Log in

Relevant bibliographies by topics / Poetry and performance / Journal articles

To see the other types of publications on this topic, follow the link: Poetry and performance.

Journal articles on the topic 'Poetry and performance'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Poetry and performance.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Perelman, Bob. "Performance Typing." boundary 2 47, no. 4 (November 1, 2020): 139–56. http://dx.doi.org/10.1215/01903659-8677863.

Full text

Abstract:

This essay reviews the publication of Larry Eigner’s selected poems and provides an introduction to Eigner (1927–96) and his place in US poetry. It gives an account of his life, describing his lifelong disability from cerebral palsy and the trajectory of his poetic career, which ended with over three thousand poems and great acclaim from US innovative poetic communities. It then relates Eigner to those communities, specifically Black Mountain in the 1950s and 1960s and the Language writers decades later. Eigner’s poetry is glancingly compared with that of Keats and of Dickinson, but the main juxtaposition is with Pound’s Pisan Cantos, where the rushed, typewritten quality of the lines is shown to have been foundational for Olson in his influential “Projective Verse.” Eigner’s work, while it shares characteristics, calls for different manners of reading. The latter part of the essay demonstrates this, by a close reading of a number of Eigner poems.

APA, Harvard, Vancouver, ISO, and other styles

2

Hoyles, Asher, and Martin Hoyles. "Black Performance Poetry." English in Education 37, no. 1 (March 2003): 27–37. http://dx.doi.org/10.1111/j.1754-8845.2003.tb00588.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Thom, Marie. "Poetry and performance." Early Years Educator 12, no. 9 (January 2011): xii—xiii. http://dx.doi.org/10.12968/eyed.2011.12.9.xii.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Haverkort, Marco, and Jan H. de Roder. "Poetry, language, and ritual performance." Journal of Historical Pragmatics 4, no. 2 (June 6, 2003): 269–86. http://dx.doi.org/10.1075/jhp.4.2.07hav.

Full text

Abstract:

In line with the proposal of de Roder (1999), we will draw an analogy between the structure of ritual, poetic language and natural language, exploiting Frits Staal’s conception of ritual as a set of recursively applicable formal procedures, and the biological ramifications of the Chomskyan postulate of Universal Grammar. The central hypothesis is that, in terms of evolution, poetry takes a position between age-old rituals and natural languages, as a sort of missing link. We will argue that the building blocks and mechanisms of natural language developed out of ritual acts and the associated rhythmic sound sequences. The formal principles underlying rituals turned out to be useful for communication and thus natural language could evolve, an example of exaptation in the sense of Gould and Vrba (1982). Under this view, the rhythmic layer of poetry — like syntactic structure — is a semantically empty, autonomous pattern, going back to the structural principles underlying ritual. Rhythmic patterns in poetry are thus instances of pure acts in the ritual sense, and as a consequence poetry is a form of language use in which the ritual basis of language is experienced. This puts T.S. Eliot’s famous dictum “Genuine poetry can communicate before it is understood” in a new perspective. The paper thus focuses on the ritualistic substrate of language, not on the synchronic role of ritual in language. We will also discuss neurological evidence which independently supports this idea: Broca’s area — an area in the left hemisphere of the brain that has traditionally been associated with language comprehension and production — is activated when syntactically complex sentences are being processed, but it is also activated in tasks involving the perception of rhythmic patterns in music, thus supporting the idea that both (and by implication ritual too) have the same origins evolutionarily.

APA, Harvard, Vancouver, ISO, and other styles

5

Hladun, D. V. "POETRY PERFORMANCE AND POETRY READING: TOUCHING POINTS." Тrаnscarpathian Philological Studies 2, no. 14 (2020): 157–61. http://dx.doi.org/10.32782/tps2663-4880/2020.14-2.29.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Mendelssohn, Anna, and Sara Crangle. "What a Performance." PMLA/Publications of the Modern Language Association of America 133, no. 3 (May 2018): 610–30. http://dx.doi.org/10.1632/pmla.2018.133.3.610.

Full text

Abstract:

From the late seventies until her death, british-born writer and artist anna mendelssohn (1948–2009) authored fifteen poetry collections and at least two dozen short fictions and dramas, often publishing under the name Grace Lake. A consummate autodidact, Mendelssohn's passion was international vanguardism, a truth exemplified by the writers she translated: in Turkey in 1969, the poetry of political exile Nâzim Hikmet; from the late nineties, the work of Gisèle Prassinos, the surrealist child prodigy celebrated by André Breton. Mendelssohn's devotion to a modernist legacy situates her within the British Poetry Revival, a label applied to a wave of avant-garde poets that surfaced in the sixties and seventies. Given that she spent her last three decades in Cambridge, Mendelssohn can be further located on the margins of “that most underground of poetic brotherhoods, the Cambridge Poets” (Leslie 28). Mendelssohn's poems appeared in journals receptive to experimentalism, among them Parataxis, Jacket, Critical Quarterly, and Comparative Criticism. In the 1990s, Mendelssohn was anthologized in collections released by Virago, Macmillan, and Reality Street. Iain Sinclair included her in his influential Conductors of Chaos (Picador, 1996); in 2004, she featured in Rod Mengham and John Kinsella's Vanishing Points (Salt Publishing, 2004) alongside John Ashbery and Susan Howe. Her most readily available text remains Implacable Art (Salt Publishing, 2000). Increasingly recognized in her later years, Mendelssohn gave poetry readings at the University of Cambridge, London's Southbank Centre, and the Centre Georges Pompidou in Paris, among many other venues.

APA, Harvard, Vancouver, ISO, and other styles

7

Schoone, Adrian. "Can Concrete Poems Fly? Setting Data Free in a Performance of Visual Enactment." Qualitative Inquiry 27, no. 1 (November 6, 2019): 129–35. http://dx.doi.org/10.1177/1077800419884976.

Full text

Abstract:

In researching the tutors working in alternative education centers in New Zealand, I sought ways to bring voice to their lived experiences through, initially, creating found poetry from interview transcripts. The poems helped bring their vital voices to the page. Even so, I found the emotion of tutors’ lived experiences buckled under the pressure of their compression into lines of poetry. Thus, I set the found words free to form nonlinear configurations in two and three dimensions. In the tradition of concrete poetry noted by Khlebnikov, I “loosed the shackles of syntax . . . to attach meaning to words according to their graphic and phonic characteristics.” In this article, I present concrete poetry deriving from my poetic inquiry and reflect on the value concrete poetry provides arts-based researchers.

APA, Harvard, Vancouver, ISO, and other styles

8

Hughes, Janette Michelle, Laura Jane Morrison, and Cornelia Hoogland. "You Don’t Know Me: Adolescent Identity Development Through Poetry Performance." in education 20, no. 2 (October 24, 2014): 59–77. http://dx.doi.org/10.37119/ojs2014.v20i2.160.

Full text

Abstract:

Our study concerns adolescents using poetry writing as an interrogative and creative means of shaping and creating “voices” or “identities.” Toronto-based high school students were challenged to be creators (rather than solely consumers) of available social practices within a digital landscape using mobile devices and social networking platforms. The students engaged in the processes of creating poetry that included experimentation with form (including spoken word, found, and rhyming couplet poetry), research, and writing-induced challenges of received ideas. Their creations of their multiple “Resonant Voices,” which in some cases were powerful statements of self-discovery and social criticism, were further amplified because they occurred in a formal educational setting.Keywords: adolescents; identity; digital literacies; multiliteracies; poetry; social practices; social networking sites; Facebook; pedagogy; mobile devices; Android app; poetic inquiry; metacognitive

APA, Harvard, Vancouver, ISO, and other styles

9

Davidson, Ian. "Visual Poetry as Performance." Performance Research 9, no. 2 (January 2004): 99–107. http://dx.doi.org/10.1080/13528165.2004.10872020.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Petievich, Carla, and Max Stille. "Emotions in performance: Poetry and preaching." Indian Economic & Social History Review 54, no. 1 (January 2017): 67–102. http://dx.doi.org/10.1177/0019464616683481.

Full text

Abstract:

Emotions are largely interpersonal and inextricably intertwined with communication; public performances evoke collective emotions. This article brings together considerations of poetic assemblies known as ‘mushāʿira’ in Pakistan with reflections on sermon congregations known as ‘waʿz mahfil’ in Bangladesh. The public performance spaces and protocols, decisive for building up collective emotions, exhibit many parallels between both genres. The cultural history of the mushāʿira shows how an elite cultural tradition has been popularised in service to the modern nation state. A close reading of the changing forms of reader address shows how the modern nazm genre has been deployed for exhorting the collective, much-expanded Urdu public sphere. Emphasising the sensory aspects of performance, the analysis of contemporary waʿz mahfils focuses on the employment of particular chanting techniques. These relate to both the transcultural Islamic soundsphere and Bengali narrative traditions, and are decisive for the synchronisation of listeners’ experience and a dramaticisation of the preachers’ narratives. Music-rhetorical analysis furthermore shows how the chanting can evoke heightened emotional experiences of utopian Islamic ideology. While the scrutinised performance traditions vary in their respective emphasis on poetry and narrative, they exhibit increasingly common patterns of collective reception. It seems that emotions evoked in public performances cut across ‘religious’, ‘political’, and ‘poetic’ realms—and thereby build on and build up interlinkages between religious, aesthetic and political collectives.

APA, Harvard, Vancouver, ISO, and other styles

11

Grobe, Christopher. "The Breath of the Poem: Confessional Print/Performance circa 1959." PMLA/Publications of the Modern Language Association of America 127, no. 2 (March 2012): 215–30. http://dx.doi.org/10.1632/pmla.2012.127.2.215.

Full text

Abstract:

This essay offers an early chapter in the conjoined history of poetry and performance art, literary criticism and performance studies. Beginning in the mid-1950s and with increasing fervor through the 1960s, American poetry lived simultaneously in print, on vinyl, and in embodied performance. Amid this environment of multimedia publicity, an oddly private poetry emerged. The essay locates confessional poetry in the performance-rich context of its birth and interrogates not only its textual voice but also its embodied, performed breath. Focusing on early confessional work by Robert Lowell and Anne Sexton, this essay conducts side-by-side “readings” of printed poems and recorded performances and suggests that confessional refers to an intermedial, print-performance style—a particular logic for capturing personal performances in print form and for breathing performances back out of the printed page.

APA, Harvard, Vancouver, ISO, and other styles

12

Visser, Marianna W., and Phillip Hayab John. "African Oral Poetry and Performance: a study of the spoken verse." Southern African Journal for Folklore Studies 27, no. 2 (February 8, 2018): 28–39. http://dx.doi.org/10.25159/1016-8427/2475.

Full text

Abstract:

The article defines poetry and situates the genre within an African context, with justifications on why it relies on a performative enactment for the realisation of its full import. The focus is on the fact that much of what is characteristically categorised as “poetry” in African oral literature is intended to be performed in a musical setting, where the melodic and vocal components are mutually dependent on representation. The leading concern, therefore, is the observation that poetry in a traditional African society derives its classification from the perception of the society for which it is performed, and need not be limited to the Western construal or perspective. The article employs poetic verses from the Ham and Hausa of Nigeria, the Ewe and Akan of Ghana, the Ocoli of Uganda, and the Zulu of Southern Africa to exemplify the position that an enactment reveals the core of the communicative act in an orally-recited poetry.

APA, Harvard, Vancouver, ISO, and other styles

13

Phillips, John W. P. "The Poetic Thing (On Poetry and Deconstruction)." Oxford Literary Review 33, no. 2 (December 2011): 231–43. http://dx.doi.org/10.3366/olr.2011.0019.

Full text

Abstract:

Deconstruction has sometimes been championed as if it was a kind of poetic (as opposed to say analytic) writing. The identification has encouraged some to relegate deconstruction to the shadows or sidelines, the sideshows, of serious philosophy. Both tendencies are foolish. There nonetheless remains the question of the relation between two enigmatic discourses: poetry and deconstruction; some deep complicity is surely implied. Reading in the texts of philosophy and poetry the adventure and performance of the names themselves, philosophy, poetry and deconstruction, it is possible to outline the consistency of a logic, according to which: as poetry must have its thing, so too must deconstruction; and philosophy would be deconstruction's poetic thing. The common ground (of poetry and deconstruction) would be the photograph (in ancient and modern senses) recording the loss of what disappears into its appearance. After deconstruction philosophy can therefore only be accomplished otherwise, not as poetry, but as a poetic thing.

APA, Harvard, Vancouver, ISO, and other styles

14

West, M. L. "Akkadian Poetry: Metre and Performance." Iraq 59 (1997): 175. http://dx.doi.org/10.2307/4200442.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

BEASLEY, PAUL. "Vive la différencel Performance poetry." Critical Quarterly 38, no. 4 (December 1996): 28–38. http://dx.doi.org/10.1111/j.1467-8705.1996.tb02261.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Santos, Fernando Brandão dos. "The singing of the Hellenes: poetry and performance." Classica - Revista Brasileira de Estudos Clássicos 25 (2012): 231–49. http://dx.doi.org/10.14195/2176-6436_25_12.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

DOLAN, JILL. "Utopia in Performance." Theatre Research International 31, no. 2 (June 7, 2006): 163–73. http://dx.doi.org/10.1017/s0307883306002100.

Full text

Abstract:

The essay describes ‘utopian performatives’, which are moments of performance in which utopia is ‘done’ in the intensity of exchange between performers and spectators and among the audience. As an example, the essay discusses the performance Russell Simmons Presents Def Poetry Jam on Broadway, an evening of slam poetry presented by a multiracial cast for a young, unusually multiethnic audience. It describes a process of feeling together over obvious differences, inspired by an intensely present moment of theatre.

APA, Harvard, Vancouver, ISO, and other styles

18

Ogunnaike, Oludamini. "The Presence of Poetry, the Poetry of Presence." Journal of Sufi Studies 5, no. 1 (May 23, 2016): 58–97. http://dx.doi.org/10.1163/22105956-12341283.

Full text

Abstract:

The composition and performance of Arabic Sufi poetry is the most characteristic artistic tradition of West African Sufi communities, and yet this tradition has yet to receive the scholarly attention it deserves. In this article, I sketch an outline of a theory of Sufi poetics, and then apply this theory to interpret a performance of a popular Arabic poem of the Senegalese Shaykh Ibrahim Niasse (d. 1975), founder of the most popular branch of the Tijāniyya in West Africa.

APA, Harvard, Vancouver, ISO, and other styles

19

Dobkowska, Sylwia, and Meghan Kuckelman. "Physical poetry: using Japanese Butо̄ in an EFL poetry performance project." English in Education 54, no. 1 (January 2, 2020): 58–73. http://dx.doi.org/10.1080/04250494.2019.1674622.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Dodd, Elizabeth S. "Spoken Word and Spirit’s Breath: A Theopoetics of Performance Poetry." Literature and Theology 33, no. 3 (September 1, 2019): 292–306. http://dx.doi.org/10.1093/litthe/frz020.

Full text

Abstract:

Abstract Stanley Romaine Hopper defined theopoiesis as a performative form of thinking that ‘effect[s] disclosure through the crucial nexus of event’. Unlike theology which seeks an explanation of the revelatory through the tools of rational discourse, this poetic and participatory activity is ‘a breathing with the inhale and exhale of Being … that “the god” may breathe through us’. Following Hopper, this article addresses the performative ‘event’ of the spoken word as a window into a discussion of creative breath, exploring its implications for a theology that seeks to ‘breathe with’ the Spirit. The use of breath in the work of contemporary poets Tony Walsh and Kate Tempest demonstrates a perhaps largely unacknowledged form of poetic ‘difficulty’ (one of Geoffrey Hill’s criteria for good poetry) in the spoken word. Their intriguing practices of creative breath may contribute to a theopoetics of the Spirit that takes poetic performance seriously as a means of revelatory disclosure.

APA, Harvard, Vancouver, ISO, and other styles

21

Caccavale, Fiammetta, and Anders Søgaard. "Predicting Concrete and Abstract Entities in Modern Poetry." Proceedings of the AAAI Conference on Artificial Intelligence 33 (July 17, 2019): 858–64. http://dx.doi.org/10.1609/aaai.v33i01.3301858.

Full text

Abstract:

One dimension of modernist poetry is introducing entities in surprising contexts, such as wheelbarrow in Bob Dylan’s feel like falling in love with the first woman I meet/ putting her in a wheelbarrow. This paper considers the problem of teaching a neural language model to select poetic entities, based on local context windows. We do so by fine-tuning and evaluating language models on the poetry of American modernists, both on seen and unseen poets, and across a range of experimental designs. We also compare the performance of our poetic language model to human, professional poets. Our main finding is that, perhaps surprisingly, modernist poetry differs most from ordinary language when entities are concrete, like wheelbarrow, and while our fine-tuning strategy successfully adapts to poetic language in general, outperforming professional poets, the biggest error reduction is observed with concrete entities.

APA, Harvard, Vancouver, ISO, and other styles

22

Ekesa, Beatrice Jane. "Integration of Work and Leisure in the Performance of Spoken Word Poetry in Kenya." Journal of Critical Studies in Language and Literature 1, no. 3 (August 18, 2020): 9–13. http://dx.doi.org/10.46809/jcsll.v1i3.23.

Full text

Abstract:

Spoken word poetry, an emerging genre in Kenyan literature, is popular among the urban population. The performance of this creative work draws audience from different socio-economic backgrounds who view it as a source of entertainment. Majority of these poets begin off by staging performances in order to exercise their talents and entertain their audience without financial gain. However, once they get the desired popularity, their interests change and they begin to view the performance of spoken word poetry as an alternative source of income. It is against this background that this paper seeks to explore the relationship between work and leisure in the performance of spoken word poetry in Kenya. Scholars in the field of leisure studies are constantly seeking the relationship between work and leisure. This research seeks to examine the representation of labour and leisure in the creative industry of spoken word poetry in Kenya. The study explores the characteristics of work and leisure to determine the leisure/work relationship in the performance of spoken word poetry in Kenyan literature.

APA, Harvard, Vancouver, ISO, and other styles

23

Arnedo, Miguel. ""Afrocubanista" Poetry and Afro-Cuban Performance." Modern Language Review 96, no. 4 (October 2001): 990. http://dx.doi.org/10.2307/3735865.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Cornish, Matt. "Kinetic Texts: From Performance to Poetry." Modern Drama 58, no. 3 (September 2015): 302–23. http://dx.doi.org/10.3138/md.0757.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Chambers, Susan. "Reading Poetry Wrong: Prosody and Performance." English Language Notes 46, no. 1 (March 1, 2008): 105–11. http://dx.doi.org/10.1215/00138282-46.1.105.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Amâncio, Moacir. "EMMC. Performance / EMMC. Performance." Revista do Centro de Estudos Portugueses 40, no. 63 (April 8, 2020): 25. http://dx.doi.org/10.17851/2359-0076.40.63.25-32.

Full text

Abstract:

Resumo: A poesia do autor português Ernesto Manuel de Melo e Castro, radicado no Brasil, desconhece limites geográficos e da expressão, pautando-se pelos ritmos da liberdade. Sua obra, marcada pelo concretismo brasileiro, confirma o movimento, conferindo-lhe não um papel de superioridade e influência, mas um papel de diálogo, de junção das experiências e a busca de linguagens contemporâneas. O que não se limita à experimentação expressiva, pois implica a atuação num espectro amplo e da quebra de tabus. O questionamento incansável é a pauta de sua obra.Palavras-chave: poesia portuguesa; vanguarda; experimentação; concretismo; barroco.Abstract: The poetry of Portuguese author Ernesto Manuel de Melo e Castro, based in Brazil, is oblivious to limits of geography and expression, guided instead by the rhythms of freedom. His work, marked by Brazilian Concretism, confirms the movement, providing not a role of superiority and influence, but of dialogue, of bringing together experiences and the search for contemporary languages. This is not limited to expressive experimentation, as it implies acting on a broad spectrum and breaking taboos. The tireless questioning is his work’s agenda.Keywords: Portuguese poetry; vanguard; experimentation; concretism; baroque.

APA, Harvard, Vancouver, ISO, and other styles

27

Devanny, David, and Jack McGowan. "Voice-recognition augmented performance tools in performance poetry pedagogy." Research in Drama Education: The Journal of Applied Theatre and Performance 21, no. 3 (June 30, 2016): 401–5. http://dx.doi.org/10.1080/13569783.2016.1194195.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Walie Fattah, Assist Prof D. Yahia, and Dr Alaa Muhammad Lazem. "Iraqi Contemporary Language of Poetry: Nineties as a Model." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 213, no. 1 (November 11, 2018): 1–18. http://dx.doi.org/10.36473/ujhss.v213i1.648.

Full text

Abstract:

Poetic language is the only a movement based mostly on the stereotypes and pugnacity what is prevalent in the language communicative by eluding and escape from him towards the level of performance of works on raising the effectiveness of the speech and poetic Anashha a lot of surprises and variations in say poetic ; So whatever ventured poet order behind the new technology , no matter what type of Ajthadath performance , the poem remains a creative effort embodied in the language first , and which seeks to demonstrate the usefulness and vitality of a second. The turnaround grand poem nineties embodied in it restored the poem to the Kingdom of hair after that has been lost in the paths of formality purely by Althmanyen dropping more open to the lattice actually fashionable and idler margin after it abandoned tower (Teleological language) and (the absence of meaning), which characterized them poem eighties .This study aims to identify the most prominent benchmarks key that is characterized by the language of poetry Altsaina level compositional and visibility and detection charms aesthetic embodied in Artaadha new areas mission did not pay attention to it before and did not mean the Iraqi poet previously as not involving any poetry by perspective poetic traditional.

APA, Harvard, Vancouver, ISO, and other styles

29

Salih, Omar Abid. "The Effectiveness of Critical Thinking on the Iraqi EFL Learner’s Performance in Poetry." International Journal of Psychosocial Rehabilitation 24, no. 5 (April 20, 2020): 4050–61. http://dx.doi.org/10.37200/ijpr/v24i5/pr2020115.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Ojaide, Tanure, and Ode Ogede. "Art, Society, and Performance: Igede Praise Poetry." World Literature Today 73, no. 1 (1999): 199. http://dx.doi.org/10.2307/40154639.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Esterhammer, Angela. "Coleridge's "The Improvisatore": Poetry, Performance, and Remediation." Wordsworth Circle 42, no. 2 (March 2011): 122–28. http://dx.doi.org/10.1086/twc24045847.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Cole, Debbie. "Enregistering Diversity: Adequation in Indonesian Poetry Performance." Journal of Linguistic Anthropology 20, no. 1 (June 2010): 1–21. http://dx.doi.org/10.1111/j.1548-1395.2010.01045.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Norris, Christopher. "Philosophy as Verse-Performance: five poems and a formalist prospectus." Performance Philosophy 2, no. 2 (January 31, 2017): 342. http://dx.doi.org/10.21476/pp.2017.22131.

Full text

Abstract:

This article consists of five poems and an introductory essay. The poems are intended on the one hand to make a case for the currently underrated virtues of poetic formalism, i.e., for the revival of rhyme and meter as aspects of poetic practice. On the other they argue for a distinctly philosophical mode of poetry that embraces the values of conceptual or rational discourse as against a romantic-modernist conception premised on the intrinsic superiority of lyric, metaphor, symbol, analogy, and suchlike touchstone values. These issues are laid out programmatically in the opening essay and developed in a more performative as well as formal way in the five poems.

APA, Harvard, Vancouver, ISO, and other styles

34

Elmougy, Sahar. "Performance Poetry as a Performative Act: A Close Listening to Andrea Gibson’s Poetry." Cairo Studies in English 2020, no. 2 (May 1, 2021): 154–73. http://dx.doi.org/10.21608/cse.2021.173097.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Dickie, June F. "The Importance of Literary Rhythm When Translating Psalms for Oral Performance (in Zulu)." Bible Translator 70, no. 1 (April 2019): 64–81. http://dx.doi.org/10.1177/2051677018824771.

Full text

Abstract:

Poetry must be heard, and heard in a way that is pleasing and memorable. Much of the beauty and rhetorical power of poetry arises from prosody, that is, patterns of rhythm and sound. Rhythm is composed of four elements that work together to provide aesthetic and emotive strength. It is an important feature of both biblical and Zulu poetry, and thus the translator of psalms (translating into Zulu or any Bantu language) must pay attention to aural components of the source and receptor texts. A recent empirical study invited Zulu youth to participate in translating and performing three praise psalms. They learned the basics of Bible translation and poetics, including rhythm, and their translations show a sensitivity to Zulu poetry and music that makes them highly rhythmic and singable. The underlying understanding of “translating with rhythm” can be applied to other languages and is an essential element of translating biblical poetry.

APA, Harvard, Vancouver, ISO, and other styles

36

Fang, Alex C., Wan-yin Li, and Jing Cao. "In search of poetic discourse of classical Chinese poetry." Chinese Language and Discourse 2, no. 2 (December 21, 2011): 232–49. http://dx.doi.org/10.1075/cld.2.2.04fan.

Full text

Abstract:

We address the issue of poetic discourse in classical Chinese poetry and propose the use of imageries as characteristic anchors that stylistically differentiate poetic schools as well as individual poets. We describe an experiment that is aimed at the use of ontological knowledge to identify patterns of imagery use as stylistic features of classical Chinese poetry for authorship attribution of classical Chinese poems. This work is motivated by the understanding that the creative language use by different poets can be characterised through their creative use of imageries which can be captured through ontological annotation. A corpus of lyric songs written by Liu Yong and Su Shi in the Song Dynasty is used, which is word segmented and ontologically annotated. State-of-the-art techniques in automatic text classification are adopted and machine learning methods applied to evaluate the performance of the imagery-based features. Empirical results show that word tokens alone can be used to achieve an accuracy of 87% in the task of authorship attribution between Liu Yong and Su Shi. More interestingly, ontological knowledge is shown to produce significant performance gains when combined with word tokens. This observation is reinforced by the fact that most of the feature sets with ontological annotation outperform the use of bare word tokens as features. Our empirical evidence strongly suggests that the use of imageries is a powerful indicator of poetic discourse that is characteristic of the two poets concerned in the study.

APA, Harvard, Vancouver, ISO, and other styles

37

Lajic-Mihajlovic, Danka. "Competitions as a form of public gusle playing performance." Muzikologija, no. 11 (2011): 183–202. http://dx.doi.org/10.2298/muz1111183l.

Full text

Abstract:

This paper offers an ethnomusicological perspective on competitions of guslars (players of a single-stringed musical instrument gusle predominantly used to accompany the voice of a singer reciting epic poetry), here interpreted as a specific form of public music performance. First competitions were organized between World Wars (1924-1933), afterwards being established in 1971 and since then organized (with a short interruption) in Serbia, Montenegro and the Republic of Srpska. Apart from gusle players and the audience participating in this interaction, these competitions introduced into the focus the very organizers as well. The importance of collectivity as an idea interwoven into epic ethos has become a powerful means of manipulation used by authorities. Their interests have been put forward primarily through the poetic content of new songs. Ideology, though, is not only reflected in the competition repertoire. It is also felt in other forms of public gusle playing practice (such as performances with miscellaneous programme, concerts etc.). The sense of competitiveness, as a type of communicational situation, is far strongly felt in the music dimension. Limited in duration, the performance was reduced to only fragments of songs, which, on the other side, caused a change in gusle playing. The traditional style implied economizing with player?s energy and dramatization tailored to suit the context of long-lasting songs, whereas per-forming of fragments resulted in a more grandiose style aimed at making momentary impression: intensive, vigorous singing in the upper vocal register, using a wide range of expressive devices within short time etc. After studying the competition rules, key formal regulations, and the organization of competitions so far, I discerned that those epic poems have been dominantly regarded as poetry. One of crucial reasons for this is wider communicability of verbal to music discourse, but also more straightforward conveyance of ideological messages through words. Syncretism, which is quintessence of artistic expression in epic poetry, demands paying more attention to the musical component. This artistic expression has always been the domain of players? creativity, in contrast to the poetic component which is standardized, fixed, and which a contemporary gusle player is only presenting. The contribution of competition to the evolution of gusle playing practice, especially in regard to its role in the shaping of collective identity, demands reconceptualization of such cultural events in which guslars associations, state institutions and experts would also take part.

APA, Harvard, Vancouver, ISO, and other styles

38

Odom, Glenn. "Before Us a Savage God: Self-Fashioning the Nation in Yorùbá Performance." TDR/The Drama Review 55, no. 2 (June 2011): 73–85. http://dx.doi.org/10.1162/dram_a_00071.

Full text

Abstract:

The concept of identity is in a state of evolution in Yorùbá society, and this evolution works itself out in praise poetry. This poetry is performed in a variety of contexts, and each performance context contributes something distinctive to Yorùbá modernity.

APA, Harvard, Vancouver, ISO, and other styles

39

Sutton-Spence, Rachel. "Aspects of BSL poetry." Sign Language and Linguistics 3, no. 1 (December 31, 2000): 79–100. http://dx.doi.org/10.1075/sll.3.1.05sut.

Full text

Abstract:

The British Sign Language poetry of Dorothy Miles is a major contribution to the canon of BSL poetry. This paper considers her work as an example of “oral poetry”, in the tradition of other oral (i.e. unwritten poetry). Following definitions of oral poetry primarily from Finnegan (1977), I explore the degree to which Miles’ BSL work may be considered “oral” from the perspective of composition, transmission and performance, and linguistic structure. Although there are ways in which BSL poetry does share similarities with other spoken language “oral” poetry, the unique relationship between sign language and spoken language creates situations in which the BSL poetry is unlike either oral or written poetry.

APA, Harvard, Vancouver, ISO, and other styles

40

Abdullahi, Kadir Ayinde. "Poetic Style and Social Commitment in Niyi Osundare’s Songs of the Marketplace." Human and Social Studies 6, no. 2 (June 1, 2017): 73–83. http://dx.doi.org/10.1515/hssr-2017-0015.

Full text

Abstract:

Abstract This essay studies some of the poetic devices employed by Osundare to project social commitment and vision in Songs of the Marketplace. It examines how the poet’s deployment of style makes his poetry more accessible to a larger audience than that of his predecessors. Like the oral traditional performance, his poetry employs rich Yoruba oral literary devices in a way that is unique and glaringly innovative. Osundare’s radical poetic style has a clearly defined concept and role. It is also central to the resolution of the polemics of governance and politics in society. The pervasive theme of the collections remains a serious concern for hope out of the decadent situation that has eaten deep into the fabric of our social existence.

APA, Harvard, Vancouver, ISO, and other styles

41

Jerome J. McGann. "“The Bells,” Performance, and the Politics of Poetry." Edgar Allan Poe Review 15, no. 1 (2014): 47. http://dx.doi.org/10.5325/edgallpoerev.15.1.0047.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Robson, Catherine. "Standing on the Burning Deck: Poetry, Performance, History." PMLA/Publications of the Modern Language Association of America 120, no. 1 (January 2005): 148–62. http://dx.doi.org/10.1632/003081205x36912.

Full text

Abstract:

This paper considers the significance of the memorized poem in Victorian schools across the English social spectrum. I use Felicia Hemans's culturally ubiquitous “Casabianca” as a lens to examine the processes by which compulsory recitation forged short-term and long-term bodily relations between individuals and measured language. I argue that the denigration of regular poetic form prominent in the twentieth century's rejection of works like Hemans's poem is an inevitable, if disavowed, response to their institutional histories in the lowest-status echelons of the educational system. The fragmented survival of “Casabianca” in English popular consciousness today is the last remaining trace of its pedagogical past, of a time when the iamb connected to the heartbeat in a manner that we no longer appreciate and cannot feel.

APA, Harvard, Vancouver, ISO, and other styles

43

Mildorf, Jarmila. "Can Sounds Narrate? Prosody in Sound Poetry Performance." CounterText 5, no. 3 (December 2019): 294–311. http://dx.doi.org/10.3366/count.2019.0167.

Full text

Abstract:

Audionarratology posits, among other things, that sound (including voices, noise and silence) contributes significantly to narrative world-making. This point is explored in this article by looking at three oral performances of a Dada sound poem: Hugo Ball's ‘Karawane’ (1916). While the actual verbal material is nonsensical in that the ‘words’ used do not exist in any language, the performances trigger associations of storyworlds purely by means of the sonic qualities given to the text. This suggests that, even though sound alone may not be enough to create narrative worlds that can easily be accessed without further explanation, they at least have the potential to facilitate narrativisation in listeners' minds. Human voices are shown to play a special role therein.

APA, Harvard, Vancouver, ISO, and other styles

44

Brawley, Lisa. "The Virtual Slam: Performance Poetry on the Net." Chicago Review 40, no. 2/3 (1994): 164. http://dx.doi.org/10.2307/25305867.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Rolf, Marie, Deborah Stein, and Robert Spillman. "Poetry into Song: Performance and Analysis of Lieder." Notes 53, no. 3 (March 1997): 816. http://dx.doi.org/10.2307/899748.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Abbott, Helen. "EDITORIAL: Poetry, Performance, Music in Nineteenth-Century France." Dix-Neuf 17, no. 1 (April 2013): 1–8. http://dx.doi.org/10.1179/12z.00000000028.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Akoma, Chiji. "Art, Society, and Performance: Igede Praise Poetry (review)." Research in African Literatures 30, no. 4 (1999): 227–28. http://dx.doi.org/10.1353/ral.2005.0023.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Little, R. "'OUI C'EST VRAI!': PERFORMANCE POETRY BY NOBLE SLAVES." French Studies Bulletin 30, no. 112 (August 13, 2009): 67–68. http://dx.doi.org/10.1093/frebul/ktp025.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Keleta-Mae, Naila. "Outskirts to Mainstream?: Performance Poetry on the Move." Canadian Theatre Review 149, no. 1 (2012): 76–79. http://dx.doi.org/10.1353/ctr.2012.0005.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Breeze, Jean Binta, Patience Agbabi, Jillian Tipene, Ruth Harrison, and Vicki Bertram. "A Round-Table Discussion on Poetry in Performance." Feminist Review 62, no. 1 (1999): 24–54. http://dx.doi.org/10.1080/014177899339135.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!