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Journal articles on the topic 'Poetic license'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Veling, Terry A. "Poetic License." International Journal of Practical Theology 23, no. 1 (2019): 39–48. http://dx.doi.org/10.1515/ijpt-2018-0029.

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Abstract This paper is a response to Heather Walton’s 2017 Presidential Address to the International Academy of Practical Theology, “A Theopoetics of Practice – Re-forming in Practical Theology.” It explores a key question raised by Walton: “If we were to construct a way of imagining a theopoetics of practical theology, what would it look like?” The paper critiques systematic and speculative thinking, reflects on Holy Saturday, and offers a poetic reflection on creation and natural love.

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2

Hart, Ellen Louise, William H. Shurr, Anna Dunlap, Emily Grey Shurr, and Emily Dickinson. "Poetic License." Women's Review of Books 11, no. 4 (1994): 24. http://dx.doi.org/10.2307/4021737.

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Pruitt, Stephanie. "Poetic License." Palimpsest: A Journal on Women, Gender, and the Black International 1, no. 1 (2012): 99–106. http://dx.doi.org/10.1353/pal.2012.0014.

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4

Baker, Houston A. "Poetic License." Palimpsest: A Journal on Women, Gender, and the Black International 1, no. 2 (2012): 285–86. http://dx.doi.org/10.1353/pal.2012.0019.

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Williams, Caroline Randall. "Poetic License." Palimpsest: A Journal on Women, Gender, and the Black International 2, no. 1 (2013): 126–28. http://dx.doi.org/10.1353/pal.2013.0003.

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6

Selcer, Donald M. "MARCYʼS POETIC LICENSE CANCELLED". Pediatric Infectious Disease Journal 9, № 5 (1990): 373. http://dx.doi.org/10.1097/00006454-199005000-00018.

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7

Sternlieb, Jeffrey L. "Poetic license--Balint style." Families, Systems, & Health 26, no. 2 (2008): 235. http://dx.doi.org/10.1037/1091-7527.26.2.235.

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8

Massey, Calvin R. "The Jurisprudence of Poetic License." Duke Law Journal 1989, no. 4 (1989): 1047. http://dx.doi.org/10.2307/1372639.

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9

Lendler, Marc. "Civil Liberties and Poetic License." PS: Political Science and Politics 28, no. 2 (1995): 217. http://dx.doi.org/10.2307/420349.

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10

Lendler, Marc. "Civil Liberties and Poetic License." PS: Political Science & Politics 28, no. 02 (1995): 217–20. http://dx.doi.org/10.1017/s1049096500057176.

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11

Rashied, Naiefa. "Book review: Rodriguez, CO. 2018. Decolonizing academia – poverty, oppression and pain. Nova Scotia: Fernwood." Scholarship of Teaching and Learning in the South 3, no. 1 (2019): 113. http://dx.doi.org/10.36615/sotls.v3i1.104.

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Naeifa Rashied argues that Clelia Rodriguez' book Decolonizing academia - poverty, oppression and pain "does a lot more than reflect on curriculum. Its unconventional, poetic, first-person tone highlights injustices experienced from all angles in higher education which makes it a valuable read".  How to cite this book review: RASHIED, Naiefa. Book review: Rodriguez, CO. 2018. Decolonizing academia – poverty, oppression and pain. Nova Scotia: Fernwood. Scholarship of Teaching and Learning in the South. v. 3, n. 1, p. 113-114, Apr. 2019. Available at: https://sotl-south-journal.net/?journal=sotls&page=article&op=view&path%5B%5D=104&path%5B%5D=38  This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

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12

Molde, Klas. "Toward a Theory of Poetic License." Poetics Today 41, no. 4 (2020): 561–93. http://dx.doi.org/10.1215/03335372-8720071.

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In a supposedly enlightened and disenchanted age, why has lyric poetry continued to make claims and perform gestures that are now otherwise inadmissible or even unimaginable? Animation, invocation, and unmotivated praise, apparently artificially imposed (dis)order, and spurious gnomic and vatic sayings that pretend to universal or transcendent knowledge are marks of the lyric as a genre. Sketching a theory of poetic license, this article addresses the lyrical entanglement of enchantment and embarrassment. The author argues for a concept of the lyric as a medium for regulating the balance between enchantment and disenchantment in an always imbalanced environment. Engaging other scholars and using examples from modern French and German poetry, the article also ventures a new understanding of lyric modernity. Rather than naming a historical event to be lamented, disenchantment unveils a risk inherent to the lyric whose regulatory function it makes explicit.

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13

Leddy, Michael, and Marjorie Perloff. "Poetic License: Essays on Modernist and Postmodernist Lyric." World Literature Today 65, no. 2 (1991): 307. http://dx.doi.org/10.2307/40147203.

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14

Miller, David Lee, and Jacqueline T. Miller. "Poetic License: Authority and Authorship in Medieval and Renaissance Contexts." South Atlantic Review 53, no. 2 (1988): 132. http://dx.doi.org/10.2307/3199919.

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15

Alsup, Andrea Vargish. "Taking Poetic License with Shakespeare: Companion Poems for Four Plays." English Journal 82, no. 5 (1993): 66. http://dx.doi.org/10.2307/820819.

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16

Lang, Karen C. "Poetic license in the Buddhist Sanskrit Verses of the Upāliparipcchā." Indo-Iranian Journal 44, no. 3 (2001): 231–40. http://dx.doi.org/10.1163/000000001791615172.

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17

Hetherington, Paul. "Poetic Self-Inventions: Hoaxing, Misrepresentation and Creative License in Poetry." New Writing 10, no. 1 (2013): 18–32. http://dx.doi.org/10.1080/14790726.2012.725747.

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18

Lin, Sylvia Li-Chun. "Poetic License Vs. Translator's Responsibility: TranslatingNotes of a Desolate Man." Translation Review 59, no. 1 (2000): 36–38. http://dx.doi.org/10.1080/07374836.2000.10523756.

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19

Alsup, Andrea Vargish. "Taking Poetic License with Shakespeare: Companion Poems for Four Plays." English Journal 82, no. 5 (1993): 66–68. http://dx.doi.org/10.58680/ej19937833.

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20

Ranatunge, R. A. P. K., C. Dilkushi Senaratne, and E. A. G. Fonseka. "‘The Burial of the Dead’: T.S. Eliot’s Use of Poetic License." Sri Lanka Journal of Advanced Social Studies 9, no. 1 (2019): 61. http://dx.doi.org/10.4038/sljass.v9i1.7148.

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21

Van Buskirk, William, and Michael London. "Inviting the Muse Into the Classroom: Poetic License in Management Education." Journal of Management Education 32, no. 3 (2008): 294–315. http://dx.doi.org/10.1177/1052562907308294.

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22

Goldman, Susan R., and Ronald J. Kantor. "The limits of poetic license: When shouldn't an ending be happy?" Poetics 22, no. 1-2 (1993): 135–50. http://dx.doi.org/10.1016/0304-422x(93)90025-c.

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23

Aultman-Moore, J. "Colloquium 3 Commentary on Narbonne." Proceedings of the Boston Area Colloquium of Ancient Philosophy 33, no. 1 (2018): 88–92. http://dx.doi.org/10.1163/22134417-00331p09.

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Abstract In this response, I dispute Professor Narbonne’s thesis on the literary leeway of the poet, emphasizing the constraints on poetic license from both the nature of the genre and the ethical and educational role tragedy played for Aristotle in civic life.

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24

Choy, Howard Y. F. "Frustrated Expectation: On the Poetic License of Li Bo’s Heptasyllabic Regulated Octaves." Tang Studies 14, no. 1 (1996): 99–123. http://dx.doi.org/10.1353/tan.1996.0004.

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25

Nilon, Robin. "Poetic License: Using Documentary Poetry to Teach International Law Students Paraphrase Skills." InSight: A Journal of Scholarly Teaching 15 (August 1, 2020): 142–56. http://dx.doi.org/10.46504/15202008ni.

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26

Boyd, Melba Joyce. "Biographies, Autobiographies, and Memoirs, Taking Poetic License: a Poet Writing About Poets." Black Scholar 38, no. 2-3 (2008): 10–13. http://dx.doi.org/10.1080/00064246.2008.11413448.

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27

Stewart, Devin J. "Poetic License in the Qur'an: Ibn al-Ṣāʾigh al-Ḥanafī's Iḥkām al-rāy fī aḥkām al-āy". Journal of Qur'anic Studies 11, № 1 (2009): 1–56. http://dx.doi.org/10.3366/e1465359109000576.

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Poetic license in the Qur'an has received limited attention in Western scholarship, and even the main exception, Friedrun Müller's 1969 monograph Untersuchungen zur Reimprosa im Koran, fails to recognise the substantial treatments of the topic, the general term for which was riʿāyat al-fāṣila, literally ‘taking into consideration the verse-final (rhyme) word’, in traditional Islamic scholarship. This study discusses the most thorough pre-modern treatment of poetic license in the Qur'an, Ibn al-Ṣāʾigh al-Ḥanafī’s treatise Iḥkām al-rāy fī aḥkām al-āy (‘Exercising Sound Judgement, on the Rules Governing Ayas’), which dates to the eighth/fourteenth century. A sophisticated linguistic, grammatical and stylistic analysis of the text of the Qur'an, Iḥkām al-rāy presents 40 types of deviation from ordinary usage that occur in order to facilitate rhyme at the ends of ayas. The study then addresses ‘cognate substitution’, one type of deviation for the sake of rhyme that Müller's Untersuchungen emphasises without naming precisely, showing that medieval rhetoricians such as Ḍiyāʾ al-Dīn ibn al-Athīr were aware of the concept, termed ʿadl (‘alteration (of morphological pattern)’), but may have avoided discussing its occurrence in the Qur'an directly for doctrinal reasons.

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28

Spearing, A. C. "Poetic License: Authority and Authorship in Medieval and Renaissance Contexts. Jacqueline T. Miller." Speculum 64, no. 1 (1989): 189–91. http://dx.doi.org/10.2307/2852224.

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29

Corry, Leo. "Calculating the Limits of Poetic License: Fictional Narrative and the History of Mathematics." Configurations 15, no. 3 (2007): 195–226. http://dx.doi.org/10.1353/con.0.0034.

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30

Mailler, Bill. "Poetic license: Using the exner system of Rorschach analysis to understand client writings." Journal of Clinical Psychology 47, no. 1 (1991): 133–40. http://dx.doi.org/10.1002/1097-4679(199101)47:1<133::aid-jclp2270470122>3.0.co;2-g.

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31

Thelwall, Mike. "Pot, kettle: Nonliteral titles aren’t (natural) science." Quantitative Science Studies 1, no. 4 (2020): 1638–52. http://dx.doi.org/10.1162/qss_a_00078.

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Researchers may be tempted to attract attention through poetic titles for their publications, but would this be mistaken in some fields? Although poetic titles are known to be common in medicine, it is not clear whether the practice is widespread elsewhere. This article investigates the prevalence of poetic expressions in journal article titles from 1996–2019 in 3.3 million articles from all 27 Scopus broad fields. Expressions were identified by manually checking all phrases with at least five words that occurred at least 25 times, finding 149 stock phrases, idioms, sayings, literary allusions, film names, and song titles or lyrics. The expressions found are most common in the social sciences and the humanities. They are also relatively common in medicine, but almost absent from engineering and the natural and formal sciences. The differences may reflect the less hierarchical and more varied nature of the social sciences and humanities, where interesting titles may attract an audience. In engineering, natural science, and formal science fields, authors should take extra care with poetic expressions in case their choice is judged inappropriate. This includes interdisciplinary research overlapping these areas. Conversely, reviewers of interdisciplinary research involving the social sciences should be more tolerant of poetic license.

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32

Zack, Naomi. "Lockean Money, Indigenism and Globalism." Canadian Journal of Philosophy Supplementary Volume 25 (1999): 31–53. http://dx.doi.org/10.1080/00455091.1999.10716829.

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There are no nations, there are no peoples …. There is only one wholistic system of systems, one vast, interwoven, interacting, multivariant, multinational domain of dollars. It is the international system of currency which determines the totality of life on this planet. That is the natural order of things today.—Clarence Jenson Network, Metro-Goldwyn Mayer, 1976When the seats of power and authority have been attained, there should be no more poetic license.—J. M. Keynes

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33

Goldstein, Robert Lloyd. "Psychiatric Poetic License? Post-Mortem Disclosure of Confidential Information in the Anne Sexton Case." Psychiatric Annals 22, no. 6 (1992): 341–48. http://dx.doi.org/10.3928/0048-5713-19920601-13.

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34

Burrow, J. A. "Poetic License: Authority and Authorship in Medieval and Renaissance Contexts by Jacqueline T. Miller." Studies in the Age of Chaucer 10, no. 1 (1988): 177–80. http://dx.doi.org/10.1353/sac.1988.0028.

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35

Hanning, Robert W. "Poetic License: Authority and Authorship in Medieval and Renaissance Contexts by Jacqueline T. Miller." Studies in the Age of Chaucer 12, no. 1 (1990): 314–17. http://dx.doi.org/10.1353/sac.1990.0032.

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36

Wechsler, Andrew S. "Editorial: Genes play a part in protecting the heart—a bit of poetic license." Journal of Thoracic and Cardiovascular Surgery 113, no. 3 (1997): 510–11. http://dx.doi.org/10.1016/s0022-5223(97)70363-5.

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37

FEKIR, Noureddine. "Liberties Poets Take: Towards a Verbal Pedagogy of Revolt." Journal in Humanities 9, no. 2 (2021): 51–58. http://dx.doi.org/10.31578/hum.v9i2.417.

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Poetry has always been the tool of resistance for writers who seek to assert the voice of freedom against those who attempt to deny it to human beings. Its brevity and concise nature have often been associated with the sharp and surprising effect of weapons. In this paper I argue that of all genres, (resistance) poetry is the one that subversively grants a license to itself, that licenses itself and takes liberties for the defense of liberty. It is constantly preoccupied with innovative ways for infringing the seemingly rigid rules set up by despotic power. The liberties that a poet takes in recreating language, in transforming it from within, and the poetic licenses which are taken in defiance of the conventions of verse writing must be seen as emblematic of the essence of resistance poetry in particular and poetry in general which by nature is based on challenging all norms and standards. Resistance poets and the so-called poets of witness have therefore always associated their aesthetic modes with these liberties which they take at the level of diction, grammar and logic, a gesture which hints to how language must be radically changed or per(sub)verted in order to alter the vision of people with a view to liberating them at a subsequent stage. Poetry then offers the best pedagogy of revolt, one that drives forward the people in their rhythmic march towards what Jacques Derrida calls the ‘arrivant’ or the different future. I will take the liberty in this paper to start with license and end it with liberty or freedom or emancipation. This is because aesthetics and politics can never be split.Keywords: Liberties, Pedagogy, writers

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38

Elshazly, Tarek B., and George S. Bause. "“To nitrous oxide, chloroform gives way”: Was Dr. W.J.A. DeLancey's poetic license in advertising…inspired?" Journal of Anesthesia History 6, no. 3 (2020): 161–63. http://dx.doi.org/10.1016/j.janh.2020.07.008.

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39

Becker, Heike. "“Let Me Come to Tell You”: Loide Shikongo, the King, and Poetic License in Colonial Ovamboland." History and Anthropology 16, no. 2 (2005): 235–58. http://dx.doi.org/10.1080/02757200500116162.

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Shapiro, Johanna, and Howard Stein. "Poetic License: Writing Poetry as a Way for Medical Students to Examine Their Professional Relational Systems." Families, Systems, & Health 23, no. 3 (2005): 278–92. http://dx.doi.org/10.1037/1091-7527.23.3.278.

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41

Roberts, Robert C. "The Logic and Lyric of Contrition." Theology Today 50, no. 2 (1993): 193–207. http://dx.doi.org/10.1177/004057369305000204.

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“[T]aken quite literally, the phrase, ‘there is no health in us’ exaggerates. There must be some spiritual health in us for us even to notice that we are sinners, and still more for us to care about that fact (contrition is a Christian virtue). But the lyric of contrition, like any other lyric, affords a certain license; having a poetic quality, good prayers do not have to be precise theology at every turn. However uncomfortable we may feel with it, the phrase expresses quite excellently that we have fallen very far short of the glorious life to which God has called us—that we are badly spoiled, even if not quite completely.”

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42

Meredith, Dianne. "Landscape or Mindscape? Seamus Heaney's Bogs." Irish Geography 32, no. 2 (2015): 126–34. http://dx.doi.org/10.55650/igj.1999.356.

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In the tradition of literary geography, Seamus Heaney's poetical descriptions of bogs are examined in terms of how closely his imagery fits the physical reality of the landscape itself, While studies in vegetational succession and geomorphology mas help to explain the origin and development of bogs, both in Ireland and worldwide, humanistic geography also considers place-creation to be subjective, based on landscape perceptions which take into account cultural responses as well as purely environmental factors. Poetic license may stretch description of a regional landscape beyond (he confines of measurable reality, bringing to light a stronger objectivity, inclusive not only of the physical environment, but also of the social, psychological, and the historical climate.

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43

Priam. "Beyond “The Drama of Consciousness” and Against the “Drama of the Manifesto”: Poetic License and the Creolist Discourse." Research in African Literatures 44, no. 1 (2013): 19. http://dx.doi.org/10.2979/reseafrilite.44.1.19.

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44

Sharif al Mujahid. "Muslim Nationalism." American Journal of Islam and Society 2, no. 1 (1985): 29–40. http://dx.doi.org/10.35632/ajis.v2i1.2922.

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Muhammad Iqbal (1877-1938) was a man of great many ideas-sublime and serene, dynamic and romatic, provocative and profound.He was both a great poet and a serious thinker; but in poetic works liesenshrined most of his thought. It seems rather platitudinous to say, but itis important to note, that a poet is essentially a man of moods, and enjoysa sort of poetic license which is scrupulously denied to a prose-writer.Since a poet usually gives utterance to his reactions to a given situation,his utterances and ideas need not always be compatible with one another.Such was the case with Iqbal.During his poetic career, spanning some four decades, Iqbal hadimbibed, approved, applauded and commended a great many ideas -ideas which occupied various positions along the spectrum on thephilosophic, social, and political plane. Thus, at one time or another, hecommended or denounced nationalism; propagated pan-Islamism andworld Muslim unity; criticised the West for its materialism, for its cutthroatcompetition and for its values while applauding the East for itsspiritualism and its concern for the soul; and condemned capitalismwhile preaching “a kind of vague socialism.”’ While, on the one hand, hesteadfastly stood for “the freedom of ijtihad with a view to rebuild thelaw of Shari’at in the light of modern thought and experience,” and evenattempted to reformulate the doctrines of Islam in the light of twentiethcentury requirements a la St. Augustine, he, on the other, also defendedthe orthodox position and the conservatism of Indian Islam on somecounts. Though “inescapably entangled in the net of Sufi thought," heyet considered popular mysticism or “the kind of mysticism whichblinked actualities, enervated the people and kept them steeped in allkinds of superstitions” as one of the primary causes of Muslim declineand downfall.It is to this aspect of Iqbal that Professor Hamilton A.R. Gibb wasreferring when he suggested: ...

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45

Gabriel, Yiannis. "Case Studies as Narratives: Reflections Prompted by the Case of Victor, the Wild Child of Aveyron." Journal of Management Inquiry 28, no. 4 (2017): 403–8. http://dx.doi.org/10.1177/1056492617715522.

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Drawing on a celebrated case study of a feral child in France, the author argues that there are similarities between stories and case studies as types of narrative and that they are both capable of acting as insightful tools of management inquiry. Both case studies and stories call for narrative imagination to develop meaningful narratives. Serendipity, the accidental discovery of meaning or purpose in what seems random and purposeless, is an important part of narrative imagination. As meaningful narratives, both case studies and stories follow a structure of interwoven actions and events with beginnings, middles, and ends. However, where storytellers enjoy poetic license to distort facts for effect, case study researchers are more constrained by factual accuracy. The beginnings and ends of case studies are not as clearly defined as those of stories and fictional narratives.

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46

Schweissinger, Marc Jeremias. "Goethe’s Early Historical Dramas." Humanities 13, no. 3 (2024): 67. http://dx.doi.org/10.3390/h13030067.

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In this essay, Goethe’s early historical plays, Götz von Berlichingen, published in 1773, and Egmont, published only in 1787, are compared. So far, scholarly work has not recognized enough of the differences between both works. Goethe’s intellectual development from the young Storm and Stress writer of Götz to the publication of Egmont fourteen years later has not been considered sufficiently. Goethe’s development is clearly reflected in his protagonists’ deeds and intentions. Goethe’s Götz fights predominantly for his own rights and his family. Egmont aims higher; he is more concerned with the welfare state of society and reflects on political issues Götz is unable to consider. Moreover, Goethe takes, in both cases, poetic license to create a different picture of his protagonists’ failures than historical sources provide. This finally leads to the introduction of the term preclassic to differentiate between Götz and Egmont.

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47

Williams, James S. "Redemption Song." Film Quarterly 74, no. 4 (2021): 56–61. http://dx.doi.org/10.1525/fq.2021.74.4.56.

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This article explores how Steve McQueen’s acclaimed 2020 pentalogy Small Axe (BBC) appears paradoxically to swerve away from Black British history in the very act of retrieving it. By examining key moments in Mangrove, Red, White and Blue, and Alex Wheatley, it argues that the constant tension between a push toward history and the pull of the aesthetic is the result of McQueen’s reformulation of “racial uplift” aesthetics that privileges exceptional acts over collective experience. Yet in striking contrast to his poetic license with history, McQueen presents Black masculinity and male self-expression within standard social and sexual norms. There are, however, more experimental, stylized moments in Small Axe where the historical and the aesthetic come together, notably in the highly physical dancing sequences of Lovers Rock. While not without limitations, such scenes reveal fresh, liberatory forms of Black space and time, and forge transformative and redemptive moments of Black reality.

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48

Gordon, Joel Aaron. "Geographical Reality or Literary Fantasy: The Tainaron nekuomanteion as a Natural Deathscape." Preternature: Critical and Historical Studies on the Preternatural 13, no. 1 (2024): 33–54. http://dx.doi.org/10.5325/preternature.13.1.0033.

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ABSTRACT This article redefines the dualism of nekuomanteia’s real and imagined topographies via a novel analysis of the tertium quid that is “natural deathscapes.” This framework is applied to the case study of the nekuomanteion at Tainaron. Comparison between the literary descriptions and the archaeological record reveals numerous anomalies within this landscape’s presentation, including an imaginary grove, spring, and impossible localizations. While traditional analyses explain away such matters as the result of poetic license or tradition, this approach cannot account for all identifiable inconsistencies. Thus, the site’s identification as a natural deathscape, a place associated with death / the dead and imbued with multifaceted sociocultural meanings, serves as a tertium quid that coalesces the site’s real and imagined topographies into a holistic landscape. Within this paradigm of spatial syncretism, particular attention is paid to the interaction of sociocultural functions inherent within the processes of landscape creation and eschatological reflection.

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49

Rusch, Willard J. "When rhymes go bad: Recontextualizing Chaucer's rhymes with the mid front long vowels." American Journal of Germanic Linguistics and Literatures 6, no. 1 (1994): 1–50. http://dx.doi.org/10.1017/s1040820700001232.

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ABSTRACTModern scholars generally agree that in Geoffrey Chaucer's sound system, [e:] and [ε] were both full phonemes, a situation paralleled with the back vowels [o:] and [ɔ:]. Unfortunately, Chaucer's verse fairly frequently rhymes words that should have /e:/ (according to diachronic criteria) with words in which one expects /ε:/. The prevailing explanation for their occurrence insists that Chaucer created the faulty rhymes neither through ignorance nor poetic license; instead, he liberally employed common variant pronunciations from fourteenth-century London English. This paper argues that the study of rhymes has been heavily determined by a belief that this literary artifice, studied in a context informed by the knowledge of historical phonology, may permit us to recover facts of Chaucer's pronunciation that otherwise would be irretrievable. The connections between this presupposition and Derrida's critique of the spoken versus the written are revealed, suggesting that rhymes possess their own unique written properties. In a three-stage analysis, scholarly attention is redirected toward rhymes as a graphological phenomenon.

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50

Herndon, Cary W. “Bill.” "The Ethanolization of Agriculture and the Roles of Agricultural Economists." Journal of Agricultural and Applied Economics 40, no. 2 (2008): 403–14. http://dx.doi.org/10.1017/s1074070800023701.

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First, please permit me the latitude to use a bit of poetic license in coining the term, “ethanolization,” which attempts to describe the upheaval and chaos witnessed across the agricultural sector attributed to the booming corn-based ethanol industry. Ethanolization has focused its impact on agriculture and, in particular, the U.S. agricultural sector as a combination of market-induced and policy-induced factors have created a “perfect storm” that is causing dramatic shocks to virtually every crop and livestock producer and agribusiness. Coining the term ethanolization also borrows from past eras in agriculture described as the “mechanization” of agriculture in the 1940s and 1950s and the “industrialization” of agriculture in the 1990s. Mechanization described a period when widespread adoption of farm machinery occurred across the United States. Then, industrialization, accredited to a body of writings by Draben-stott and Barkema, portrayed a “quiet revolution” of ever-increasing size and specialization of U.S. farms, ranches, and agribusinesses. Now, ethanolization attempts to characterize a similar revolution that is affecting essentially every facet of American agriculture.

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