Academic literature on the topic 'Poetry – Authorship – Juvenile literature'
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Journal articles on the topic "Poetry – Authorship – Juvenile literature"
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Gómez-Bravo, Ana M. "«Female (co)authorship in Cancionero Poetry»." Revista de Literatura Medieval 30 (December 31, 2018): 153–72. http://dx.doi.org/10.37536/rpm.2018.30.0.74048.
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Resumen: La autoría femenina era una cuestión polémica en la Iberia del siglo XV y principios del XVI. Gran parte de la producción poética de este período estaba asociada con la interacción social, lo que permitía una compleja negociación de la autoría y los papeles de género. Si bien el discurso femenino era fundamental para la escritura poética y las prácticas culturales relacionadas con el mismo, estaban en funcionamiento prácticas editoriales que suprimían las contribuciones de las mujeres a la escritura. El estudio apunta a una imbricación textual del discurso femenino y masculino en varias etapas de la composición poética y propone una reconsideración de las aproximaciones a la autoría femenina (y masculina).Palabras clave: Cancionero, mujeres escritoras, poesía medieval, poesía renacentista.Abstract: Female authorship was a contentious subject in fifteenth- and early sixteen-century Iberia. During the period, a substantial amount of poetic production was associated with social interaction, which enabled a complex negotiation of authorship and gender roles. While female discourse was central to poetic writing and to the cultural practices connected to it, editorial practices worked to erase women’s contributions to poetic writing. The study shows a textual imbrication of female and male discourse at several stages of poetic composition and proposes a reconsideration of existing approaches to female (and male) authorship.Keywords: Cancionero, Women writers, medieval poetry, renaissance poetry.
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Sarumi, Kahar Wahab. "Nationalism in Modern Arabic Poetry of Yoruba Authorship." International Journal of Literary Humanities 15, no. 3 (2017): 21–33. http://dx.doi.org/10.18848/2327-7912/cgp/v15i03/21-33.
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DuPlessis, Rachel Blau. "Agency, social authorship, and the political aura of contemporary poetry." Textual Practice 23, no. 6 (December 2009): 987–99. http://dx.doi.org/10.1080/09502360903361592.
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Othman, Arbak. "Malay Authorship in Landskap Ungu: From Artistic Source to Intellectual Impact." Malay Literature 30, no. 1 (June 1, 2017): 140–58. http://dx.doi.org/10.37052/ml.30(1)no6.
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This article discusses the contribution of Dato’ Ahmad Kamal Abdullah or Kemala regarding the development of Malay poetry in Malaysia and the history of Malay poetry in the archipelago. This article is based fully on the essays compiled in Landskap Ungu (2010). It examines Kemala’s contribution to the Malay art of poetry composition, the approach or the evaluation used in analyzing Malay poetry, specifically in interpreting Islamic poetry and the country’s sociopolitical landscape, as well as comparing the quality of the art of poetry of international poets with that of some of Malaysia’s poets. Apart from that, other issues are also discussed, such as the art concept of sufi poetry which is the basic expression of some Malay poets, either in Indonesia or Malaysia. Kemala’s contribution is exceptional and has proven to be very significant in the development of Malay poetry with regard to his capability as a critic and a disciplined researcher, especially in the world of Malay poetry. His level of thought and intellectualism boost the quality of the art of expression of creative thinking locally or universally. Keywords: epistemology, aesthetics, hermeneutics, irony, critiques, literature, mystique, thinker, sufi, sufi poetry, semiotic, symbolism, theory of literature Abstrak Makalah ini menghuraikan sumbangan Dato’ Ahmad Kamal Abdullah atau Kemala terhadap perkembangan puisi Melayu di Malaysia dan sejarah puisi Melayu di Nusantara. Penulisan makalah ini berlandaskan hasil tulisan beliau sepenuhnya, iaitu esei yang terkumpul dalam karya terbaik beliau, Landskap Ungu (2010) terbitan Penerbit UPM. Makalah ini meneliti sumbangan Kemala dalam dunia perpuisian Melayu, seni dan gubahan puisi, pendekatan atau ukuran kualiti yang digunakan dalam penganalisisan puisi Melayu, khususnya untuk mentakrif puisi Islam dan sosiopolitik tanah air, serta perbandingan kualiti seni pengungkapan puisi penyair antarabangsa yang dibandingkan dengan puisi beberapa penyair tanah air. Selain itu, beberapa kecenderungan lain turut dibicarakan seperti konsep seni puisi sufi yang menjadi asas pengucapan beberapa penyair Melayu, baik di Indonesia mahupun di Malaysia. Sumbangan Kemala amat istimewa dan terbukti sangat besar dalam perkembangan perpuisian Melayu kerana keupayaan beliau sebagai pengkritik dan pengkaji yang berdisiplin, terutamanya dalam dunia kepenyairan Melayu yang dikatakan sudah mencapai tahap kematangan yang boleh dibanggakan. Tahap pemikiran dan keintelektualan beliau meningkatkan kualiti seni pengucapan fikiran yang kreatif sama ada bersifat setempat mahupun universal. Kata kunci: epistemologi, estetik, etika, hermeneutik, kritikan, kesusasteraan, mistik, pemikir, sufi, puisi sufi, semiotik, simbolisme, teori kesusasteraan
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Hammerschmidt, Sören. "Social Authorship and the Mediation of Memory in Anne Grant’s Poetry." European Romantic Review 30, no. 2 (March 4, 2019): 199–220. http://dx.doi.org/10.1080/10509585.2019.1582417.
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Nagy, Gregory. "Authorisation and Authorship in the Hesiodic Theogony." Ramus 21, no. 02 (1992): 119–30. http://dx.doi.org/10.1017/s0048671x00002599.
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Much has been written about the question of oral poetry in the earliest attested phases of Greek literature, but not enough attention has yet been paid to the existing internal evidence concerning the authority of actual poetic performance. This essay is meant to highlight this authority and its role in authorisation, that is, in the conferring of authorship. Since the first attested identification of an author in Greek literature takes place in the Hesiodic Theogony, where the figure of Hesiod names himself as the poet of this colossal poem (Hēsiodon, Th. 22), it seems fitting that this very act of self-identification should serve as the focus of inquiry. Further, since the poet defines himself in terms of a dramatised encounter with the Muses, who are represented as giving him the two gifts of a sceptre of authority and poetic inspiration itself, it also seems fitting to take with utmost seriousness the actual wording that describes this encounter. The poet's precisely-worded claim to have received from the Muses the power of telling the absolute truth is key, I shall argue, to his authorship.
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Tonra, Justin. "Masks of Refinement: Pseudonym, Paratext, and Authorship in the Early Poetry of Thomas Moore." European Romantic Review 25, no. 5 (August 5, 2014): 551–73. http://dx.doi.org/10.1080/10509585.2014.938231.
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Bernsdorff, Hans. "P.Oxy. 4711 And The Poetry Of Parthenius." Journal of Hellenic Studies 127 (November 2007): 1–18. http://dx.doi.org/10.1017/s0075426900001580.
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Abstract:P.Oxy. 4711 (from a papyrus codex of the sixth century AD) contains elegiacs with at least three metamorphosis myths (Adonis, Asterie, Narcisssus). In this article I argue against the suggestion by (among others) the first editor of this papyrus that the verses might be by Parthenius. I do so by examining the evidence for Parthenian authorship (especially the presumed imitations by Ovid and Gregory of Nazianzus) and by comparing the style of the new piece with what we actually possess of Parthenian poetry (especially with fr. 28 Lightfoot, which might come from the Metamorphoseis). Instead I suggest a late date of composition and would regard the fragments as a collection of the-matically arranged διηέματα in verse which are related to the production of progymnasmata in schools.
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Naaman, Erez. "Authorship and Unity of the Classical Arabic Poem through the Lens of Collaborative Composition." Arabica 67, no. 1 (May 21, 2020): 1–59. http://dx.doi.org/10.1163/15700585-12341558.
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Abstract When a classical Arabic poem lacked a noticeable degree of thematic coherence and formal structure, it was at risk of foreign intervention aiming to improve it. Who was recognized in such a case as the author of the poem and on which grounds? This article looks at the interrelated questions of the poem’s unity and its authorship through the lens of collaborative poetry that was practiced by completing verse composed in the past. It presents an analysis of poetic collaboration cases from the second/eighth century to the Ayyubid era, and discusses different practical approaches of poets to authorship questions related to the earlier source poem and their own later completion. In the third/ninth century, as an expansive reservoir of ancient and modern poems became increasingly available, we occasionally notice the marks of plagiary, rather than forgery, on collaborative poems of this type. At the same time, and based on this very expansion, kinds of legitimate poetic influence can be detected in the completions of the later poets. Remarkably, poetic intervention did not cease and the poem conceptually did not achieve an inviolable status, when the scholars replaced the transmitters as the authorities on poetry around the third/ninth century and throughout the period under study. Nevertheless, the cultural domain for reshaping earlier verse changed, and the repertoire of poetry considered as “fair game” for this practice was narrowed down based on quality considerations.
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Ross, Emily. "The Problem of Anonymity in Archives: A Literature Review." Bilgi Dünyası 14, no. 2 (October 31, 2013): 240–50. http://dx.doi.org/10.15612/bd.2013.119.
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Archivists processing documents rely on factors such as authorship and provenance to contextualize their materials and render them searchable. But in my past experience as an archives user, I repeatedly came across instances of anonymity: letters and diaries by unnamed authors or to unknown recipients, photographs of unknown subjects. In some cases this anonymity is a loss of information that was once there, but in other case it enabled the material to come into existence in the first place: such as in the case of satirical political poetry, for which a writer might face legal censure. In this literature review, the issue of anonymity in the archives is explored, both in a pragmatic sense (recommended strategies for managing it), and a philosophical sense (according anonymous documents the same status as documents with known authors).
Dissertations / Theses on the topic "Poetry – Authorship – Juvenile literature"
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McDonald, Willis Burr III. "An ink-stained neoclassicist: Joel Barlow and the publication of poetry in the early Republic." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/3498.
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This study examines the literary career of the eighteenth-century American poet Joel Barlow. Because Barlow, unlike his peers, came to fully embrace print-based methods of authorship and advertising, between 1790-1810 he emerged as the most widely read American poet. Employing a book studies methodology, this project focuses on the publication details surrounding each of Barlow's poems including: his relationships with his publishers, the physical shape and appearance of his works, the cost of those works, how those works were advertised, and the extent of their geographic distribution. The arc of Barlow's career was extraordinary. Barlow's development, his transformation from a standard eighteenth-century club poet who relied on manuscript circulation and oral performance in the 1770s to an international man of letters and a periodical fixture by 1800, highlights the possibilities and limitations of American literary publishing during the early national period. Importantly, Barlow's ability to emphasize, rather than elide, his personal identity in the press, forces scholars to reevaluate their notions of late eighteenth-century republican print culture.
Barlow's career also impacts our reading of American literary history. In an age of caution and deference in American poetry, Barlow was driven to maximize his audience, publishing his poems across all price points and in every medium offered by the time. Barlow's efforts at self-promotion, coupled with his staunch republican politics, allowed his poems to take on a life of their own in the era's fiercely partisan press. Thanks to his association with the transatlantic republican movement and radical religious thinkers, this study suggests that poems such as the "Conspiracy of Kings," (1792) "The Hasty Pudding," (1796) and the Columbiad (1807) enjoyed audiences as large and as economically diverse as those of popular fiction. Even in an age marked by the rise of the novel and the beginnings of romanticism, An Ink-Stained Neoclassicist contends that Barlow's proto-mass audience reveals the persistent popularity and cultural importance of neoclassical verse in the intellectual life of many Americans at the turn of the nineteenth century.
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Barrett, Redfern Jon. "Queer friendship : same sex love in the works of Thomas Gray, Anna Seward, Mary Wollstonecraft and William Godwin." Thesis, Swansea University, 2010. https://cronfa.swan.ac.uk/Record/cronfa43030.
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Poyhonen, Alexander J. "Don Quijote lo Interminable: La Cuestión de los Textos Originales y las Emanaciones a Través de Formas Secundarias de Arte." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/522.
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In chapter 1, I ponder the role of authorship and whether or not an original text can truly exist. Specifically, the claim that Borges has that a copy can be superior to an original. From this, brings me to chapter 2 with the movie Man of la Mancha. In this movie, I highlight some of the pros and cons of a copy. The windmill scene is a negative emanation of the Quixote, while the interaction between people and the presence of women is something the movie truly displays well. In the third chapter, I look at Lost in la Mancha because it demonstrates a failed attempt to translate the Quixote. In essence, anything that tries to represent this truly great text will fail; however, it's failure can paradoxically be thought of as a success because it's an homage to the Quixote. As far as the Ezra Pound material, I thought it extremely pertinent to look at his experience on a metro because he attempts to describe a vision that he had through poetry. He notes that it is very difficult to encapsulate his entire experience because the primary form of art (his vision) is being described through a secondary form (words). Thus, when you translate a form of art through a medium it loses some of its value. This is what happens with the Quixote; its primary form (words) is being displayed through a secondary form (film), and it inevitably loses something in the translation. The final chapter/conclusion is a more in-depth investigation of this investigation primary form of art (writing). This uses the character of Gines as a concrete example of a formal and stylistic quality that is unique to literature. Namely, the physical ranging of words on a page in both a spatial and literary sense. When you extract those lines from a novel you implicitly remove some of the dialectic between Cervantes' work and the genres he's invoking, just by taking it out of the form of literature. The surroundings of text establish the meaning of the novel. The conclusion is my final chance to argue why the Quixote is so special and untranslatable. I touch on the qualities that keep it forever live and present in us today. Through the Quixote's proclivity for renaming the real world (established societal beliefs/values, etc.) in his own vein, Cervantes allows for the Quixote to reappropriate the world around him, making it uniquely his. In so doing, Cervantes creates a character who is able, not only to write his own self-history, but to control the way that said self-history will be written by others. By blurring the lines between narrator and narration and history and fiction, Cervantes creates a work that is endlessly present, where words becoming living page, and actions occur as they are said.
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Friedlander, Keith. "Born In a Crowd: Subjecthood Across Authorial Modes In the Nineteenth-Century Writer's Market." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35054.
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This dissertation examines representations of authorship and subjecthood in the Romantic period as products of market position and publishing mode. In doing so, it views the traditional concept of Romantic individualism commonly associated with the solitary poet as a strategy developed to help the author navigate a complex writer’s market. Rather than focusing upon individualism as the defining authorial model for this period, however, my project presents it as one example of a diverse range of representational strategies employed by different authors operating from different positions within the market. To this end, this study compares the authorial model of the independent poet with authors engaged in a variety of other modes of publishing, including hack essayists, serialized poets, periodical editors, and celebrity authors.
By examining authors operating across different publishing modes, I demonstrate that each one’s concept of public identity is shaped principally by his or her particular market position, as defined by working relationships with peers, involvement in the particulars of publishing, exchanges with the critical press, and engagement with readers. These authors include William Wordsworth, Lord Byron, Letitia Elizabeth Landon, Charles Lamb, and Francis Jeffrey. By juxtaposing their different models of authorship, this study seeks to bridge the longstanding discourse regarding the social isolation of the Romantic poet with more contemporary streams of scholarship into the material realities of the nineteenth-century publishing industry. Drawing upon the social philosophy of the Frankfurt School and Eric Gans’ theory of Generative Anthropology, I examine how different strategies of representation were developed to preserve personal meaning and sustain public attention. By comparing responses to the rise of the writer’s market and the ubiquity of print culture, this dissertation argues that Romantic period authors demonstrate a distinctly modern understanding of public identity as a product of mediation in mass media culture.
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Ogden, Rebecca Lee Jensen. "Merit Beyond Any Already Published: Austen and Authorship in the Romantic Age." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2417.
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In recent decades there have been many attempts to pull Austen into the fold of high Romantic literature. On one level, these thematic comparisons are useful, for Austen has long been anachronistically treated as separate from the Romantic tradition. In the past, her writings have essentially straddled Romantic classification, labeled either as hangers-on in the satiric eighteenth-century literary tradition or as early artifacts of a kind of proto-Victorianism. To a large extent, scholars have described Austen as a writer departing from, rather than embracing, the literary trends of the Romantic era. Yet, while recent publications depicting a “Romantic Austen” yield impressive insights into the timeliness of her fiction, they haven't fully addressed Austen's participation in some of the most crucial literary debates of her time. Thus, it is my intention in this essay to extend the discussion of Austen as a Romantic to her participation in Romantic-era debates over emergent literary categories of authorship and realism. I argue that we can best contextualize Austen by examining how her model of authorship differs from those that surfaced in literary conversations of the time, particularly those relating to the high Romantic myth of the solitary genius. Likewise, as questions of solitary authorship often overlap with discussions of realism and romance in literature, it is important to reexamine how Austen responds to these categories, particularly in the context of a strictly Romantic engagement with these terms. I find that, though Austen's writing has long been implicated in the emergence of realism in literature, little has been written to link this impulse to the earlier emergence of Romantic-era categories of authorship and literary creativity. I contend that Austen's self-projection (as both an author and realist) engages with Romantic-era literary debates over these categories; likewise, I argue that her response to these emergent concerns is more complex and nuanced than has heretofore been accounted for in literary scholarship.
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Fialho, Paloma de Fátima França. "O discurso pedagógico na obra infantil de Cecília Meireles /." Assis : [s.n.], 2011. http://hdl.handle.net/11449/94083.
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Orientador: Ana Maria Domingues de OliveiraBanca: Sandra Aparecida Ferreira
Banca: Altamir Botoso
Resumo: Com base na trajetória da literatura infantil e sua relação com a pedagogia, esta pesquisa pretende abordar três obras poéticas da escritora Cecília Meireles por esse ponto de vista, ressaltando o discurso pedagógico presente nas obras de poesia infantil da escritora, como Criança meu amor, A festa das Letras e Ou isto ou aquilo. Pretende-se desvendar o discurso pedagógico contido nesses textos evidenciando neles a presença de uma criança modelo, como forma de exemplo para o leitor, como também na abordagem de assuntos que buscam enfatizar conhecimentos para a criança. Esse discurso apresentado nos versos da poetisa retrata uma educadora e escritora preocupada com o universo infantil e suas particularidades. Essas três obras de Cecília Meireles, portanto, apresentam características que às associam à educação, auxiliando no processo de ensino. Para além disso, a pesquisa também aborda o discurso estético dos poemas, sua musicalidade, imagem e ritmo, ressaltando a importância desses elementos poéticos para a obra da escritora. Por causa de seu trabalho estético com o vocábulo e com o universo infantil, Cecília Meireles consagra-se como uma escritora para adultos e, principalmente, para as crianças que tanto fizeram parte de sua vida, sendo sua obra reconhecida pela crítica literária e fazendo parte do cânone literário brasileiro
Abstract: Based on the trajectory of literature for children and its relation to pedagogy, this research intends to broach the Cecília Meireles' infantile poetry by this point of view, emphasizing the educational discourse in the works of a writer of children's poetry, such as Criança meu amor, A festa das Letras and Ou isto ou aquilo. It is intended to uncover the pedagogical discourse in these texts by showing the presence of model child, as an example for the reader, as well as in addressing issues that seem to emphasize knowledge to the child. This speech delivered in nursery rhymes depicts the poet as an educator and writer concerned with the child's universe and its peculiarities. These three Cecília Meireles's works present characteristics which link them to education, helping the teaching process. Furthermore, this research also address the aesthetic discourse of poems, its musicality, image and rhythm, by stressing the importance of poetic elements in the work of the writer. Because of her aesthetic work with words and the child's universe, Cecília Meireles is established as a writer for adults and, mainly, for children who took part of her life, being her work recognized by the literary criticism and as part of the Brazilian literary canons
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Fialho, Paloma de Fátima França [UNESP]. "O discurso pedagógico na obra infantil de Cecília Meireles." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/94083.
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fialho_pff_me_assis.pdf: 577331 bytes, checksum: 2146625ee2050a27499559ac8d0d95fb (MD5)Com base na trajetória da literatura infantil e sua relação com a pedagogia, esta pesquisa pretende abordar três obras poéticas da escritora Cecília Meireles por esse ponto de vista, ressaltando o discurso pedagógico presente nas obras de poesia infantil da escritora, como Criança meu amor, A festa das Letras e Ou isto ou aquilo. Pretende-se desvendar o discurso pedagógico contido nesses textos evidenciando neles a presença de uma criança modelo, como forma de exemplo para o leitor, como também na abordagem de assuntos que buscam enfatizar conhecimentos para a criança. Esse discurso apresentado nos versos da poetisa retrata uma educadora e escritora preocupada com o universo infantil e suas particularidades. Essas três obras de Cecília Meireles, portanto, apresentam características que às associam à educação, auxiliando no processo de ensino. Para além disso, a pesquisa também aborda o discurso estético dos poemas, sua musicalidade, imagem e ritmo, ressaltando a importância desses elementos poéticos para a obra da escritora. Por causa de seu trabalho estético com o vocábulo e com o universo infantil, Cecília Meireles consagra-se como uma escritora para adultos e, principalmente, para as crianças que tanto fizeram parte de sua vida, sendo sua obra reconhecida pela crítica literária e fazendo parte do cânone literário brasileiro
Based on the trajectory of literature for children and its relation to pedagogy, this research intends to broach the Cecília Meireles' infantile poetry by this point of view, emphasizing the educational discourse in the works of a writer of children's poetry, such as Criança meu amor, A festa das Letras and Ou isto ou aquilo. It is intended to uncover the pedagogical discourse in these texts by showing the presence of model child, as an example for the reader, as well as in addressing issues that seem to emphasize knowledge to the child. This speech delivered in nursery rhymes depicts the poet as an educator and writer concerned with the child's universe and its peculiarities. These three Cecília Meireles's works present characteristics which link them to education, helping the teaching process. Furthermore, this research also address the aesthetic discourse of poems, its musicality, image and rhythm, by stressing the importance of poetic elements in the work of the writer. Because of her aesthetic work with words and the child's universe, Cecília Meireles is established as a writer for adults and, mainly, for children who took part of her life, being her work recognized by the literary criticism and as part of the Brazilian literary canons
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Kano, Marli Miyuki. "Ler e ser - encontro necessário para a compreensão da complexidade sígnica do Terceiro Milênio." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-14072011-114554/.
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Este trabalho se faz no bojo das relações que se tecem entre o homem, o mundo e as máquinas, no limiar do terceiro milênio, em que a profusão de mensagens e a hibridização de linguagens, cada vez mais estão presentes em nossas vidas a exigir habilidades de leitura e compreensão diferentes das exigidas em épocas passadas. Com o advento da era tecnológica, jovens e crianças são seduzidos pelos gadgets, e demonstram uma espécie de reação condicionada, sem consciência e sem reflexão, um olhar apático a tudo o que não esteja carregado de movimentos, flashes, sons, imagens. Considerando isso, refletiu-se sobre a complexidade sígnica em que estamos inseridos e o processo de transformação da cultura, do pensamento e das linguagens, que eclode com a revolução digital, promovendo novas articulações e relações de entendimento tanto no âmbito cognitivo quanto no afetivo, pessoal. A pesquisa visa, então, sinalizar caminhos para sensibilizar o ser humano. Propomos nossa discussão, no âmbito e nas fronteiras da literatura e educação de jovens e crianças, pela via da leitura da literatura infantil e juvenil, da poesia, das artes em geral, visto que, são manifestações dotadas de qualidades capazes de suscitar novos olhares e provocar múltiplas semioses pela fruição e cognição. Compreendemos que este é o meio pelo qual o ser desta nossa era poderá transcender e voltar a experienciar um olhar de encantamento, apreendendo e aprendendo a lidar com as emoções e informações necessárias para a formação de um ser humano mais justo, solidário, ético e agente transformador de si e da sociedade em que vive.This work focuses on the interwoven relations between man, world and machines on the threshold of the Third Millennium, when the multiplicity of messages and the hybridization of languages are each time more present in our lives and demand new reading abilities. With the advent of the technological era, youngsters and children are seduced by the gadgets and show a kind of conditioned reaction, without conscience or reflection, an apathetic view on everything that is not charged with movements, flashes, sounds, images. Considering this, we reflected on the signical complexity in which we are inserted and the process of changes in culture, thought and languages triggered by the digital revolution, which promoted new articulations and understanding of both the cognitive and affective ambits. So, this research aims to suggest ways to sensitize the human being. We propose our discussion within the frontiers of literature and childrens/youngsters education, supporting that childrens and juvenile literature, poetry and arts in general are expressions able to evoke new views and multiple semiosis through fruition and cognition. We understand this is the way through which our eras man will be able to transcend and to experience an enchanted view again, apprehending and learning how to manage the emotions and information needed to the formation of a fairer, more sympathetic and ethic human being, an agent who transforms himself and the society he lives in.
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Adendorff, Elbie Maria. "Digdebute teen die milleniumwending : 'n polisistemiese ondersoek." Thesis, Stellenbosch : University of Stellenbosch, 2003. http://hdl.handle.net/10019.1/4578.
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Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2003.AFRIKAANSE OPSOMMING: Die doelstelling met hierdie studie is om die verskyning en ontvangs van Afrikaanse dig-debuutbundels teen die millenniumwending met behulp van die polisisteemteorie te bestudeer. Dié teorie behels dat die literatuur as 'n sisteem tussen ander sisteme in die samelewing beskryf word. In hierdie geval word die sisteemgrens tot die Afrikaanse poësie beperk. Die resepsies van die ses debuutbundels wat in 1999–2000 verskyn het en wat vir die Ingrid Jonker-prys in aanmerking geneem is, word ondersoek. Binne die polisisteemverband word 'n studie onderneem na die marginalisering van die Afrikaanse poësie; dít terwyl die poësie as sodanig reeds 'n gemarginaliseerde genre is. Dié marginalisering is grootliks die gevolg van ekonomiese oorwegings – hoofstroomuitgewers dink twee maal daaroor voordat hulle 'n digbundel uitgee, veral 'n debuutdigbundel. Terwyl die poësie in die orale vorm toenemend gewild blyk te wees, is daar nie veel publikasie-moontlikhede vir debuutdigters nie. Hierdie toestand gaan veral die opkomende digters nadelig tref. In hoofstuk 1 word 'n uiteensetting van die studie gegee. Die stand van sake in die Afrikaan-se poësiesisteem teen die millenniumwending word voorlopig beskryf. Die doel van die navorsing, die afbakening van die studie-objek en die hoofstukindeling van die tesis word uiteengesit. Hoofstuk 2 bied 'n uiteensetting van die polisisteemteorie, wat gegrond is op die werk van die Russiese Formaliste. Verder word aandag bestee aan 'n omskrywing van die poli-sisteem, die struktuur van die polisisteem en die toepassingsmoontlikhede van die teorie. 'n Teoretiese oorsig van kanonisering in die literatuur word in hoofstuk 3 onderneem. In dié hoofstuk word die verskillende definisies van die konsep kanon gegee, die verskillende soorte kanons en die proses van kanonvorming word bespreek. Laastens word die invloede van kanonisering vermeld. Die Afrikaanse literêre veld is die fokuspunt in hoofstuk 4, waar die poësie as gemargina-liseerde genre, die voorkoms van die Afrikaanse poësieveld, die Ingrid Jonker-prys en die rol van die uitgewer bespreek word. Die vraag na die afwesigheid van die "nuwe stemme" in die letterkunde word ook ondersoek. Die toekoms van die Afrikaanse poësie word verder onder die soeklig geplaas. In hoofstuk 5 word 'n studie onderneem van die resepsies van die ses debuutbundels van 1999–2000. Die resensent as kritikus en die taak van resensente word eerstens ondersoek. Kwalitatiewe en kwantitatiewe ondersoeke word onderneem ten einde na te gaan welke van die debutante moontlik die kanondrempel kan oorsteek. In die slothoofstuk, hoofstuk 6, word die bevindinge van die ondersoek saamgevat ten einde die gesprek oor die Afrikaanse poësie verder te voer. Verdere moontlike navorsingsterreine word uitgestippel.
ENGLISH ABSTRACT: The aim of this study is to examine the publication and reception of first volumes of poetry at the end of the twentieth century by means of the polysystem theory. This theory maintains that literature should be considered as a system within other systems in society. In this case the systemic boundary is limited to Afrikaans poetry. The reception of six first volumes of poetry that appeared between 1999 and 2000 and were taken into account for the Ingrid Jonker Prize is investigated. A study is made of the reception of Afrikaans poetry within the polysystemic context and in the light of the fact that poetry is already a marginalised genre. This marginalisation is largely the result of economic pressures – mainstream publishers think twice before publishing a volume of poetry, especially a first volume. While poetry, particularly oral poetry, seems to be increasingly popular, there are few publishing opportunities for new poets. This situation is going to affect especially upcoming poets negatively. Chapter 1 gives an outline of the study. The state of affairs in the Afrikaans poetry system at the end of the twentieth century is described briefly. The aim of the research, the delimitation of the field of study, and the organisation of the chapters of the thesis are set out. Chapter 2 offers an explanation of polysystems theory, which has its foundations in Russian Formalism. The chapter also describes the structure of a polysystem and discusses the possible applications of the theory. Chapter 3 presents a theoretical overview of the process of canonisation in literature. Different definitions of the concept of the canon are given and the process and effects of canonisation are considered. Chapter 4 focuses on Afrikaans literature, including discussion of poetry as a marginalised genre, the future of Afrikaans poetry, the Ingrid Jonker Prize, and the role of the publisher. The issue of the absence of "new voices" in literature is also investigated, as well as the future of Afrikaans poetry. Chapter 5 examines the reception of six first volumes of poetry between 1999 and 2000. The reviewer as literary critic and the function of reviewing are considered first. Qualitative and quantitative studies are undertaken in order to determine which of the first volumes might be incorporated into the canon. Chapter 6 draws together the findings of the investigation in order to extend the discussion on Afrikaans poetry. Possible areas of research are suggested.
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Morelato, Adrienne Kátia Savazoni [UNESP]. "As vestes do corpo e da melancolia na poesia de autoria feminina: Cecília Meireles, Gabriela Mistral e Henriqueta Lisboa." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151640.
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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
As Vestes do Corpo e da Melancolia na poesia de Autoria Feminina pretende analisar de que maneira três poetas, da metade do século XX, sulamericanas, costuraram suas obras poéticas de alguma forma, em comunhão. São poetas que levaram o título de ausentes do mundo, alheias às rupturas, individuais e egoístas, quando este trabalho descobriu exatamente ao contrário; suas obras estavam emaranhadas dentro de uma rede maior, continental, porém, uma rede formada somente por mulheres escritoras. Dentro dessa rede, nasceu uma sub-rede entre as três poetas em questão: Cecília Meireles, Gabriela Mistral e Henriqueta Lisboa. Assim, uma ciranda literária se formou em torno de temas, símbolos e mitos comuns. O corpo de mulher, visto como ausente para uma crítica falogocêntrica, agora é o protagonista de uma nova estética, a estética da ternura que traz em si, a força da melancolia. Melancolizar-se na escritura, eis o que é escrever com ternura para as nossas poetas e onde o corpo transfigura-se na paisagem para que as sensações possam transbordar a palavra. A palavra será a grande luta de todas as três, porque em sua composição carrega conceitos que não foram criados pelas mulheres. Para escrever como mulher, neste sentido, nossas poetas terão que buscar a origem, o mito, o sussurro, a oralidade murmurada que resgata o início de todos os inícios. Enquanto, em relação ao contexto da tradição, a busca será pela mãe literária — a poeta referencial para que elas possam construir uma nova tradição, só que agora, a de autoria feminina.
The Vestes of the Body and Melancholy in the Feminine Authorship poetry analyze how three South American poets, from the mid-twentieth century, stitched together his poetic works in some way, in communion. They are poets who took the title of absent from the world, oblivious to the ruptures, individual and selfish, when this work discovered exactly the opposite; his works were entangled within a network however, a network composed only of women writers. Inside of this network, a subnet was born between the three poets in question: Cecília Meireles, Gabriela Mistral and Henriqueta Lisboa. Thus, a literary ciranda formed around of common themes, symbols and myths. The woman's body, seen as absent for a criticism, is now the protagonist of a new aesthetic, the aesthetics of tenderness which brings in itself the force of melancholy. Melancholy in scripture, that's what it is to write with tenderness for our poets and where the body is transfigured in the landscape so that the sensations can overflow the word. The word will be the great struggle of all three, because in its composition it carries concepts that were not created by women. For writing as a woman, in this sense our poets will have to search for the origin, the myth, the whisper, the murmured orality that rescues the beginning of all beginnings. While in relation to the context of tradition, the search will be for the literary mother - the reference poet for that they can build a new tradition, only now, that of female authorship.
La ropa y la melancolía corporal en las mujeres autoría de la poesía tiene como objetivo examinar cómo los tres poetas, la mitad del siglo xx, américa del sur, se cosió la poesía, de alguna manera, en la comunión. Son poetas que tomaron el título lejos del mundo, ajenos a las fracturas, individuales y egoístas cuando este trabajo se ha encontrado exactamente lo contrario; sus obras estaban enredadas dentro de una red más amplia, continental, pero una red formada únicamente por mujeres escritoras. Dentro de esta red, nació una subred entre los tres poetas en cuestión: cecília meireles, gabriela mistral y henriqueta lisboa, en el que el tamiz literario formado en torno a temas, símbolos y mitos comunes. El cuerpo de la mujer, vista como ausente por una crítica falogocentrica, ahora es el protagonista de una nueva estética, la estética de la ternura que trae consigo, la fuerza de la melancolía. Melancolizar en la escritura, que es lo que es escribir con ternura para nuestros poetas y donde el cuerpo se transforma en el paisaje de modo que los sentimientos pueden derramarse sobre la palabra. La palabra es la gran lucha de los tres, debido a su composición lleva a conceptos que no fueron creados por las mujeres. Para escribir como mujer, en este sentido, nuestros poetas tienen que buscar el origen, el mito, el susurro, la oralidad en voz baja que rescata el comienzo de todos los comienzos. En comparación con el contexto tradicional, la búsqueda será la madre literaria -un poeta de referencia para que puedan construir una nueva tradición, pero ahora, los autores de sexo femenino.
CNPq: 142017/2013-2
Books on the topic "Poetry – Authorship – Juvenile literature"
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Salas, Laura Purdie. Write your own poetry. Minneapolis, Minn: Compass Point Books, 2008.
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Weinberger, Kimberly. A writer's notebook: How to write poetry. New York: Scholastic, 2002.
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Donna, Guthrie, ed. How to write, recite, and delight in all kinds of poetry. Brookfield, Conn: Millbrook Press, 1996.
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editor, Wittrock Jeni, ed. Catch your breath: Writing poignant poetry. North Mankato, Minnesota: Capstone Press, a Capstone imprint, 2016.
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Meinke, Peter. The elf poem, or, Nine not very golden rules for children who like to write poetry. Tampa, FL: University of Tampa Press, 2015.
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1914-, Stafford William, ed. Getting the knack: 20 poetry writing exercises 20. Urbana, Ill: National Council of Teachers of English, 1992.
Find full textBook chapters on the topic "Poetry – Authorship – Juvenile literature"
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"Tributes, Theatre, Dance, Poetry, Film, Juvenile Literature, and Fiction." In Charles Ives, 228–34. Routledge, 2010. http://dx.doi.org/10.4324/9780203890509-16.
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"THE CLASSIFICATION OF GREEK LYRIC POETRY." In Greek Literature in the Archaic Period: The Emergence of Authorship, 1–20. Routledge, 2001. http://dx.doi.org/10.4324/9780203824849-1.
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Tinnell, Roger D. "Authorship and Composition: Music and Poetry in Las Cantigas de Santa Maria of Alfonso X, el Sabio." In Spanish Literature, 43–52. Routledge, 2000. http://dx.doi.org/10.4324/9780203825075-4.
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KURKE, LESLIE. "PINDAR'S SIXTH PYTHIAN AND THE TRADITION OF ADVICE POETRY." In Greek Literature in the Archaic Period: The Emergence of Authorship, 99–122. Routledge, 2001. http://dx.doi.org/10.4324/9780203824849-9.
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Jaguścik, Justyna. "In Search of Spaces of Their Own: Woolf, Feminism and Women’s Poetry From China." In The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature, 314–31. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474448475.003.0018.
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This chapter discusses the traveling of Woolf's writing, especially A Room of One's Own, into twentieth-century China. It argues, that since 1928, when this text had first been discussed by Xu Zhimo, A Room has remained an important point of reference in the Chinese-language feminist theory and literature. Particularly in post-Mao China, many female authors have been inspired by Woolf's spatial metaphoric and her reflections on female authorship. This chapter proposes close readings of poems and essays by Chinese contemporary female poets, such as Lu Yimin, Wang Xiaoni, Zhai Yongming and Zhang Zhen. It demonstrates that Woolf’s ideas have reverberated throughout works by the most innovative avant-garde female poets of the post-Mao era.
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Elsky, Stephanie. "Performing Custom." In Custom, Common Law, and the Constitution of English Renaissance Literature, 103–32. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198861430.003.0005.
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Chapter 4 focuses on the relationship between writing and authority within common law. It argues that Philip Sidney’s Old Arcadia reflects on debates about whether to codify England’s unwritten customs that were taking place during this period. He makes use of the tension those debates generate to explore the nature of Renaissance authorship. From the idea of unwritten custom, rooted in practice and performance rather than code and decree, Sidney develops an authorial persona that runs counter to our usual association of the Renaissance artist with loss and melancholy: the aporia or doubt that Sidney’s narrator creates throughout the prose romance and within its pastoral poetry allows him to construct a notion of authorship based on custom and rooted in a connection to an inaccessible past that, ironically, he has no desire to recuperate.
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"Who Wrote Shakespeare?" In Who Wrote That?, edited by Donald Ostrowski, 126–59. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501749704.003.0007.
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This chapter concentrates on the Shakespeare authorship controversy. It examines the correlation between the literary persona that is the author of the Shakespearean corpus with the historical persona that is William of Stratford. It also talks about the English schoolteacher named J. Thomas Looney, who created a profile of the author of the Shakespearean corpus based on the contents of the plays and poetry. The chapter looks into Looney's proposal that Edward de Vere is the author of the Shakespearean corpus. It also discusses the “New Criticism,” which is an approach to literature that intentionally ignores authorship or authorial intent as well as social and cultural context in favor of deep readings of the text and an aesthetic appreciation of its structure and perceived meaning.
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Fishbane, Eitan P. "Introduction." In The Art of Mystical Narrative, 3–53. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199948635.003.0001.
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The first chapter sets the stage for the broader project of the book; it begins with the idea that the Zohar may be approached as a classic of literary art, probing how the term “classic” has been used in the study of religion and philosophical hermeneutics. I will delve into the following issues: the contours of a literary approach to the Zohar and its relationship to the evolution of zoharic authorship and redaction theory; explore the nexus of mysticism and literature (both narrative and poetry) in comparative perspective; address the relationship between fiction, imagined history, and the merging of time between the medieval and (imagined) ancient periods; and explore the manner in which the Zohar operates with a diasporic-exilic consciousness, imagining the Holy Land from the distance of thirteenth-century Castile.