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1
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.
2
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.
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Kuczyńska-Koschany, Katarzyna. "Wat, poeta orficki." Colloquia Litteraria 12, no. 1 (2012): 123. http://dx.doi.org/10.21697/cl.2012.1.7.
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Wat, an orphic poet The most important context for many 20th century references to the myth of Orpheus and Eurydice remained Rilke’s poem Orpheus. Eurydice. Hermes (among others, Jastrun, Herbert, Miłosz); the author of the article wonders whether Rilke was equally important for Aleksander Wat as the author of Wiersze somatyczne [Somatic poems] as well as Wiersz ostatni [A Final Poem]. A comparison of the first edition of Wiersze somatyczne (“New Culture”, 1957) with its first book publishing (also in 1957) inclines the author to pose a question, why is this first version much more dramatic, somehow more “orphic”: did Wat soften a book version of the poem due to personal reasons (a soften phase of the illness) or was it because of censorship’s intervension? Referring to Orpheus, the author also indicates significant painting contexts (Moreau, Delville, Redon) and sculpture contexts (Rodin); it becomes useful during Wat’s interpretation – his very pictorial illustration (e.g. in the poem Na wystawie Odilon Redona) is also “orphic”, full of blackness. Nevertheless, it seems that Wat’s orphic descent into blackness, inside oneself, into death is even more acute than Rilke’s – since Wat writes about himself, his own death and his own funeral (Wiersz ostatni).
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Hollis, A. S. "The composition of Callimachus' Aetia in the Light of P. Oxy. 2258." Classical Quarterly 36, no. 2 (1986): 467–71. http://dx.doi.org/10.1017/s0009838800012192.
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Rudolf Pfeiffer (Callimachus, ii.xxxvi–xxxvii) believed that, as a young man, Callimachus wrote four books of Aetia. To these the poet added in his old age a Reply to his Critics (fr. 1), and a slightly revised version of his recent occasional elegy, the Lock of Berenice (fr. 110, now including a nuptial rite which has survived only in the translation by Catullus, 66.79–88); this revised Coma became the last poem in Aetia book 4, to be followed by an Epilogue (fr. 112) which may mark a transition to the Iambi. Pfeiffer's theory generally held the field until the brilliant article of P. J. Parsons, in ZPE 25 (1977), 1–50. With the help of newly recovered papyrus fragments Parsons showed that a previously unplaced elegy celebrating a Nemean victory (fr. 383 Pf.) was connected to the story of Molorchus (frs. 54–9), who entertained Heracles before that hero killed the Nemean lion and instituted the Nemean Games; thus the poem belonged to Aetia book 3. Furthermore, various pieces of evidence converge (Parsons, pp. 46–8) to make it probable, if not wholly certain, that this substantial poem (some 200 lines long) stood first in its book. So it appears that, at least in the final form of the Aetia, books 3–4 were framed by two poems honouring the wife of Ptolemy III Euergetes, namely Victoria Berenices (Parsons' title) and Coma Berenices.Soon afterwards a further important advance was made by E. Livrea (ZPE 34 [1979], 37ff.), who perceived, on grounds of subject-matter as well as papyrology, that the poor man who sets a mousetrap in fr. 177 Pf. must be none other than Molorchus; note particularly the probable mention of Cleonae in fr. 177.37 Pf. = Supplementum Hellenisticum 259.37. Thus a new fragment of 38 lines accrued to the poem.These discoveries have some implications for the composition of the Aetia. Addition of a Coma Berenices (94 lines in Catullus' version) to a pre-existent Aetia book 4 could be countenanced easily enough, but, as Parsons says (p. 50), it would have required a much more radical, and therefore less plausible, revision for Callimachus to have added Victoria Berenices to a pre-existent Aetia book 3. Accordingly Parsons suggested that the original Aetia contained only books 1–2, united by the conversation with the Muses; then in his old age Callimachus compiled two more books, partly at least from poems already composed, and gave them a frame of two poems honouring Queen Berenice. Parsons' view has, I think, been widely accepted; Professor Lloyd-Jones wrote in SIFC 77 (1984), 56 ‘No-one has yet argued against the simple modification of Pfeiffer's theory of the two editions of the Aetia which Mr. Parsons based on this discovery. The first edition comprised two books only.’
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Anokhina, Yuliya Yu. "Spatial Images in Baratynsky’s Late Lyrics: Aesthetic and Metaphysical Aspects." Transcultural Studies 15, no. 2 (2019): 91–101. http://dx.doi.org/10.1163/23751606-01502001.
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The article is devoted to the question of how in the late lyric of the Russian poet of Pushkin’s circle Yevgeny Abramovich Baratynsky (1800–1844), namely in his final book of verses Sumerki [Twilight] (1842), in spatial images metaphysical and aesthetic principles are reflected. The author focuses on three ‘programmatic’ poems: Knjazju Petru Andreevichu Vjazemskomu [an epistle to Prince Pyotr Andreyevich Vyazemsky] which opens the poetic book, a poem Osen [Autumn], kind of coda of Sumerki and poem Rifma [Rhyme], which placed in the final of the book. The embodiment of the synthesis of metaphysical and aesthetic principles in spatial images is considered on the example of images of a coffin and a grave. The article shows that the analysis of these images makes it possible to better understand the uniqueness of the artistic philosophy which reflected in the book. The author comes to the conclusion that images of the coffin, the tomb and the grave affect the specifics of the artistic space in the poetic book, performing aesthetic functions. At the same time, directly connected with the motives of death and the memory of death, these images allow the poet to express more clearly the philosophical thoughts about the idea of that the place of poetry and of art in general in the world.
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Correia, Éverton Barbosa. "O engenheiro Joaquim Cardozo dentro do livro O engenheiro de João Cabral The Engineer Joaquim Cardozo on the Book / O engenheiro of João Cabral." Caligrama: Revista de Estudos Românicos 26, no. 2 (2021): 181. http://dx.doi.org/10.17851/2238-3824.26.2.181-197.
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Resumo: Em meio às composições coligidas no livro O engenheiro (1945), muita ênfase foi dada ao poema “A Carlos Drummond de Andrade”, ladeado pelo outro “A Joaquim Cardozo”, que quase não teve repercussão alguma. A partir do cotejo entre as duas homenagens poéticas, será feito o acompanhamento editorial do poema dedicado ao engenheiro profissional e poeta, para conferir o valor comunicativo de sua representação naquele contexto de pronunciamento específico. De igual modo, a análise deste poema será desenvolvida de acordo com suas variações ao longo da produção autoral de João Cabral de Melo Neto por meio das reedições do livro que o coligiu. Para tanto, serão acionadas a edição princeps do volume, sua reedição em Duas águas (1956) e a fixação do poema na década seguinte, quando as Poesias completas (1968) foram publicadas. Como contraponto ao perfil literário de Joaquim Cardozo esboçado pelo autor, será acionado o depoimento de Oscar Niemeyer em Minha experiência em Brasília (1961) sobre a atuação de seu amigo e engenheiro dileto no ofício comum a ambos.Palavras-chave: poesia brasileira moderna; crítica textual; João Cabral de Melo Neto; Joaquim Cardozo.Abstract: Among the poems collected in the book O engenheiro (1945), much emphasis was given to the poem “A Carlos Drummond de Andrade”, published by side of “A Joaquim Cardozo”, which had not almost any repercussion. From the comparison between the two poetic tributes, the editorial accompaniment of the poem dedicated to the engineer and poet will be made, to assign the communicative value of their representation in that context of specific pronouncement. Likewise, the analysis of this poem will be developed according to their variations throughout the authorial production of João Cabral de Melo Neto through the reissues of the book that collated it. To this end, the princeps edition of the volume, its reissue in Duas águas (1956) and the fixation of the poem in the following decade, when the Poesias completas (1968) was published. As a counterpoint to Joaquim Cardozo’s literary profile outlined by the author, Oscar Niemeyer’s testimony will be triggered in Minha experiência em Brasília (1961) about the performance of his friend and favorite engineer in the craft common to both.Keywords: modern Brazilian poetry; textual criticism; João Cabral de Melo Neto; Joaquim Cardozo.
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O’Halloran, Kieran. "Filming a poem with a mobile phone and an intensive multiplicity: A creative pedagogy using stylistic analysis." Language and Literature: International Journal of Stylistics 28, no. 2 (2019): 133–58. http://dx.doi.org/10.1177/0963947019828232.
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A film poem is a cinematic work which uses a written, often canonical poem as its inspiration. Film poems frequently exceed the likely intentions of the poet, becoming something new; one creative work is used as a springboard for another. Typically, however, in film poems the poem’s stylistic detail is largely irrelevant to its cinematic execution. In a previous article, I spotlighted how this oversight/limitation can be addressed by bringing film poems into stylistics teaching and assessment. That article showed how stylistic analysis of a poem can be used to drive generation of a screenplay for a film of the poem. But, it did not show how the film could be produced on that basis. In contrast, this article does just that, modelling how a student could make a film from a poem, with their mobile device, where stylistic analysis has been used to stimulate the screenplay. Accompanying this article is a film that I made on a mobile phone. This is of Michael Donaghy’s poem, Machines. In developing this approach for producing film poems via stylistic analysis, I incorporate ideas from the philosopher, Gilles Deleuze, and from his collaboration with the psychoanalyst, Félix Guattari, in their book A Thousand Plateaus. In particular, I make use of their concept of ‘intensive multiplicity’. Generally, this article highlights how common ownership of mobile devices by university students, in many countries, can be used, in conjunction with stylistic analysis, to foster a different approach to interpreting poetry creatively which, in turn, can extend students’ natural capacity for creative thinking.
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Kaye, Dara. "Early Editions of ‘Upon the Image of Death’." British Catholic History 32, no. 1 (2014): 21–36. http://dx.doi.org/10.1017/s0034193200014199.
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After Jesuit priest Robert Southwell's execution in February 1595, his letters and poems surged in popularity, and demand for his newly printed works quickly outstripped supply. Moeoniae, a collection of twenty-two poems ‘both Diuine and Wittie’ printed as an addendum to his popular Saint Peter's Complaint, had two editions in 1595 alone, and at least one more before the end of the century. Poem number 18 in Moeoniae, ‘Upon the Image of Death’, also appears in the seventeenth-century Waferer Commonplace Book (British Library Add. MS 52585) but only in one other manuscript collection with the rest of his poems. Modern Southwell editions have quarantined the poem under headings such as ‘Poem of Dubious Authorship’. And yet the poem, a meditative confession and plea for grace in the face of mortality, does display some elements of Southwell's style, and is particularly compelling if in fact it was written in the years Southwell struggled to provide spiritual guidance to his loyal congregation while evading capture and execution. This paper investigates the relationship between the commonplace book, the Moeoniae print editions, and the manuscript poetry collections from which ‘Upon the Image of Death’ is conspicuously absent, and offers a new annotated edition of the poem.
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Andruhin, Maxim S. "Conceptual unity of Vl. Khodasevich’s book «Heavy lyre»." Semiotic studies 1, no. 2 (2021): 38–46. http://dx.doi.org/10.18287/2782-2966-2021-1-2-38-46.
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The article is devoted to the consistent patterns of the book Heavy Lyre by Vl. Khodasevich. The main issue of the article refers to the structural subsequence of the arranged poems in the book Heavy Lyre and the factors that may have influenced such structural subsequence. The author aims to compare the first and the last poems of the book so as to identify and compare their main themes and the change of the lyrical subject. In order to archive this goal the author carries out an immanent analysis of the poem Music. As a result, there has been proved the insufficiency of existing interpretations. Finally the author analyzes the poem Ballade in accordance with the other research studies, and there has been provided a comparative table of the two texts. The author concludes that there exist four main themes that unite both texts, and he provides the development of their change..
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M, Kayalvizhy. "Time Records in Mukkutar Pallu." Indian Journal of Tamil 1, no. 1 (2020): 1–21. http://dx.doi.org/10.34256/ijot2011.
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Mukkutar Pallu was an anonymous poem which depicts the life of Pallar community in the Southern part of Tamil Nadu during 17th century. They were ancient tribes and have a glorious past. The Pallers were the prominent agricultural community in the Tamil society. In this poem the poet records various events which were took place the 17th century. Pallar and Palliyar were the main role in this work. The poem beautifully records various events in the life of Pallar community. The personal life, agricultural works, religious conditions, belives, economic states, social conditions were beautifly recorded in this work. The feudal conduction at that time and the untouchablity a cruel custom which dominates the society at the time were recorded in this book. This book has considered as a time and historical valuable record of 17th century Tamil Nadu. The dialet which was spoke by the Pallar community were used in this book was this was the speciality of this book.
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Chasar, Mike. "Ghosts of American Literature: Receiving, Reading, and Interleaving Edna St. Vincent Millay's The Murder of Lidice." Publications of the Modern Language Association of America 133, no. 5 (2018): 1152–71. http://dx.doi.org/10.1632/pmla.2018.133.5.1152.
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The history of Edna St. Vincent Millay's long World War II propaganda poem he Murder of Lidice reveals the transmedial logics that affected its publication and the media conditions that shaped its reception. After commissioning the poem in 1942, the Writers’ War Board coordinated a high-profile, strategically sequenced release, in which eight versions of the poem went public during a single week—periodical versions in he Saturday Review of Literature and Life magazine, a live performance featuring Hollywood actors, an NBC radio broadcast of that live performance, globally broadcast radio versions in three languages, and a book issued by Harper and Brothers. Comparing a set of fan letters (written in response to the NBC and Life versions) with a collection of interleaved book versions of the poem (books with newspaper articles stored between their pages) suggests how audiences might have been moved by the media of Murder's distribution as much as by the content of the poem itself.
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Lyne, R. O. A. M. "Introductory poems in Propertius: 1.1 and 2.12." Proceedings of the Cambridge Philological Society 44 (1999): 158–81. http://dx.doi.org/10.1017/s006867350000225x.
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I wish to argue primarily that Propertius 2.12 introduced the poet's original third book, ‘Book 2b’, (Section III). On the way I examine Propertius' use of his various addressees (Section I), and I discuss strategies in his indisputably introductory poem 1.1 (Section II). Similarities of strategy discernible in 2.12 head my argument that 2.12 was like 1.1 an introductory poem. The question of addressees in introductory poems raises the topic of Propertius' social status and his relations to great men, and this is briefly surveyed.
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INGLEHEART, JENNIFER. "PROPERTIUS 4.10 AND THE END OF THE AENEID: AUGUSTUS, THE SPOLIA OPIMA AND THE RIGHT TO REMAIN SILENT." Greece and Rome 54, no. 1 (2007): 61–81. http://dx.doi.org/10.1017/s0017383507000046.
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The tenth poem of Propertius Book 4 is the most remarkable in a collection full of surprises for its readers, and appears to mark a significant departure from his previous work. If Propertius had never written his final book of poetry, we might characterize him on the basis of his earlier books as the quintessential Latin love elegist: he rejects not only a military career, but even the less demanding task of celebrating Augustus' victories, in favour of the love elegist's self-indulgent life of leisure: cf. e.g. Prop. 2.1.39–46. In the first poem of Book 4, however, Propertius announces what appears to be a wholly different poetic programme; in place of the erotic elegies of the previous books is a new ‘serious’ purpose: Propertius will sing about national, religious and antiquarian themes, as the ‘Roman Callimachus’ (Propertius 4.1a.63–4). However, as soon as the next poem, Propertius is commanded to return to his usual theme of obsessive elegiac love for one woman, a topic described as haec tua castra (‘this is your sphere of operations’, 4.1b.135). The poems which follow in Propertius 4 tend to strike a balance between antiquarian seriousness and elegiac frivolity. For example, in 4.4, Propertius relates the Vestal Virgin Tarpeia's betrayal of Rome, connecting several contemporary urban landmarks with the poem's heroine, but he remains true to his earlier colours by presenting Tarpeia as an elegiac lover who falls in love at first sight and betrays her city out of passion.
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Pratt, William, and Brendan Kennelly. "The Book of Judas: A Poem." World Literature Today 66, no. 3 (1992): 518. http://dx.doi.org/10.2307/40148465.
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Archer, Micha, and Michelle Carney. "Book Review: Daniel Finds a Poem." Journal of Education 196, no. 3 (2016): 57–58. http://dx.doi.org/10.1177/002205741619600312.
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Jones, Julian Ward. "Catullus' Passer as Passer." Greece and Rome 45, no. 2 (1998): 188–94. http://dx.doi.org/10.1017/s0017383500033684.
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Poem 2 of the Liber Catullianus – the first of the passer poems – was probably the poet's most famous piece. The poem presents a charming and fascinating picture of a Roman matron who is said by the poet to divert her mind from her passion by playing with her pet bird. Of this seemingly innocent picture a peculiar esoteric interpretation was offered in the time of the Italian Renaissance. Toward the end of the fifteenth century, the Florentine scholar Angelo Poliziano suggested that Catullus had woven an obscene allegory into his poem, and he supported his argument by reference to the sixth epigram of Martial's eleventh book. This epigram is a vulgar poem that ends with the words ‘passerem Catulli’. It will figure prominently in our discussion below. Poliziano only hinted at an indecent meaning. The Dutch scholar, Isaac Voss, in his Observations on Catullus published in 1684, makes the matter explicit. The Greeks, he alleges, often used the names of birds to refer to a man's penis, and similarly passer in poem is ambiguous and at one level represents the poet's penis. By this obscene interpretation, the basic allegory of the poem would be something like this. Lesbia has great familiarity with the poet's male member. She delights in playing with it and in this way seems to satisfy her erotic impulses. The poet by means of similar play would like to take similar satisfaction for himself. He cannot because masturbation gives him no pleasure. According to Voss, this allegory continues in poem 3, the famous dirge for the dead passer. Here, he declares, we should suppose that the poet wishes to represent himself as ‘confectum et exhaustum lucta Venerea et funerata… ea parte quae virum facit’ (‘worn out and exhausted by a physical exertion erotic and deadly in regard to that part which makes a person a man’).
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Moles, John. "The Dramatic Coherence of Ovid, Amores 1.1 and 1.2." Classical Quarterly 41, no. 2 (1991): 551–54. http://dx.doi.org/10.1017/s0009838800004766.
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In his magisterial new commentary on the Amores J. C. McKeown alleges an ‘inconsistency’ or ‘flaw in the dramatic continuity’ between Amores 1.1 and 1.2: ‘whereas Ovid is fully aware in 1.1 that he is under Cupid's domination, he shows no such awareness in the opening lines of 1.2.’ Previously A. Cameron had used this ‘inconsistency’, together with the evident programmatic character of 1.2, as an indication that the second poem must in fact have been the first poem of one of the original five books of Amores; then when Ovid decided to reduce the number of books from five to three, he wanted to keep Esse quid hoc dicam and had no choice but to put it as near as possible the front of the first book, immediately after that book's own introductory poem. This reconstruction McKeown rightly rejects on the ground that 1.2's emphasis on Ovid's newness to love makes it out of place in any book other than the first.
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Gale, Monica. "Lucretius 4.1–25 and the proems of theDe rerum natura." Proceedings of the Cambridge Philological Society 40 (1994): 1–17. http://dx.doi.org/10.1017/s0068673500001796.
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The status of the first twenty-five lines ofDe rerum natura4 has been a matter of critical controversy since the appearance of Lachmann's edition of the poem in 1855. The lines are repeated almost verbatim from book 1 (926–50), and Lachmann refused to believe that Lucretius himself could be responsible for the duplication of such a long passage in such a prominent position. He condemned the repetition magisterially as a signpauperis ingenii et nullius iudicii. The majority of subsequent editors and critics have followed him in attributing the repetition either to an editor or to an interpolator, or supposed that the poet intended eventually to delete the passage from one of the two locations, but was prevented from doing so by his premature death. The problems raised by the repetition are compounded by the transitional section (26–53): the transmitted text is cumbersome and repetitive, and most critics accept Mewaldt's theory that the passage consists of a ‘doublet’, in which two alternative versions of the usual summary and ‘syllabus’ (26–44 and 45–53) have been imperfectly integrated. Mewaldt himself argued that the doublet was the result of a change in the order of books 3 and 4: book 4 was originally intended to follow 2 directly, and lines 1–25 and 45–53 (which summarize the contents of books 1 and 2only) date from this phase of composition. When the poet decided to insert book 3 between 2 and 4, he substituted the longer summary (26–44) and transferred 1–25 to a new location in book 1; but the posthumous editors of the poem failed to carry out the necessary deletions.
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Darvin, Mikhail, and Yuliya Moreva. "About the role of the text transformation in the process of cyclization of an author’s book of verse (“Sumerki” by E. A. Boratynsky and “Prostoe, kak mychanie” by V. Mayakovky)." Przegląd Wschodnioeuropejski 12, no. 1 (2021): 331–42. http://dx.doi.org/10.31648/pw.6479.
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In this paper the authors compare the two versions of the poetic dedication to P. A. Vyazemsky written by E. A. Boratynsky, the first one appeared in Pushkin’s “Sovremennik” magazine in 1836, the other one was published in Boratynsky’s book of verse “Sumerki” in 1842, and the untitled poem by V. V. Mayakovsky which appeared first in the book “Ya!” in 1913 and then in “Prostoe kak mychanie” in 1916. The transformations of the poems changed not only the meaning of the text but its function and played an important role in constructing of the artistic entity of the books. The authors pay attention not only to the minor changes of the text but also to the editorial and book printing details which are not less important for the meaning of the whole book.
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Silva, Mariana Musa de Paula e. "Quis hoc credat? O leitor e as Metamorfoses de Ovídio." Nuntius Antiquus 7, no. 2 (2011): 48–80. http://dx.doi.org/10.17851/1983-3636.7.2.48-80.
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This paper intends to analyze a certain relation constructed between the reader, the poet and the poem in selected passages of Ovid’s Metamorphoses book I. The reading we are going to propose will reveal itself as a new understanding of the poem in face of the recent studies which highlight the self-referential character of ovidian poetics. We intend to demonstrate, although briefly, that the reader has a highlighted role within the complex commentaries made by the poet about his own poetry.
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Soleymanzadeh, Alireza. "Arabic-Persian Motifs of ʿUd̲h̲rī Love in the Georgian Romantic Poem of "The Man in the Panther's Skin"". International Journal of Linguistics, Literature and Translation 3, № 5 (2020): 113–20. http://dx.doi.org/10.32996/ijllt.2020.3.5.13.
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"The Man in the Panther's Skin" is the masterpiece of Shota Rustaveli (c. 1160—after c. 1220), the greatest Georgian Christian poet, who has been translated into nearly 45 languages in the world so far. In this article we are going to study the Motifs of ʿUd̲h̲rī Love (AR: al-ḥubb al-ʿud̲h̲rī) in Rustaveli's book. The Ghazal (ode) of Ud̲h̲rī is a literary product of the Islamic-Arab community in which love derives its principles from religion of Islam and the like. In fact, during the era of the Umayyad caliphate (661-750 BCE) was born ʿUd̲h̲rī as a new kind of ode in the Arabic poetry in the Arabian Peninsula and has made its way into other lands, including Iran, and this kind of love poem penetrated through Iran into Rustavli's poetry.ʿUd̲h̲rī poem was narration of true, intense and chaste love between lover and a beloved far from sensuality, debauchery and lechery. Therefore, their lifestyles were very similar to mystic. The main purpose of this study is to find out the extent to which Rustaveli was influenced by ʿUd̲h̲rī poem. The research method in this article is to compare the specific and objective features which inferred from the Arabic-PersianʿUd̲h̲rī literature with the narrative in the Rustaveli's work. This does not mean, of course, that we will examine all the ʿUd̲h̲rī poetry works written before Rustaveli's book in the world; rather, we mean matching the specific Motifs of Arabic-Farsi works with the Rustaveli's poem. The results of this study show that there is a complete similarity between the motifs in the poems of Rustaveli's work and the motifs of the ʿUd̲h̲rī poets in all its components. This study also confirms that if we omit some details of the story in Rustaveli's book, we will find that Rustaveli was thoroughly familiar with Islamic ʿUd̲h̲rī literature and implemented it in his book "The Man in the Panther's Skin".
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Niles, John D. "The trick of the runes in The Husband's Message." Anglo-Saxon England 32 (December 2003): 189–223. http://dx.doi.org/10.1017/s0263675103000097.
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The Old English poem known as The Husband's Message begins in the same minimalist style as is typical of a number of poems of the Exeter Book (Exeter, Cathedral Library, 3501). A first-person speaker, an ‘I’, begins speaking without any context for speech yet being established, without any self-introduction, and without as yet any known purpose: Nu ic onsundran þe secgan wille … As with the Exeter Book elegies known as The Seafarer, The Wife's Lament and Wulf and Eadwacer, just as with all fifty Exeter Book riddles that are put into the first person singular voice, there is an implied challenge for the reader to discover who the speaker is and to fill out his or her full story. The poem thus begins with a small enigma. It is easy to tell that we are in the midst of that part of the Exeter Book that consists of close to one hundred riddles interspersed by a small miscellany of other poems, several of which are riddle-like in their resistance to easy interpretation.
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Murlikiewicz, Daria. "Dwa apokryfy Różewicza w kontekście kilku wersów Księgi Jeremiasza." Prace Literackie 56 (June 29, 2017): 135–48. http://dx.doi.org/10.19195/0079-4767.56.10.
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Two apocrypha of Różewicz reading in context of afew verses of the Book of JeremiahThe article Two apocrypha of Różewicz reading in context of afew verses of the Book of Jeremiah discusses one of the key problems of the poetry of Tadeusz Różewicz — intertextuality. Additional context is created by Bible. Thanks to an analysis of texts we can show, that it is possible to reinterpret two poems of Różewicz because of two verses of the Book of Jeremiah, The discussion is based on the poem [reality…] from the Regio collection and Unknown letter from Conversation with the Prince collection. Through the thesis that this poem is arecord of apositive epiphany the article attempts to argue with the accepted in literary criticism interpretation of Ryszard Nycz, Monika Witosz and Katarzyna Sawicka.
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Scarano, Laura. "Jorge Riechmann: el poema como crónica pública." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada 1, no. 18 (2012): 74. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.201218550.
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En 1997, el poeta madrileño Jorge Riechmann (1962) editó un peculiar poemario dentro de una ya vasta producción. Lo titulaba con evidente afán paródico El día que dejé de leer El País y se transformó en uno de los mejores ejemplos del cruce discursivo entre ensayo, crónica periodística y poema (o, mejor dicho, “anti-poema”). El nuevo collage emergente —plenamente posvanguardista— no rinde lúdico homenaje a tradiciones estéticas previas, sino que se erige como documento fiel de un imaginario cultural mutante e híbrido que renuncia a los compartimentos estancos de los géneros literarios y funda su naturaleza en un afán de crónica actualísima de la vida urbana, entre el inconformismo y la parodia, sin claudicar ante el fatalismo cultural de ciertos intelectuales ni los cantos de sirena de la hiperglobalizada cultura comunicacional. Palabras-clave: poesía, collage, compromiso, prosaísmo. In 1997, the poet Jorge Riechmann (Madrid, 1962) published a peculiar collection of poems, entitled El día que dejé de leer El País, as part of a wide poetic an theoretical production. This book is an excellent example of postmodern (“post-avantgarde”) collage, a hybrid discursive between essay, journalistic chronicle and poem (or better said, “anti-poem”). This collage stands as a faithful document of a mutant multicultural imaginary which stands against the ideological fatalism of certain intellectuals or the promising songs from the hiper-globalized communication culture. Keywords: poetry, collage, commitment, prosaism.
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Ustinov, Andrei. "Piotr Potiomkin’s “Green Hat” and Russian Émigré children’s literature." Children's Readings: Studies in Children's Literature 18, no. 2 (2020): 180–229. http://dx.doi.org/10.31860/2304-5817-2020-2-18-180-229.
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The essay reconstructs history of the 1924 publication of Piotr Potiomkin’s (1886—1926) poem for children Green Hat in a wider context of the Russian émigré literary culture. A well-known writer before the revolution, the author of two books of poetry Funny Love and Geranium, Potiomkin found himself after emigrating to Chishinau and further to Prague, on the periphery of the Russian Diaspora. In 1922 he slowly started to publish his works in the periodicals of “Russian Berlin.” Sasha Chiornyi, his friend from the era of the Satyricon magazine, included two of Potiomkin’s poems in the Rainbow, the first children’s anthology which Chiornyi edited for the Slovo publishing house. By that time Chiornyi occupied a leading position in the émigré children’s literature. He began to invite Potiomkin’s partici- pation in the publishing enterprises of “Russian Berlin,” and recommended the poet to the Volga publishing house as a potentially valuable author. Potiomkin was one of the creators of the genre of “a poem for children” in pre-revolutionary children’s literature—-in 1912 the magazine Galchionok published his “story in verse” Boba Skvozniakov in the Country. Therefore, Potiomkin offered the Volga to publish another “poem for children” Green Hat. As a book designer he invited Hans Fronius (1903—1988) who at the time was a student at the Kunstakademie in Vienna. Later Fronius became the first illustrator of the literary works of Franz Kafka.
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Mello, Layssa Gabriela Almeida e. Silva. "READING AND WRITING POEMS IN ENGLISH: COLLABORATIVE PRACTICES AT A BRAZILIAN PUBLIC SCHOOL." Trabalhos em Linguística Aplicada 58, no. 3 (2019): 1331–52. http://dx.doi.org/10.1590/010318135697715832019.
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ABSTRACT This study, presenting an experience with eighth-grade students at a Brazilian public school, in Goiânia, Goiás, shows students’ ability to collaboratively read and write poems in English. A poem was selected from the Indian-born, Canadian poet Rupi Kaur’s book The sun and her flowers (KAUR, 2017) to discuss and reflect on themes such as love and loss. Firstly, a theoretical reference on the importance of literary texts for English language teaching and the role of collaboration is presented to provide a theoretical basis for this pedagogical practice. The pre-reading, while-reading and post-reading activities are then described and the students’ written productions, based on Rupi Kaur’s poem, are also presented. Through these activities, students enhanced their lexical knowledge of the English language and their creativity, and also interacted with their colleagues to reflect on current issues.
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Sullivan, James D. "A Poem Is a Material Object: Claire Van Vliet’s Artists Books and Denise Levertov’s “Batterers”." Humanities 8, no. 3 (2019): 124. http://dx.doi.org/10.3390/h8030124.
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A literary text is, for a book artist, like a score for a musician or a script for an actor: a basis on which to construct an artistic performance. Book artist Claire Van Vliet has, at her Janus Press, constructed dazzling broadsides and artist books based on poetry by, among others, Hayden Carruth, Galway Kinnell, and Margaret Kaufman. These works test or ignore boundaries between conventional categories such as book and broadside, two-dimensional display, and three-dimensional construction. The object she built based on Denise Levertov’s poem “Batterers” unfolds especially powerfully in time and three-dimensional space.
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Zaitseva, Veronika. "Illustrating Ivan Kotliarevsky’s Poem “Eneidа” by Foreign Artists". ART Space, № 3 (2018): 76–80. http://dx.doi.org/10.28925/2519-4135.4.2018.3.13.
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The article discusses aspects of visual language of illustrating Ivan Kotliarevsky poem “Еneidа” by prominent foreign artists of book graphics of Germany, Russia, Bulgaria, in particular, Adalbert Shtiren, Maxim Ushakov-Poskochyn, Ivan Beketov, Dmitry Biesty, Danielа Zekinа. It is defined peculiarities of stylistic techniques, means of artistic expression of prominent foreign artists in book design interpretation of literary images of Ivan Kotliarevsky.
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Mendelson, Edward. "Auden and the Poetics of Flight." PMLA/Publications of the Modern Language Association of America 127, no. 4 (2012): 1020. http://dx.doi.org/10.1632/s0030812900121790.
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Readers of Marit J. MacArthur's “One World? The Poetics of Passenger Flight and the Perception of the Global” (127.2 [2012]: 264–82) may be interested in W. H. Auden's poem “In Transit,” written probably in 1950, which has something to say about every one of the issues that the essay explores. The abstract of the essay (424) could almost serve as a summary of the poem. “In Transit” may be found in any edition of Auden's Collected Poems; it was first published in his book Nones (1951) under the title “Air Port.”
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Requesens i Piquer, Joan. "Jacob, la inspiració, Joan Vinyoli." REVISTA VALENCIANA DE FILOLOGIA 4, no. 4 (2020): 28. http://dx.doi.org/10.28939/rvf.v4.137.
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Resum: El patriarca bíblic Jacob és el referent objectiu amb el qual el poeta Joan Vinyoliconstrueix el poema «Nit d’àngel». El seu estudi en el context del poemari on és inclòs, ElCallat, em porta a veure’l com una exposició, diguem, del que per a ell és la paraula “inspiració”.Diria que Vinyoli, feta l’anàlisi del poema i una possible interpretació, ens hi mostraquin és l’esforç d’accés a la pròpia i més fonda interioritat, la qual retorna a l’exterior amb eltreball poètic, és a dir, en la construcció que ell anomena «els cants». L’experiència de Jacobd’haver lluitat amb un àngel, doncs, com a imatge reflexa de la descoberta de la intimitat i,simultàniament, de quin és del sentit de la seva vida de poeta. Paraules clau: Jacob, inspiració, interioritat, símbol, transcendència, natura. Abstract: The biblical patriarch Jacob is the objective reference with which the poet JoanVinyoli constructs the poem «Nit d’àngel». His study in the context of the book of poems inwhich is included, El Callat, makes me see it as an exhibition, let us say, of what for him isthe word “inspiration”. I would say that Vinyoli, once the analysis of the poem and a possibleinterpretation have been made, shows us what the effort is to access one’s own deepestinteriority, which returns to the exterior with the poetic work, that is, in the construction ofthe one he names “els cants”. Jacob’s experience of having struggled with an angel, then, asa reflection of the discovery of intimacy and, simultaneously, of what is the meaning of hislife as a poet. Key words: Jacob, inspiration, interiority, symbol, significance, nature.
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Roberts, Michael. "Venantius Fortunatus's Life of Saint Martin." Traditio 57 (2002): 129–87. http://dx.doi.org/10.1017/s0362152900002725.
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When Venantius Fortunatus agreed to the request of Radegund and Agnes to versify the Vita Sancti Martini (VSM, pr. 29–30), he was well aware that he was not the first to write such a poem. About a century earlier Paulinus of Périgueux had versified Sulpicius Severus's Life of Martin (Vita) and books 2 and 3 of the Dialogues (Dial.), which contained supplementary stories about Martin's life. Fortunatus cites Paulinus's poem in the introductory section to the VSM (1.20–21) and, as frequent parallels in language demonstrate, clearly knew his predecessor's work well. But, as successive scholars have noted, the two poems, though sharing the same subject matter, create a very different impression. The VSM is unusual in Fortunatus's poetic corpus in its use of the hexameter and its narrative content. In this paper I will analyze the structure and style of Fortunatus's single venture into hagiographical epic in order to demonstrate the special qualities he brings to his narrative of the life of Saint Martin. I move from considering narrative structure, in the poem as a whole and in individual episodes, to a close analysis of style, concluding with a discussion of the function and distinctive features of the scenes in heaven with which books 2, 3, and the Martin portion of book 4 conclude. In so doing I will argue that the particular qualities of Fortunatus's poem, far from being extrinsic rhetorical flourishes, contribute to the poem's efficacy as an epic of meditation on Martin and his powers.
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Stankowska, Agata. "Od rewizji do apostazji i między publicystycznością a literackością. O wierszach polskiej „odwilży”." Poznańskie Studia Polonistyczne. Seria Literacka, no. 29 (March 1, 2017): 247–59. http://dx.doi.org/10.14746/pspsl.2016.29.16.
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The text is a book review of an Wiersze polskiej „odwilży” (1953-1957) (Kielce 2010). This is the first monograph of this subject, and it has a great documentary value. The author based his well-researched study on detailed archival queries in contemporary press, magazines, and leaflets. The author compared the found texts with their authors’ published poetry books, traced the relations between content, censorship interventions in reprints, and subsequent authorial modifications, which were often aimed at universalization of a poem initially written as an urgent public statement. The author meticulously reconstructed the communicational problems of thaw poems and collections.
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Chioda, Leonardo. "Este poema não existe: um caso de intermidialidade (e magia) em Herberto Helder / This Poem Does Not Exist: A Case of Intermediality (and Magic) in Herberto Helder." Revista do Centro de Estudos Portugueses 39, no. 62 (2020): 127. http://dx.doi.org/10.17851/2359-0076.39.62.127-144.
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Resumo: O presente artigo pretende investigar as diferentes adaptações de um poema que Herberto Helder extirpou do conjunto de sua obra depois de assistir, durante sua estadia na África nos anos 60, a um curta-metragem baseado em seu texto. Ainda que a referência do poeta ao poema e à sua exclusão se restrinja à nota “(magia)”, em Photomaton & vox, o poema pode ser considerado um dos mais visuais e inquietantes de Herberto Helder, conforme é possível verificar em uma gravação em disco narrada pelo próprio poeta e por um curta-metragem mais recente disponível na internet, produzido pelo grupo O Dizedor. Partindo da premissa do próprio poeta de que “todo poema é um filme”, abordamos o poema original, publicado em 1968 no livro Apresentação do rosto, e procuramos demonstrar suas respectivas adaptações em áudio e vídeo e a outros textos de Herberto Helder afim de promover associações intermidiais, sobretudo entre a pintura e o cinema enquanto meios que permitem “ver” a poesia. Procuramos demonstrar que, mesmo sendo descartado por Herberto Helder, as várias releituras deste poema o tornam um dos mais adaptados dentre toda a sua obra.Palavras-chave: Herberto Helder; intermidialidade; cinema; magia.Abstract: This article intends to investigate the different adaptations of a Herberto Helder´s poem that he subtracted from his whole work after watching, during his stay in Africa in the Sixties, a short film based on his text. Although the poet’s reference to the poem and to its exclusion is restricted to the note “(magic)” on Photomaton & vox, the poem can be considered one of Herberto Helder’s most visual and unsettling texts, as can be verified through a disc recording which is narrated by the poet himself, as well as in a recent short film available on internet, produced by the group O Dizedor. Departing from the poet’s premise that “every poem is a movie”, we approach to the original poem, published in 1968 in the book Apresentação do rosto, and try and demonstrate their respective adaptations in audio and video as well as to other Herberto Helder´s texts in order to promote intermedial associations, especially between painting and cinema as ways to “see” the poetry. We try and demonstrate that, despite of being subtracted by Herberto Helder, the several rereading of this poem make it one of the most adapted among his whole work.Keywords: Herberto Helder; intermediality; cinema; magic.
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Oakley, Mark. "Book Review: The Triumph of Love: A Poem." Theology 103, no. 811 (2000): 70–71. http://dx.doi.org/10.1177/0040571x0010300132.
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Smith, Peter. "An early eighteenth-century Ó Néill poem-book." Studia Hibernica 38 (January 2012): 117–40. http://dx.doi.org/10.3828/studia.38.117.
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Potgieter, J. H. "Die lied van Hanna: ’n Digterlike bousteen." Verbum et Ecclesia 11, no. 1 (1990): 66–73. http://dx.doi.org/10.4102/ve.v11i1.1012.
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The song of Hannah: A poetical component The prayer of Hannah is a beautiful poem, but has not received the attention as a poem which it rightfully deserves. Various aspects such as its similarity with Psalm 113, its text-critical difficulties and the secondary nature in the context of the book have previously been discussed, but unfortunately not enough thought has been given to its poetical character. This article investigates the intratextual relationships of the poem. This is done in order to illustrate that it is possible to reach a better understanding of the poem itself as well as to determine its contribution to the message of the larger context of the book.
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Giusti, Elena. "TIRESIAS, OVID, GENDER AND TROUBLE: GENERIC CONVERSIONS FROMARSINTOTRISTIA." Ramus 47, no. 1 (2018): 27–57. http://dx.doi.org/10.1017/rmu.2018.5.
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The brief story of Tiresias’ punishment in the third book of Ovid'sMetamorphoses(Met. 3.316–38) becomes a privileged site for mapping the different ways readers can reinterpret episodes of the poem in the light of the rest of Ovid's corpus. Tiresias, the first humanuatesof the poem, who is punished with blindness for voicing what he should have kept silent, can be included among those punished artists who double the poet in theMetamorphoses: while Tiresias is condemned for having voiced his knowledge of both sexes, Ovid is exiled for giving amatory advice to, and therefore knowing, both men and women. Thus the Tiresias episode reads as a pendant to that of Actaeon in the same book (the latter explicitly likened to Ovid's fate inTristia2.103–8), with the pair suggesting a veiled allegory of thecarmenanderrorthat caused Ovid's exile.
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Harrison, S. J. "Drink, suspicion and comedy in Propertius 1.3." Proceedings of the Cambridge Philological Society 40 (1994): 18–26. http://dx.doi.org/10.1017/s0068673500001802.
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Propertius 1.3 famously begins with the drunken poet returning from a night out to find his puella Cynthia asleep. The sleeping Cynthia is then apparently idealised by the poet through a series of comparisons with mythological heroines, until she wakes up and shows her true and less elevated character, shrewishly nagging the poet for staying out late with another woman, and thereby destroying his illusions. Some of the wit and irony of the situation has been pointed out in previous accounts of the poem; this treatment takes a closer look at the text, especially at the mythical analogues for Cynthia applied at the beginning of the poem, and argues that part of the wit and amusement of the poem derives from its articulation of the poet's suspicions of Cynthia's infidelity. This is not a tragic or dramatic effect, but rather a clever and amusing comedy; the amusing self-characterisation of the poet as a drunken bumbler racked with lust and suspicion is fully consistent with the kind of elegist envisaged by Paul Veyne, who rightly stresses that Roman love-elegy has much more to do with literary entertainment than with the intense analysis of passion. The scene is being narrated by the poet with retrospective wit and irony against himself; to use the convenient terms employed by Winkler in his book on Apuleius, the poet as auctor (writer of the poem) provides an entertaining view of the poet as actor (character in the poem's story).
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Novita, Cindi, Pramudana Ihsan, and Ari Setyorini. "HOPELESSNESS IN J. C. DAWN'S SELECTED POEMS." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 5, no. 1 (2021): 213–20. http://dx.doi.org/10.30743/ll.v5i1.3834.
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This research examines the hopelessness described in the poems by J. C. Dawn entitled Living in A Pride World, Womb, and A Soundless Tear in her book The Ripple of Existence. This research is a descriptive qualitative study that aims to describe the words used to express hopelessness. The method used to analyze the poems is the analysis of intrinsic elements in poetry with a psychological approach to find out about hopelessness experienced by the characters in each poem. Hopelessness is a condition experienced by anyone where where there is no more hope. This would also be contextualized in real life concerning the stages of someone experiencing hopelessness based on Abramson's theory. The results of the research show that the "I" character in the first poem experiences a failure in himself; in the second poem, "I" faces struggles under challenging conditions and in the third, "she" finds herself unable to accept the reality of life.
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Poljakov, Fedor B. "Early Edition of Ellis’ Collection Cross and Lear: A Study in Reconstruction." Literary Fact, no. 19 (2021): 312–24. http://dx.doi.org/10.22455/2541-8297-2021-19-312-324.
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The paper is dedicated to the last period in creative work and biography of Ellis (Lev L’vovich Kobylinsky, 1879–1947), a symbolist poet and theoretician of art. In 1930s Ellis was actively writing on various historical, literary, religious, philosophical and esoteric subjects and continued to work on his poems and translations. The article provides excerpts from the Ellis’ letters to the artist Nikolai Zaretsky, on the basis of which the stages of Ellis’ work on his third and last book of poetry and translations titled Cross and Lear during the 1930s can be clarified in some detail. In the Addendum Ellis’ poem “Death and a Knight (Old Engraving)” is published.
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Lendinara, Patrizia. "The third book of theBella Parisiacae Urbisby Abbo of Saint-Germain-des-Prés and its Old English gloss." Anglo-Saxon England 15 (December 1986): 73–89. http://dx.doi.org/10.1017/s0263675100003690.
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A certain ‘Descidia Parisiace polis’, which can safely be identified with the work of Abbo of Saint-Germain-des-Prés now commonly known as theBella Parisiacae Urbis, is listed among the books given by Æthelwold to the monastery of Peterborough. We shall never know if Æthelwold's gift corresponds to any of the surviving manuscripts of Abbo's poem – though probably it does not – but the inventory gives evidence of the popularity of his work in England. In the following pages I shall consider the genesis and successive fortune of Abbo's poem and provide a new assessment of the value of theBella Parisiacae Urbis. This assessment is a necessary first step to the understanding of the reasons for the success of his poem – and specifically of its third book – in England, as is witnessed by the number of English manuscripts containing the Latin text and by the Old English gloss which was added to this small, intriguing work.
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Jesus, Dulcirley De. "Poema-mundo: corpo-poema." Revista do Centro de Estudos Portugueses 34, no. 52 (2014): 55. http://dx.doi.org/10.17851/2359-0076.34.52.55-75.
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<p>Entre os poemas de Herberto Helder em que há uma certa ênfase à relação entre as noções de mundo, de corpo e de linguagem, merece destaque <em>Do mundo </em>(2006), publicado pela primeira vez em 1978. Nele, há referências tanto a um mundo em gênese e formação quanto a um corpo orgânico que se move em seus processos de metamorfose. Todavia, tais imagens são produtos de uma construção que se dá por referências inconcretas. Estas, por sua vez, no devir de uma linguagem que irradia significações, enfeixam-se em um movimento de convergência que resulta em imagens como: o “corpo-poema”, ou o “poema-corpo”, e o “mundo-poema”, ou o “poema/mundo”; ou ainda o corpo-mundo-poema. Tais blocos de imagens materializam-se na poesia de Herberto Helder pelos processos de fusões, transmutações e de metamorfoses porque passam a linguagem, o que ocorre na mesma medida em que as palavras tornam-se coisa, corpo, mundo; corpo-mundo naquilo que esses espaços possuem de afinidade, como reitera Maffei: “Um profundo vitalismo, assim, faz a ‘imagem’ possuir características de corpos vivos e do próprio universo, por sua vez também um corpo vivo.”1 Apesar da existência de uma comunicação intensa entre essas imagens nas duas obras, daremos ênfase, neste artigo, à leitura de <em>Do mundo </em>e sua relação com o espaço que lhe é homônimo com a palavra poética, já que, como é sugerido pelo próprio título, esse poema confere um tratamento especial à relação entre nome e coisa, palavra e realidade, linguagem e mundo.</p> <p>Among Herberto Helder’s poems that have emphasis in relation between the notions of world, body and language, the book <em>Do mundo </em>(2006), first published in 1978, deserves our attention. In this book, we could find references such in a world in genesis and formation as to a organic body that moves in their metamorphoses processes. However, these images are products of a construction that is not given by concrete references. These, in turn, in <em>devir </em>of a language that radiate meanings, reunites in a convergence movement that results in images such as: “body-poem”, or “poem-body”, and the “world-poem” or the “poem/ world”; or the body-world-poem. Such image blocks are materialized in the poetry of Herbert Helder by mergers process, transmutations and metamorphosis because they transpose the language, which occurs to the same extent that the words become thing, body, world; body-world in which these spaces have affinity, as Maffei reiterates: “A deep vitalism, thus, makes the ‘image’ possess characteristics of living bodies and the universe, itself, turns also a living body”. Despite the existence of an intense communication between these images in both works, we will emphasize, in this article, the reading of <em>Do Mundo </em>and its relation with the namesake space with the poetic word, remembering, as suggested by the title itself, this poem gives special treatment to the relation between name and thing, word and reality, language and world.</p>