Books: 'POET model'

1

Vasilʹeva, O. Gruzii͡a︡ kak modelʹ postkommunisticheskoĭ transformat͡s︡ii. Mezhdunar. fond sot͡s︡ialʹno-ėkon. i politologicheskikh issl. (Gorbachev-Fond), 1993.

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2

Florian, Alexandru. Modele politice ale tranziției. Geea, 2004.

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3

Dla kogo telewizja?: Model publiczny w postkomunistycznej Europie Środkowej. Wydawn. Uniwersytetu Wrocławskiego, 2002.

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4

Ryzhakov, Anatoliĭ Vasilʹevich. Print︠s︡ipy optimizat︠s︡ii ėkonomicheskoĭ modeli sot︠s︡ializma. Palei︠a︡, 1995.

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5

Successor states and cooperation theory: A model for Eastern Europe. Praeger, 1994.

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6

Marangos, John. Preventive therapy: The neoclassical gradualist model of transition from central administration to market relations. Center for Russian and East European Studies, University Center for International Studies, University of Pittsburgh, 2002.

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7

Ceccucci, Piero, ed. Fiorenza mia…! Firenze e dintorni nella poesia portoghese d'oggi. Firenze University Press, 2009. http://dx.doi.org/10.36253/978-88-8453-329-6.

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In the Portuguese imagination Florence is justly considered the cradle of modern western civilisation. Seen and admired from the Renaissance on as the new Athens, for the Portuguese it has always represented not only a model of culture and civilisation to take as inspiration, but also and above all the locus amoenus of spiritual and intellectual harmony and balance, dreamed-of and unattainable, that floods and pervades the soul with a vague, nostalgic sentiment of admiration. Evidence of this, now as in the past, are the serried ranks of poets who for centuries have sung its praises and raised it to the rank of myth. This brief anthology proposes only a few of them, among the most renowned of recent generations. In a truly original way these poets have managed to convey to the hearts and minds of their compatriots their own stunned vision of the city, illustrating emotions that cannot fail to move even the Florentines and, in a broader sense, we Italians as a whole. Thus what is offered in these pages, in fine Italian translation, is this mesh of voices, an intimate and enthralling polyphony of city, poet and reader, unfurling in an evocative melody and proposing the legend of Florence in a new light – possibly more authentic and illuminating.

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8

Auty, R. M. The IMF model and resource-abundant transition economies: Kazakhstan and Uzbekistan. United Nations University, World Institute for Development Economics Research, 1999.

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9

Institucionalni modeli i demokratizacija postjugoslovenskih država. Institut za međunarodnu politiku i privredu, 2007.

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10

Building the future: Uzbekistan-its own model for transition to a market economy. Uzbekiston Publishers, 1993.

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11

Marangos, John. Preventive therapy: The neoclassical gradualist model of transition from central administration to market relations. Center for Russian & East European Studies, University Center for International Studies, University of Pittsburgh, 2002.

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12

Marangos, John. Preventive therapy: The neoclassical gradualist model of transition from central administration to market relations. Center for Russian & East European Studies, University Center for International Studies, University of Pittsburgh, 2002.

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13

Karimov, I. A. Uzbekistan--sobstvennai͡a︡ modelʹ perekhoda na rynochnye otnoshenii͡a︡. Glav. red. Kyrgyzskoĭ Ėnt͡s︡iklopedii, 1994.

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14

Karimov, I. A. Uzbekistan--sobstvennai͡a︡ modelʹ perekhoda na rynochnye otnoshenii͡a︡. "Ŭzbekiston", 1993.

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15

Gómez, Fernando Herrera. Modelo 50: Panorama de poetas colombianos nacidos en la década de 1950. Editorial Universidad de Antioquia, 2005.

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16

Bianchi, Soledad. La memoria: Modelo para armar : grupos literarios de la década del sesenta en Chile : entrevistas. Dirección de Bibliotecas, Archivos y Museos, 1995.

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17

Bal, İdris. Turkey's relations with the West and the Turkic Republics: The rise and fall of the 'Turkish model'. Ashgate, 2000.

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18

Miki, Doron, NATO Science for Peace and Security Programme, North Atlantic Treaty Organization. Public Diplomacy Division, and NATO Advanced Study Institute on Culturally Sensitive Treatment of Post Trauma (2010 : Istanbul, Turkey), eds. Protocol for treatment of post traumatic stress disorder: SEE FAR CBT model : beyond cognitive behavior therapy. IOS Press, 2010.

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19

Wan, Guang Hua. Income inequality and growth in transition economies: Are nonlinear models needed? United Nations University, World Institute for Development Economics Research, 2002.

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20

Brönnimann-Egger, Werner. The friendly reader: Modes of cooperation between eighteenth century English poets and their audience. Stauffenburg, 1991.

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21

Badzhakov, Momchil. V kakvo obshtestvo zhiveem?: Metodologichni podkhodi i teoretichni modeli na prekhodnoto obshtestvo. Mikroprint, 1993.

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22

Poet of the dunes: Songs of the dunes and the outer shore, with others in varying modes and moods. Cape Cod Pilgrim Memorial Association, 1988.

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23

Cox, Virginia, and Shannon McHugh, eds. Vittoria Colonna. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723947.

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This edited collection presents fresh and original work on Vittoria Colonna, perhaps the outstanding female figure of the Italian Renaissance, a leading Petrarchist poet, and an important figure in the Italian Reform movement. Until recently best known for her close spiritual friendship with Michelangelo, she is increasingly recognized as a powerful and distinctive poetic voice, a cultural and religious icon, and an important literary model for both men and women. This volume comprises compelling new research by established and emerging scholars in the fields of literature, book history, religious history, and art history, including several studies of Colonna’s influence during the Counter-Reformation, a period long neglected by Italian cultural historiography. The Colonna who emerges from this new reading is one who challenges traditional constructions of women’s place in Italian literature; no mere imitator or follower, but an innovator and founder of schools in her own right.

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24

Bayer, Natascha. Der Start in die Marktwirtschaft, das tschechische Modell: Historische, politische und gesellschaftliche Rahmenbedingungen eines Systemwandels. Duncker & Humblot, 1999.

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25

author, Şalcioglu Ebru, ed. A mental healthcare model for mass trauma survivors: Control-focused behavioral treatment of earthquake, war, and torture trauma. Cambridge University Press, 2011.

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26

Demougin, Dominique. Privatization, risk-taking, and the communist firm. National Bureau of Economic Research, 1992.

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27

Ali A., Ph.D. Parsa. Rediscovery of Hakim Omar Khayyam : The Great Persian Mathematician, Astronomer, Scientist, Philosopher, Poet and Eternal Role Model. Ali a Parsa, 1998.

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28

Sweet, M. Anne. Model Examines: A Graphic Poem. Studio SixEight, 2011.

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29

Jones, Chris. Fossil Poems and the New Philology. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824527.003.0005.

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This chapter argues that a second phase of poetic Anglo-Saxonism began to overtake the first as the science of the New Philology began to make itself felt from the 1830s onwards. This rendered obsolete the first model of Anglo-Saxon as the living root of English literary tradition. Instead poets began to tap the etymological meaning of modern English words of Anglo-Saxon origin, as well to resurrect extinct words and grammatical forms from Anglo-Saxon. New readings of Walt Whitman and William Morris are made on the basis of unpublished manuscript evidence and William Barnes is identified as the first post-medieval poet to consciously imitate the alliterative rules of Anglo-Saxon poetry.

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30

Moder Dy: Polygon New Poets. Birlinn, Limited, 2019.

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31

Ready, Jonathan L. Two Preliminary Points. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198802556.003.0005.

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Two discussions prepare for the argument that the Iliad poet and the Odyssey poet show their competence by producing similes that fall at different points on the spectrum of distribution. First, the consideration of a poet’s competence that emerges in archaic Greek hexameter poems encourages study of how the actual poet exhibits his competence. Second, the model of a spectrum of distribution interacts with current trends in Homeric studies, especially the research of John Miles Foley, Richard Martin, and Deborah Beck.

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32

Steinmetz, Andres. A Poem for Executives: New Model Business Strategies. Metamorphous Pr, 1987.

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33

Steinmetz, Andres. A Poem for Executives: New Model Business Strategies. Metamorphous Pr, 1987.

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34

Ross, Colin A. The Trauma Model. Manitou Communications, Inc., 2006.

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35

Cambridge Contemporary Poets 2 (Modes of Writing). Cambridge University Press, 1992.

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36

Cambridge Contemporary Poets 1 (Modes of Writing). Cambridge University Press, 1992.

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37

Rawlings, Craig, and John Mohr. Four Ways to Measure Culture: Social Science, Hermeneutics, and the Cultural Turn. Edited by Jeffrey C. Alexander, Ronald N. Jacobs, and Philip Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780195377767.013.4.

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This article considers four of the ways in which measurement practices have been applied to create formal models of culture in the social sciences. It first examines the nature of formal measurement models in the social sciences and compares this mode of scholarship to more hermeneutic styles of research, paying attention to debates over method in the social sciences before and after the cultural turn. It then discusses four different types of formal (measurement) models that have been especially important to the cultural sciences over the last century: pre-cultural turn/non-hermeneutic, pre-cultural turn/hermeneutic, post-cultural turn/non-hermeneutic, and post-cultural turn/hermeneutic. It also cites an exemplar figure for each model, namely, Alfred Kroeber, Claude Lévi-Strauss, Paul DiMaggio, and Harrison White, respectively. Finally, it revisits the problem of how to conceptualize a scientific hermeneutics by comparing the theorization of the practice of data analysis to Paul Ricoeur’s theorization of the practice of text analysis.

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38

Ready, Jonathan L. Shared Similes in the Homeric Epics. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198802556.003.0006.

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Our Homeric poets strove to display their competence by doing what their predecessors and peers did. To discover the shared similes in the Iliad and the Odyssey, the chapter first reviews the (nearly) verbatim short vehicle portions and similar long vehicle portions found (a) in the Iliad and Odyssey or (b) in the Iliad or Odyssey and in other archaic Greek hexameter poems or lyric poems. The chapter then discusses “scenarios” to get at the mental templates underlying many of our Homeric poets’ vehicle portions, templates that reveal the extent of their use of shared vehicle portions. By linking this model of scenarios with an approach from cognitive linguistics known as Frame Semantics, one can detect the ease with which a Homeric poet learned the scenarios. Our poets’ demonstrations of their use of shared elements also comes to the fore when one examines their similes as two-part equations, each composed of a tenor and a vehicle.

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39

Myers, Tobias. Homer's Divine Audience. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198842354.001.0001.

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This book lays out and explores a new ‘metaperformative’ approach to scenes of divine viewing, counsel, and intervention in the Iliad. Critics have often described the gods’ activities in terms of attendance at a ‘show’ and have suggested analogies to theatre and sports, but have done little to investigate the particular strategies by which the poet conveys the impression of gods attending a live, staged event. This book’s analysis of those strategies points to a ‘metaperformative’ significance to the motif of divine viewing: the poet is using the gods, in part, to model and thereby manipulate the ongoing dynamics of performance and live reception. The gods, like the external audience, are capable of a variety of emotional responses to events at Troy; notably pleasure, pity—and also great aloofness. By performing the speeches of the provocative, infuriating, yet ultimately obliging Zeus, the poet at key moments both challenges his listeners to take a stake in the continuation of the performance, and presents a sophisticated critique of possible responses to his poem. The result is a conception of epic not only as song that will transcend time through re-performance—as famously evinced in the Iliad’s meditations on kleos—but also as raw spectacle, in which audience ‘participation’, and complicity, magnify and complicate the emotional impact of the devastation at Troy.

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40

Volberda, Henk, Frans van den Bosch, and Kevin Heij. Business Model Transformation. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198792048.003.0006.

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Chapter 6 explores the dynamics of business model innovation by discussing the interactions between Sony and Apple over the minidisc and the MP3 player. Seemingly, a period of business model renewal is likely to be followed by business model replication. Both renewal and replication can be internally driven, or externally driven. Combining types of business model innovation (replication versus renewal) with business model orientation (strategy-driven versus customer-driven) gives four variations of business model transformation: exploit and improve, explore and dominate, exploit and connect, and explore and connect. This chapter considers four firms for illustration: DSM, the Port of Rotterdam Authority, NXP Semiconductors, and IHC Merwede. If one thinks of the four approaches as quadrants in a matrix, these cases show how firms can change their position within that matrix over time.

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41

Experiential Treatment for PTSD: The Therapeutic Spiral Model. Springer Publishing Company, 2002.

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42

FitzGerald, Brian. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198808244.003.0001.

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The Introduction offers an overview of recent scholarship on medieval prophecy and provides the book’s interpretative framework. The book differs from much previous scholarship by examining how prophecy had a multiplicity of meanings besides prediction in the Middle Ages and by showing the significance of debates over those meanings. The chapter then explains the chronological parameters of the book, beginning in the twelfth century when prophecy became a subject of controversy and ending in the early fourteenth century when humanist intellectuals and poets began challenging the authority of scholastic theologians. The chapter ends by surveying the conceptual background to the book’s subject matter: the classical idea of the vates (poet-prophet) and patristic (particularly Augustinian) theories of prophecy and inspired vision. It shows how these concepts were combined with a functional-institutional model of prophecy derived from St Paul and left a tangled legacy that twelfth-century thinkers needed to resolve.

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43

Alden, Maureen. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199291069.003.0001.

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The progress of the main narrative of the Odyssey is frequently suspended by the para-narratives told by the poet and his characters. These can take the form of paradigms providing a model of action for imitation or avoidance by a character. They can also guide interpretation of the main narrative by exploring variations on its basic story shape. A veiled hint may be conveyed through an αἶνος‎ purportedly based on personal experience. Previous work on narratives in the Odyssey, including narratology and narrative strategy, is briefly surveyed. The Homeric poems were showcased in the Athenian festival of the Panathenaea, and religious practice becomes a further source of para-narrative as the Athenian rituals of the Plynteria and Arrephoria are evoked by Penelope’s actions and stories as the poem draws to its end. Athenian control of the pan-Ionian festival in Delos may explain the Apollo paradigm used of Odysseus.

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44

Manny, Iarla. Oscar as (Ovid as) Orpheus. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198789260.003.0016.

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Whereas Plato is more commonly considered as an ancient source for The Picture of Dorian Gray, this chapter looks at Ovid and his Metamorphoses as a classical model for Wilde’s sole novel. Unlike Narcissus and Pygmalion, who are more obviously alluded to in Dorian Gray, Ovid’s Orpheus has mainly been overlooked as a mythical archetype for Wilde’s novel. Orpheus, the legendary minstrel whose story is related in Books 10 and 11 of the Metamorphoses, has long been regarded as the archetypal artist who is the most relevant self-reflexive representative of the poet Ovid himself. While the tragic relationship between Dorian Gray and Sibyl Vane in Wilde’s novel has been compared to that between Orpheus and Eurydice in Ovid’s poem, this chapter proposes that the Ovidian Orpheus’ misogynistic and pederastic tendencies can help unravel the evocatively named Dorian’s troubled relations with the sexes, as well as those of Wilde himself.

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45

Nazarian, Cynthia N. Love's Wounds. Cornell University Press, 2017. http://dx.doi.org/10.7591/cornell/9781501705229.001.0001.

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This book takes an in-depth look at the widespread language of violence and abjection in early modern European love poetry. Beginning in fourteenth-century Italy, the book shows how Petrarch established a pattern of inequality between suffering poet and exalted Beloved rooted in political parrhēsia. Sixteenth-and early seventeenth-century French and English poets reshaped Petrarch's model into an idiom of extravagant brutality coded to their own historical circumstances. The book argues that these poets exaggerated the posture of the downtrodden lover, adapting the rhetoric of powerless desire to forge a new “countersovereignty” from within the heart of vulnerability—a potentially revolutionary position through which to challenge cultural, religious, and political authority. Creating a secular equivalent to the martyr, early modern sonneteers crafted a voice that was both critical and unstoppable because it suffered. The book tracks the development of the counter-sovereign voice from Francesco Petrarca to Maurice Scève, Joachim du Bellay, Théodore-Agrippa d'Aubigné, Edmund Spenser, and William Shakespeare. Through interdisciplinary and transnational analyses, the text reads early modern sonnets as sites of contestation and collaboration and rewrites the relationship between early modern literary forms.

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46

Solomon, William. The Work of Art in the Age of Mechanical Transportation. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040245.003.0002.

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This chapter examines poet W. C. Williams' and director Mack Sennett's respective investments in the 1920s in destructive enterprises, comically excessive violence amounting in both to a repudiation of the values that inform economic rationalism. In the former's The Great American Novel (1923) critical reflexivity and collage experimentation constitute acts of resistance to narrative signification. In the latter, the symbolic dismantling of the Model T—as exhibited in his films Lizzies of the Field (1924) and Super-Hooper-Dyne Lizzies (1925)— serves as a gesture of defiance aimed at Fordism. Both the motion pictures and the literary text indicated their ethical opposition to the priorities informing economic rationalism by integrating the Model T into decidedly destructive undertakings.

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47

The Leipzig Model: Myth or Reality? University Press of America, 2007.

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48

1931-, Friebert Stuart, and Young David 1936-, eds. Models of the universe: An anthology of the prose poem. Oberlin College Press, 1995.

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49

(Editor), Stuart Friebert, and David Young (Editor), eds. Models of the Universe : An Anthology of the Prose Poem. Oberlin College Press, 1995.

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50

Abbott, Helen. Baudelaire’s Assemblage. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.003.0002.

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Song is a combination of elements, of which the outcome is not always stable. This chapter examines the nature of the bonds formed between poem and music by proposing a new ‘‘assemblage’’ model, which focuses on five key parameters: (a) metre/prosody; (b) form/structure; (c) sound properties/repetition; (d) semantics/word painting; (e) live performance options. This approach bridges methodological gaps exposed through an examination of existing models used in translation theory, adaptation theory, and word/music theory. The two stages in the assemblage model examine: (1) adhesion strength (how closely poem and music stick together); (2) accretion/dilution (how successful the song setting is). The phases of analysis factor in how song is a non-permanent form which goes through multiple iterations of repackaging, including different performances of the same song and different settings of the same poem.

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Books on the topic 'POET model'

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