method with recording technique and classification. Based on the results of the analysis, this research shows that the poems written by Ratna Rosana apply a lot of imagery to stress the meaning of image such as image of visions, hearings, touches, smells, movements, and senses.
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Lyne, R. O. A. M. "Structure and Allusion in Horace's Book of Epodes." Journal of Roman Studies 95 (November 2005): 1–19. http://dx.doi.org/10.3815/000000005784016289.
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This article, which was substantively complete at the time of Professor Lyne's sad death, takes a close look at Horace Epodes 13. Lyne displays the complex intertextual and generic resonances of the poem, which is crossed between iambic and lyric ancestry. The poem also functions as a major structural element in the book of Epodes, since it appears to signal a closure which does not happen, and which is wittily picked up in the following poem's apology to Maecenas for the poet's inability to finish the book. This play with finishing, and with iambic books of 13 or 17 poems in length, alludes to Callimachus and his book of Iambi. The closural elements in Epode 13 resonate which similar closurality in Iambus XIII, and the continuation in Epodes 14–17 is Horace's reflection on the puzzle about whether Iambus XIII represents closure ‘followed by heterogeneous material [filled out either by Callimachus himself or by a copyist] or “false closure” followed by more Iambi’.
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Muyassarah and Jaenafil Abadi. "Klasifikasi Puisi Arab Jahiliyah Menurut Ibn Qutaybah dalam Kitab al-Shi'r wa-al-Shu‘arā’." Al-Ma‘rifah 18, no. 1 (2021): 77–86. http://dx.doi.org/10.21009/almakrifah.18.01.07.
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This research discusses the classification of Arabic poem (shi‘r) of the pre-Islamic period (Jahilīyah) in the book of al-Shi‘r wa-al-Shu‘arā’ by Abū Muḥammad ‘Abdullāh ibn Muslim ibn Qutaybah. In this research, we review in simple terms the classification of poems based on the quality of lafaẓ and meaning, the quality of lafaẓ, the quality of meaning, and the quality of limited lafaẓ and meaning a literary work, especially in the poem (shi‘r) as described in the book of al-Shi‘r wa-al-Shu‘arā’. Through the poem, the Arabic poet of Jahilī expresses his feelings through the poem he creates. The theme raised in the poem is the reality or quotes that are very familiar with the life of the Arab community at that time. One of the most influential Arabic poets of Jahilī is Imru’ al-Qays. In his poetry, Imru’ al-Qays describes his feelings, both regarding love, greed, sadness, spree, and so on relating to the conditions of the Arab environment. Likewise with other poets took the theme of poetry that was inseparable from the various Arab cultures.
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Olaosun, Ibrahim Esan. "Food Semiology in Selected Poems in ‘Lere Oladitan's ‘Poem of the Week'." International Journal of Semiotics and Visual Rhetoric 4, no. 1 (2020): 49–58. http://dx.doi.org/10.4018/ijsvr.2020010104.
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Inspired by the popular view in the field of semiotics that everything is a sign of something or a sign for something, this article dwells on food significations in ‘Lere Oladitan's poem titled “Mounds for Sharing” in his poetry collection titled ‘Poem of the Week.' Using this poem as the paradigm to deconstruct some other poems in the collection, the article deconstructs this semiological practice (food symbolism) in four ways: first, as a sign deployed by the poet to contribute to the aesthetic and affective qualities of the poem; second, as an appropriation and exhibition of the values of giving and sharing which typify many (if not all) African cultures; third, as a semiotic strategy of self- depiction and fourth, as the strategy for developing the motif of sacrifice practically demonstrated by the poet in the manner in which the poems were first freely disseminated before they were compiled and published into a book form in 2016. Mounds for Sharing is used in this article as the paradigm of the other poems in the collection because there is ample evidence to show that the poem is the container of the general motifs developed in the other poems. First, the poet himself refers to it as “the signature tune” of the collection. Second, “Iyán tí mo gún, Baba má jẹ ǹ nìkan jẹ́” (the first two lines of the poem) is now Oladitan's sobriquet or designation in Obafemi Awolowo University community. The poet is now being referred to as Professor Iyán tí mo gún (Professor the Pounded Yam I Prepare) in the academic community. Third, in the inaugural lecture presented by the poet on August 23, 2011, the poem was given a theatrical performance by Awo Vasity Theatre, a theatre that is based in Obafemi Awolowo Universty Ile, Ife, Nigeria. The article indicates that food-related representations in the poem convey more than the general sense of food as the substance eaten for survival. The analysis, cast within the framework of food semiotics, shows that each poem of ‘Lere Oladitan is a kind of food which carries one or a combination of such connotations of food as: food for the thought, food for the social psyche and memory and food for personal spiritual and psychosocial growth.
Dissertations / Theses on the topic "Poem book"
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Haeussler, Doyle L. "Chasing losses : a book of poems." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1260489.
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This work presents a collection of creative verse written in both classical forms, e.g., sonnet, pantoum, haiku, tanka, sestina, prose poem, and blank verse, as well as open form pieces. Examples of both narrative and lyrical verse are represented, with an emphasis on the narrative craft as well as an exploration of the lyrical forms in the context of contemporary and historical themes. While the theme of loss, in all its aspects, is present throughout, it is present as a geist rather than as a dictum. These poems have as their subject matter a wide range of experiences, both imaginative and commonplace, both familiar and magical. Mundane situations are elevated to the level of emotional consideration, and the overwhelming is reduced to familiar and intimate terms. These poems deal largely with the resilience of the human spirit and the buoyancy of hope despite the roiling seas of uncertainty and the unpredictable winds of change.<br>Department of English
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Hayes, Sam Alexander. "Martial the book poet : contextu(r)alising the Flavian poetry book." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/26157.
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This thesis explores how the reader is invited to read the books of Martial’s Epigrams, arguing that the epigrammatist has arranged the poems in his libelli in a specific order that rewards a sequential reading of the text from start to finish. Instead of viewing Martial as an anthologist who collated a series of occasional poems for their later publication, the thesis demonstrates that the poet showed awareness of his epigrams’ position within a larger ‘contexture’, and that he primes the reader throughout the Epigrams to envisage the books as thematically unified wholes. By viewing the Epigrams as a text to be read from beginning to end, rather than a text to be excerpted and anthologised, one can read each epigram in the wider context of its book, and better appreciate that book’s structural unity. Chapter one introduces the issues at stake in how one reads a book of epigrams, and provides the thesis’ methodological approach. Special attention is paid to the phenomenology of reading as a hermeneutic act, drawing together approaches to the Epigrams from classical scholarship as well as from reception and comic book theories to detail the method of ‘cumulative reading’ employed in the thesis. The second chapter then examines how Martial characterises the lector studiosus in his text, and how this depicted reader acts as a model for the actual reader to follow in their own sequential reading of the Epigrams. Chapter three focuses on Epigrams 7, demonstrating that the opening poems of the book establish the emperor Domitian as a thematic centrepiece around whom the rest of the book’s themes cluster. The fourth chapter also examines book 7, demonstrating how two different uses of watery motifs develop their individual thematic unity across the book, while also linking themselves back to the book’s opening imperial cycle to craft an overarching structural unity for the libellus. Chapter five then gives an overview of the larger structure of the Epigrams, arguing that the paratextual prose prefaces in books 1, 2, 8, 9, and 12 reinforce the individuality of the books they precede as well as establishing their own place within the wider corpus. Overall, this thesis puts the epigrammatic libellus back into the context of late first century AD book culture, emphasising that Martial paid attention not only to his epigrams’ position within their own books, but also their place within the wider corpus.
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Perry, Lynda Fleet. "Account Book." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/640.
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ACCOUNT BOOK By Lynda Fleet Perry, MFA A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2014 Major Director: Thesis / David Wojahn, Professor, English Department
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Randle, Jonathan Thomas. "The homiletic context of the Vercelli book poems." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624470.
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Myers, Jeffrey Alan. "A rebirth of sight : a book of poems." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285588.
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The following project is representative of both my struggles and achievements as a student of creative writing. The poems contained within were developed through a virtual restructuring of my creative process. With the exception of one sonnet and two haiku poems, the remaining creations are free-verse experiments, heavily influenced by the works of James Wright, Robert Bly, and Robert Creeley. My goal for each poem was to connect the verse with those rare and fleeting moments in life that are often overlooked. In order to achieve this goal, I had to venture a little deeper into the realm of both imagination and possibility, without, of course, completely letting go of reality. Essentially, each poem explores two distinct worlds: that which is contained in the heart and that which the heart can never attain.<br>Department of English
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com, karib34@hotmail, and Ibolya Balla. "Attitudes toward Sexuality in the Book of Ben Sira." Murdoch University, 2008. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20090828.142046.
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The fact that Ben Sira seemingly has a negative attitude towards women or femininity can easily lead to the assumption that the work has a negative attitude toward sexuality. However, this thesis will seek to demonstrate that the author's view on sexuality is complex, subtle, and depends on the context of the individual sayings. First of all we have to make a distinction between the attitudes of the writer of the original Hebrew text of the book and that of the Greek translator. The two texts, produced in different social settings, circumstances, times and places, differ substantially at times in regard to sexuality. Therefore it is essential to treat them separately and to compare them. In addition, the Book of Ben Sira, the longest Jewish wisdom book, is a complex combination of carefully composed wisdom poems that structure the whole work, and of teachings on everyday issues including marriage, family life, self-control, desires and passions, and sexual promiscuity. The openness about issues of eroticism that characterizes some of the poems concerning personified female wisdom is unprecedented in the wisdom writings of Second Temple Judaism. Similarly, the sage dedicates a greater number of passages than other wisdom books, to the discussion of social relations especially in regard to family. In so doing his regular point of departure seems to be what benefits or damages these relations mean, and whether they bring disgrace to a person, especially through sexuality. These all have bearings on the authors and translators views of sexuality, including the position a person or situation under discussion might have in the sages social value system. Therefore the thesis examines the wisdom poems, and all sayings that concern sexuality found in discussions of passions, relations with parents, daughters and sons, wives and husbands, and warnings against sexual wrongdoing, including prostitution and adultery. All this is done with a special regard to the differences between the Hebrew original text and the Greek translation.
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Hills, P. D. "A commentary on selected poems in Horace's Fourth Book of Odes." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604066.
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The dissertation includes a general introduction and commentaries on <I>C. </I>4.1, 2, 10, 11 and 15. A detailed essay, including an overview of recent literary criticism, prefaces the commentary proper on each of the selected odes. In each case line-by-line exposition is offered on literary, linguistic, textual, metrical, historical and generic matters. In the general introduction verbal and thematic connections between <I>Odes</I> Four and Ennius <I>Annals</I> Book Sixteen are highlighted and examined. Horace's self-representation as a poet, particularly with regard to Augustus, is also discussed. The introduction to <I>C. </I>4.1 explains how the central stanzas of the poem are an idealized rehearsal of epithalamial festivities; this is a development from a hypothesis first expounded by Kiessling that Paullus is commended to Venus in terms suitable for a bridgegroom. In the commentary, an ancestral precedent for Paullus' dedication of a shrine to Venus is demonstrated. The introduction to <I>C. </I>4.2 focuses on the problem of how the addressee, Iullus Antonius, could plausibly be requested to play a Pindaric role in the stead of Horace himself. This entails both a discussion of peotic <I>aemulatio</I> and an analysis of the relationship of <I>laudator</I> and <I>laudandus</I> as depicted by Pindar, with a consideration of how this relates to Horace's modes of praise in <I>Odes</I> Four. The introduction and commentary on <I>C. </I>4.10 show how Horace takes a situation familiar from Greek epigram, and introduces verbal and thematic novelties into the standard framework. The introduction to <I>C. </I>4.11 demonstrates the unity of what is usually seen as one of Horace's most starkly disjointed odes, by illustrating how the theme of Maecenas' birthday and the limits of mortal life extends even into the <I>exempla</I> and advice ostensibly directed only at Phyllis. In the commentary, the importance of the context of the Bellerophon <I>exemplum </I>in Pindar <I>I. </I>7.38ff, is highlighted for the first time.
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Sadler, Benjamin. "A linguistic analysis of dated poems from the book of Taliesin." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:5e946b80-9923-4281-a7e6-07bd3b8de985.
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The lack of surviving Welsh vernacular manuscripts from before the thirteenth century, and the general scarcity of Welsh-language material elsewhere from that early period, has meant a great deal of controversy around those texts which may be early but are found in later manuscripts. The confidence with which many texts were given early dates has disappeared, and even those texts for which early dates are still proposed meet with varying levels of scepticism. Work has been done to develop our understanding of the language's historical developments, however Haycock has remarked that it is something of an embarrassment that there exists no agreed and dependable set of linguistic criteria for pre-c. 1100 verse. This thesis takes five poems from the fourteenth-century Book of Taliesin, for which dates have been offered between the ninth and eleventh centuries, on the basis of their historical context. The same scribal hand copied four other manuscripts, the contents of which date from the twelfth and thirteenth centuries. The language of the poems is analysed, using the language of the other manuscripts as a linguistic control, informed by other scholarship, to assess the survival of archaic forms through the process of subsequent redaction to arrive at the Book of Taliesin. The main finding of the thesis is that the language of all five surviving manuscripts by the Book of Taliesin scribe presents a largely uniform picture. There are a handful of examples that do diverge from the scribal norm. If the dates given to the poems are accepted, the evidence points to extensive redaction, removing those forms that had become unfamiliar or out-of-date. In this scenario, there should be no embarrassment that early texts cannot be dated on the basis of their linguistic features: the language of early texts may have been so altered as to appear contemporary to texts many centuries their junior.
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Sheldon, Allan Ellis. "The influence of illustration on fifth graders' responses to the illustrated poem /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487267546982801.
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Graves, Jesse, Thomas Alan Holmes, and Ernest Lee. "Jeff Daniel Marion: Poet on the Holston." Digital Commons @ East Tennessee State University, 2015. http://amzn.com/1621901998.
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The author of nine volumes of poetry and numerous other writings, the editor of several literary journals, the recipient of copious awards, including the James Still Award from the Fellowship of Southern Writers, and a longtime teacher and mentor, East Tennessee native Jeff Daniel Marion has come to be known as one of the most significant and beloved voices in Appalachian literature over the past four decades. The twenty-one pieces in this illuminating collection range from examinations of Marion’s poetry to considerations of his teaching career and influence on students, writers, and artists throughout the region and beyond. Acclaimed poet, novelist, and historian Robert Morgan writes about how Marion affected his development as a writer and the key role Marion has played in bringing Appalachian literature into its own. Scholar Randall Wilhelm’s essay, meanwhile, expands our appreciation for Marion not only as a poet but as a visual artist, tracing the connection between his photography and poetic imagery. Also included are essays by John Lang on the ways in which Marion’s poetry “gives voice to a spiritual vision of nature’s sacramental identity,” Gina Herring on how the poet’s father has served as his muse, and George Ella Lyon on the power of story in Marion’s picture book for children, Hello, Crow. Other features include an autobiographical essay by Marion himself, an interview conducted by co-editor Jesse Graves, and a bibliography and timeline that summarize Marion’s life and career. In the book’s introduction, Ernest Lee notes that in the poem “Boundaries,” from his first published collection, the young Marion “dedicated himself to his place, to the land and his heritage . . . welcoming whatever may come with a firm faith that ultimately his life as a poetic laborer will bring him to a true, sharp vision.” The eloquent contributions to this volume reveal just how fully that dedication has paid off.<br>https://dc.etsu.edu/etsu_books/1020/thumbnail.jpg
Books on the topic "Poem book"
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KC, Kul Bahadur. Samaya ka Saugatharu: Poem Collection. Man Bahadur KC and Harikala (Thapa) KC, 2011.
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John, Van Sickle, and Arizona Center for Medieval and Renaissance Studies., eds. Giovanni della Casa's poem book =: Ioannis Casae carminum liber. Arizona Center for Medieval and Renaissance Studies, 1999.
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Bodi, Daniel. The book of Ezekiel and the Poem of Erra. Universitätsverlag, 1991.
Find full textBook chapters on the topic "Poem book"
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Carbery, Matthew. "The Book Withdraws into Itself: Rachel Blau DuPlessis’ Drafts." In Phenomenology and the Late Twentieth-Century American Long Poem. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-05002-3_7.
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Carbery, Matthew. "Adumbration Bound Our Book: Nathaniel Mackey’s ‘Song of the Andoumboulou’." In Phenomenology and the Late Twentieth-Century American Long Poem. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-05002-3_6.
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Booth, Allyson. "“Miss Weston’s book will elucidate the difficulties of the poem”: Weston’s From Ritual to Romance." In Reading The Waste Land from the Bottom Up. Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137482846_3.
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"A POEM ABOUT." In The Body and the Book. Brill | Rodopi, 2008. http://dx.doi.org/10.1163/9789401206044_035.
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White, Robert. "Biography of a Book." In Keats's Anatomy of Melancholy. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474480451.003.0002.
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This chapter traces the progress towards publication of Keats’s collection which eventually appeared in 1820, its title page reading, ‘LAMIA, ISABELLA, THE EVE OF ST AGNES, AND OTHER POEMS. | BY JOHN KEATS, AUTHOR OF ENDYMION || LONDON: PRINTED FOR TAYLOR AND HESSEY, 1820’. Stung by the savage reviews and commercial failure of his previous efforts, Poems (1817) published on 10 March, 1817, and Endymion: A Poetic Romance published in early May, 1818, Keats was understandably disheartened when contemplating further publications. However, by September 1819 he was, according to Woodhouse, writing to the publisher John Taylor, willing ‘to publish the Eve of St Agnes & Lamia immediately: but Hessey told him it could not answer to do so now’. On 10 October he had spoken of writing ‘Two or three’ poems in which he wishes ‘to diffuse the colouring of St Agnes eve throughout a Poem in which Character and Sentiment would be the figures to such drapery’. He hopes that writing such poems ‘in the course of the next six 3 years, would be a famous gradus ad Parnassum altissimum—...’. Writing on 17 November, 1819, he asserted ‘I have come to a determination not to publish Anything I have now ready written’, a corpus which in fact included all the poems which were to be included in 1820. The definite decision to put together the ‘Lamia’ collection was made between the date of the letter to Taylor (17 November, 1819) and a relatively buoyant letter to his sister Fanny written on 20 December, 1819. The collection was published in late June, 1820. The result was one of the greatest poetry collections of all time, though it has rarely been considered in this integrated light since editors and critics invariably consider each poem in the chronology of its composition rather than their contribution to a unity which is greater than the sum of the parts.
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Costello, Bonnie. "The Demagogue and the Sotto Voce." In The Plural of Us. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691172811.003.0002.
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Pronouns are crucial tools for any poet. They create dramatic relation and perspective, but because they are insubstantial they allow for abstraction and inclusion. No poet was quite so preoccupied with pronouns as W. H. Auden, who reflects on them often in his poetry and essays. This chapter considers Auden's relatively neglected poem “Law Like Love,” which incorporates many of the pronominal registers explored throughout this book. In this poem Auden reveals his skepticism about public orators and their absolutes, and turns against the rhetoric of his own most famous public poems, “Spain” and “September 1, 1939.” In “Law Like Love,” Auden finds alternatives for realizing the civic function of poetry.
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"Some Remarks on Book and Poem Structure." In Quaestiones Propertianae. BRILL, 1997. http://dx.doi.org/10.1163/9789004329928_005.
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Zeitlin, Steve. "God Is in the Details." In The Poetry of Everyday Life. Cornell University Press, 2016. http://dx.doi.org/10.7591/cornell/9781501702358.003.0019.
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This chapter looks at what it calls ur-poem and place moments. For the author's course called Writing New York Stories, which he taught for more than ten years at Cooper Union University, the author developed an approach to remembering his students' names: he had everyone write, in class, a “list poem” in which each line began “I am from…” The poem that spawned this assignment is by Kentucky-born poet and children's book writer George Ella Lyon. He says “I am from…” poems are ur-poems: everyone has one in them. He also talks about the concept of “place moments” as well as the layers of history and lore and perceptions that make up what philosopher Edward Casey refers to as “place memory.” The author argues that personal experiences transform space into place and that the value of places should be measured by the sum total of the place moments that take place within them and are committed to memory.
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"The First Poem: Job’s Prologue, Ch. 3." In The Book of Job in Form. BRILL, 2012. http://dx.doi.org/10.1163/9789004232341_012.
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Eisner, Martin. "The Painting (Composition)." In Dante's New Life of the Book. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198869634.003.0008.
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This chapter scrutinizes the challenges editors confronted in their typographical composition of Dante’s poem with two beginnings. Should the first beginning be followed by the rest of the poem and then the second beginning or both beginnings and then remaining verses? The various solutions proposed in the early printed editions, nineteenth-century translations, and early modern manuscripts, show the complexity of Dante’s own poetic strategy in this poem on the anniversary of Beatrice’s death, which aims to defeat time and overcome Beatrice’s death by adding more time. Exploring the persistence of this issue in the most recent editions, the chapter considers the poem in light of Dante’s decision to represent himself in the prose as painting an angel. Connecting this remark to Dante’s reflections on angels and representation in the De vulgari eloquentia and the Commedia, this chapter examines Dante’s thinking about the materiality of texts and the relationship between word and image in the context of a larger tradition that stretches from Augustine and Petrarch to Sterne’s Tristram Shandy.
Conference papers on the topic "Poem book"
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Wadji. "Social Criticism Intertextuality in Rendra’s Poem and Book of Isaiah." In 2nd Annual Conference on Social Science and Humanities (ANCOSH 2020). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210413.055.
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Tamrin, Andi Febriana. "Children and Nature in a Picture Book “Our Big Home”: An earth poem–ecocriticism." In Proceedings of the Second Conference on Language, Literature, Education, and Culture (ICOLLITE 2018). Atlantis Press, 2019. http://dx.doi.org/10.2991/icollite-18.2019.36.
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CARVALHO, MARCIA MARQUES DE QUEIROZ. "VIDEOAULAS COMO FERRAMENTA DE ENSINO APRENDIZAGEM INCLUSIVA." In 26º CIAED Congresso Internacional ABED de Educação a Distância. Associação Brasileira de Educação a Distância - ABED, 2020. http://dx.doi.org/10.17143/ciaed.xxviciaed.2020.53672.
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ESSE ARTIGO PARTIU DE UM PROJETO QUE TEM COMO OBJETIVO A CRIAÇÃO DE VIDEOAULAS E UM SITE, COM INFORMAÇÕES SOBRE A DISCIPLINA, OS LINKS PARA ACESSO NO YOUTUBE E O E-BOOK, DISPONIBILIZADOS GRATUITAMENTE. O PROJETO SURGIU DA CONSTATAÇÃO DE DIFICULDADES POR PARTE DE ALGUNS ALUNOS PARA ENTENDER A MATÉRIA, SEJA POR TER FALTADO OU CHEGADO ATRASADO NA AULA PRESENCIAL, OU AINDA, DEVIDO À FALTA DE CONHECIMENTOS ANTERIORES E FAMILIARIDADE COM SOFTWARE. A PRODUÇÃO DE VIDEOAULAS E SUA INSERÇÃO COMO INSTRUMENTO PARA O ENSINO APRENDIZAGEM NÃO É ALGO TRIVIAL DEVIDO AOS MÚLTIPLOS ELEMENTOS ENVOLVIDOS, ESPECIALMENTE QUESTÕES RELACIONADAS À LINGUAGEM VISUAL. PRETENDE-SE CRIAR UM PADRÃO PARA AS VIDEOAULAS QUE SERVIRÃO DE REFERÊNCIA EM OUTRAS DISCIPLINAS UTILIZADAS POR PROFESSORES DE DIFERENTES DEPARTAMENTOS. O OBJETIVO PRINCIPAL É INCENTIVAR O USO DAS NOVAS TECNOLOGIAS DA INFORMAÇÃO E COMUNICAÇÃO (NTICS) PARA COMPLEMENTAR E FACILITAR O APRENDIZADO DOS ALUNOS. A ANÁLISE PRESSUPÕE A PROBLEMATIZAÇÃO DO GÊNERO VIDEOAULAS, SUAS CARACTERÍSTICAS E LINGUAGENS ADEQUADAS AO APRENDIZADO. OS RESULTADOS PODEM SUSCITAR NOVOS FUNDAMENTOS DE MODO A CONTRIBUIR PARA O PLENO DESENVOLVIMENTO DOS ESTUDANTES E GARANTIR A PERMANÊNCIA E CONCLUSÃO DELES NA EDUCAÇÃO SUPERIOR, MODIFICANDO ASSIM, AS RELAÇÕES EDUCACIONAIS, BEM COMO A RELAÇÃO COM O SABER.
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Harper, William V., David J. Stucki, Thomas A. Bubenik, Clifford J. Maier, David A. R. Shanks, and Neil A. Bates. "Improved Comparison of ILI Data and Field Excavations." In 2012 9th International Pipeline Conference. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/ipc2012-90440.
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The importance of comparing in-line inspection (ILI) calls to excavation data should not be underestimated. Neither should it be undertaken without a solid understanding of the methodologies being employed. Such a comparison is not only a key part of assessing how well the tool performed, but also for an API 1163 evaluation and any subsequent use of the ILI data. The development of unity (1-1) plots and the associated regression analysis are commonly used to provide the basis for predicting the likelihood of leaks or failures from unexcavated ILI calls. Combining such analysis with statistically active corrosion methods into perhaps a probability of exceedance (POE) study helps develop an integrity maintenance plan for the years ahead. The theoretical underpinnings of standard regression analysis are based on the assumption that the independent variable (often thought of as x) is measured without error as a design variable. The dependent variable (often labeled y) is modeled as having uncertainty or error. Pipeline companies may run their regressions differently, but ILI to field excavation regressions often use the ILI depth as the x variable and field depth as the y variable. This is especially the case in which a probability of exceedance analysis is desired involving transforming ILI calls to predicted depths for a comparison to a threshold of interest such as 80% wall thickness. However, in ILI to field depth regressions, both the measured depths can have error. Thus, the underlying least squares regression assumptions are violated. Often one common result is a regression line that has a slope much less than the ideal 1-1 relationship. Reduced Major Axis (RMA) Regression is specifically formulated to handle errors in both the x and y variables. It is not commonly found in the standard literature but has a long pedigree including the 1995 text book Biometry by Sokal and Rohlf in which it appears under the title of Model II regression. In this paper we demonstrate the potential improvements brought about by RMA regression. Building on a solid comparison between ILI data and excavations provides the foundation for more accurate predictions and management plans that reliably provide longer range planning. This may also result in cost savings as the time between ILI runs might be lengthened due to a better analysis of such important data.