Relevant bibliographies by topics / Poetry of Mourning

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Poetry of Mourning'

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Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Poetry of Mourning"

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Weller-Passman, Ruth, Mackenzie Fluharty, and Ashley Starling. "Ghosts of Loss." Digital Literature Review 1 (January 6, 2014): 186–98. http://dx.doi.org/10.33043/dlr.1.0.186-198.

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This critical edition presents Christina Rossetti’s ghostly poetry, analyzing its overall cultural impact and influence. In addition to her poetry, we have included contextual documents pertaining to mourning, widowhood, and poetic expression. As a whole, this edition gives insight into how and why poetry canbe an appropriate method for women to express grief in the Victorian era.
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Thomsen, Torsten Bøgh. "Lykke i ulykkens tid." K&K - Kultur og Klasse 44, no. 121 (June 21, 2016): 221–42. http://dx.doi.org/10.7146/kok.v44i121.23747.

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Taking its point of departure in two contemporary Danish poets, Victor Boy Lindholm and Theis Ørntoft, the article discusses affective poetic responses to the climate crisis. The concepts of ‘eco-mourning’ and ‘climate-melancholia’ are examined in order to deliberate the possibility for human happiness in late modernism. Poems by the writers are analysed with Sara Ahmed’s theories on happiness and perspectives from posthumanist theory (Cary Wolfe) and Timothy Morton’s notion of dark ecology. It is argued that the teleology, autonomy and futurism that, according to Ahmed, is inherent to the promise of happiness, is rendered impossible by the climate crisis and accordingly problematized stylistically in some works of climate poetry. This leads to a discussion of the poetry of Lindholm and Ørntoft in relation to Freud’s theory on mourning and melancholia, which ends by concluding that Lindholm’s poetry can be seen as representative of a mourning that reproduces dynamics of desire in a dialectical oscillation between optimism and pessimism. In contrast, Ørntoft’s poetry marks a melancholy dispensation of the structures that this desire works within. The conclusion is that in an age of climate crisis, mourning can be seen as a problematic speculation in future and continuation of the structures of happiness and desire that produced the crisis to begin with, whereas melancholia is a mental mode that brackets out such dialectical thinking and promises of future happiness.
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Ronell, Avital. "On the Misery of Theory without Poetry: Heidegger's Reading of Hölderlin's “Andenken”." PMLA/Publications of the Modern Language Association of America 120, no. 1 (January 2005): 16–32. http://dx.doi.org/10.1632/003081205x36831.

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The article considers the tendency among young theorists to forget or repress poetry. As symptom, the aberrant dissociation of poetry from theory reflects an increasing technicization, not to say impoverishment, of critical language. The theoretical elders, on the other hand, clung to poetic insight with the urgency of hunger. Focusing on tropes of greeting, celebration, and sending, I explore an exemplary instance in the encounter between poetry and thought—when Heidegger met Hölderlin. Still, Heidegger's appropriation of poetry leaves a violent residue, a kind of critical warping that has remained largely uninterrogated. I turn to a moment in the unprecedented testimony of Hölderlin's late thought in which the poet names the modern experience of mourning. While Heidegger's later work appears to be characterized by a similar tonality of mourning, Hölderlin's thought of finitude is often more joyous and affirmative. I zero in on the figure of “dark-skinned women” in the poem “Andenken” to show how philosophy is tripped up by the permanent insurrection that poetry conducts.
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Woof, Pamela. "The "Lucy" Poems: Poetry of Mourning." Wordsworth Circle 30, no. 1 (January 1999): 28–36. http://dx.doi.org/10.1086/twc24044096.

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Gana, N. "War, Poetry, Mourning: Darwish, Adonis, Iraq." Public Culture 22, no. 1 (January 1, 2010): 33–65. http://dx.doi.org/10.1215/08992363-2009-015.

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Regan, Stephen. "Landscapes of mourning in nineteenth-century English poetry." Nineteenth-Century Contexts 41, no. 1 (December 17, 2018): 23–33. http://dx.doi.org/10.1080/08905495.2018.1545434.

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Lindstrom, Eric. "Mourning Life: William Wordsworth and Percy Bysshe Shelley." Romanticism 23, no. 1 (April 2017): 38–52. http://dx.doi.org/10.3366/rom.2017.0305.

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What does it mean that Shelley publicly mourns the death a living Wordsworth in his poetry? This essay argues that Percy Bysshe Shelley's renunciation of a narrow concept of selfhood not only informs, but germinates, his psychological and political principles, and in the process shapes his response to William Wordsworth—not as an “egotistical” poet, but as one who paradoxically and enviably escapes mutability by being ontologically identified with forms of non-life. I argue that Shelley brilliantly (and correctly) attributes this position to Wordsworth's poetic thought through his own poetic thinking in works such as Peter Bell the Third, and that Shelley also finds such an alignment incomprehensible. His construction of Wordsworth is a skeptical dialectician's disavowal of mute or dull inclusion. The essay attends to Shelley's treatment of Wordsworth in connection to Shelley's performative speech acts of inversion: life-death; heaven-hell; blessing-curse. Shelley abjures Wordsworth for excessive love for otherwise inanimate things; for ‘ma[king] alive | The things it wrought on’ and awakening slumberous ‘thought in sense’.
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Reed, Anthony. "The Erotics of Mourning in Recent Experimental Black Poetry." Black Scholar 47, no. 1 (January 2, 2017): 23–37. http://dx.doi.org/10.1080/00064246.2017.1264851.

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Beaudry, Jonas-Sébastien. "In the Yellow Margins: A Tribute for Professor Mosoff." Canadian Journal of Disability Studies 8, no. 3 (May 24, 2019): 142–59. http://dx.doi.org/10.15353/cjds.v8i3.511.

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This creative work begins with a poem written to commemorate Professor Judith Mosoff, a colleague who passed away on December 20, 2015. Professor Mosoff’s work in disability law influenced both activists and researchers, and this loss has impoverished the Canadian disability community. The poem is followed by an essay that situates it and reflects on the possibility of knowing and relating to someone affectively through poetic imagination, as well as on the role that poetry can play in sharing mourning and fostering community.
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Viljoen, Louise. "“Die hart ’n droë blaar”: Verlies, rou en melancholie in Olga Kirsch se Afrikaanse poësie / “The heart a dry leaf”: Loss, Mourning and Melancholia in Olga Kirsch’s Afrikaans Poetry." Werkwinkel 9, no. 2 (November 1, 2014): 31–58. http://dx.doi.org/10.2478/werk-2014-0011.

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Abstract Reading Olga Kirsch’s Afrikaans poetry, one is struck by the important role that the experience of loss occupies in her oeuvre. It is evident in the first two volumes of poetry she published while still living in South Africa, as well as in the five volumes she published after emigrating to Israel in 1948. Because her poetry, especially the volumes written in Israel, exudes an air of melancholy, this article uses Freud’s writings on loss, mourning and melancholia, as well as the historical tradition preceding his work, as a guideline in exploring the way in which the experience of loss, mourning and melancholy is portrayed in Kirsch’s oeuvre. The article focusses on the way in which loss is portrayed in her poetry: her sense that the Jewish experience of loss over the centuries forms part of her history and identity, the way in which she experiences the loss of South Africa and the language Afrikaans in which she is best able to express herself poetically when she emigrates to Israel, the way in which the loss of her father and mother at different times in her life affected her, her feeling that her experience of loss and the ensuing melancholy are carried over to her children.
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Dissertations / Theses on the topic "Poetry of Mourning"

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Campbell, Maria Regina. "Mourning the father-figure in modern American poetry." Thesis, University of Ulster, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551595.

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The purpose of this thesis is to illustrate the process of mourning within the works of five key 'confessional' poets: Robert Lowell, Theodore Roethke, John Berryman, Sylvia Plath and Anne Sexton. I will use a psychoanalytical framework to explore the reverberations of a father's death in their poetry. I will illustrate the various methods employed by these poets to reconnect with this deceased figure in their poetry. By using psychoanalytical theories from Sigmund Freud to John Bowlby, I will illustrate the various pathways of mourning adopted by each of these poets and show how contemporary grief studies offer an enhanced understanding of the struggles implicit within their recovery from a father's death. I will ascertain whether these poets were driven by their need for psychological closure or whether they were searching for a means to express previously repressed and often contradictory emotions. I will also evaluate the extent of cathartic relief experienced on imaginatively exhuming their fathers in their poetry, illustrating the psychic dangers inherent within this aesthetic intrusion into the sensitive area of a father's death. I will argue that, more often than not, this process of revisiting unsatisfactory father-child relationships, rather than signalling psychic recovery, actually serves to inflate old grievances and mire the poets deeper within the trauma of that loss. Finally, I will consider the future of personalised verse through the poetry of Sharon Olds while evaluating the achievements and limitations of her predecessors.
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Micconi, Giovanna. "Circus Aesthetics, Travel, History, and Mourning in the Poetry of Robert Hayden." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:26718732.

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Circus Aesthetics examines the work of the African American poet Robert Hayden and engages with the problem of identifying different frameworks with which to think about Hayden’s poetry and African American literature more broadly. In 1978, two years before his death, Hayden, the first African American poet to be nominated Poetry Consultant at the Library of Congress, was still struggling and fighting with the idea of being considered a “black poet” and with the socio-political implications and expectations that accompanied that label. During his address to the Library of Congress on May 8, 1978, he reiterated his discomfort at discussions of whether he was or was not a black poet and claimed that “poets too are keepers of a nation’s conscience, the partisans of freedom and justice, even when they eschew political involvement.” Hayden has often been analyzed and read in the context of his racial, religious, or stylistic affiliations (as an African American, a Bahá’í, or a modernist poet). His poetics, however, are inclusive and engage with the exploration of a universal ethos where alterity is examined and celebrated. Circus Aesthetics argues that Hayden’s formal and thematic features are grounded in the African American literary tradition as well as in cosmopolitan and Universalist principles, thus making of him a rooted “transpolitan,” who defies notions of national borders as well as western understandings of cosmopolitanism. Looking at Hayden’s poetry through careful and sustained close readings, this dissertation adds a new dimension to Hayden’s work by thinking of new, hemispheric ways in which to think of literature and the intersection of time, space, and history.
African and African American Studies
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Parker, Eleanor Francoise. "The Poetics of Loss and Mourning in the Later Poetry of Giuseppe Ungaretti." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519812.

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Blackburn, Jonathan. "Reading 'the experience of experience' : Jacques Derrida's mourning and the poetry of John Ashbery." Thesis, University of Nottingham, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435769.

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Holloway, Tamara C. ""All Is Well": Victorian Mourning Aesthetics and the Poetics of Consolation." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12141.

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viii, 214 p.
In this study, I examine the various techniques used by poets to provide consolation. With Tennyson's In Memoriam, I explore the relationship between formal and thematic consolation, i.e., the ways in which the use of formal elements of the poem, particularly rhyme scheme, is an attempt by the poet to attain and offer consolation. Early in his laureateship after the Duke of Wellington's funeral, Tennyson wrote "Ode on the Death of the Duke of Wellington," but this poem failed to meet his reading audience`s needs, as did the first major work published after Tennyson was named Poet Laureate: Maud. I argue that form and theme are as inextricably linked in Maud as they are in In Memoriam, and in many ways, Maud revises the type of mourning exhibited in In Memoriam. Later, I examine in greater detail the hallmarks of Victorian mourning. Although most Victorians did not mourn for as long or as excessively as Queen Victoria, the form her mourning took certainly is worth discussion. I argue that we can read Tennyson's "Dedication" to Idylls of the King and his "To the Mourners" as Victorian funeral sermons, each of which offers explicit (and at times, contradictory) advice to the Queen on how to mourn. Finally, I discuss the reactions to Tennyson's death in the popular press. Analyzing biographical accounts, letters, and memorial poems, I argue that Tennyson and his family were invested in the idea of "the good death"; Tennyson needed to die as he had lived--as the great Laureate.
Committee in charge: Richard Stein, Chair; Tres Pyle, Member; Deborah Shapple, Member; Raymond Birn, Outside Member
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Reibaud, Laetitia. "L’élégie en Europe au XXe siècle : persistance et métamorphoses d’un genre littéraire antique dans les poésies européennes de langue française, allemande, anglaise, italienne, espagnole et grecque." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040239.

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On croyait l’élégie disparue après l’apogée qu’avait connue le genre pendant le Romantisme et après les attaques dont il avait été la cible, les poètes « modernes » ayant choisi de s’affirmer contre les « excès » du lyrisme romantique dont l’élégie était devenue la caricature. Le lyrisme et la poésie de la première personne sont eux-mêmes restés au centre des attaques et des moqueries durant tout le XXe siècle. C’est pourtant à une renaissance du genre que l’on assiste, timide et progressive dans la première moitié du XXe siècle, puis à une véritable recrudescence dans la seconde moitié du siècle. Les noms des plus grands poètes s’associent aux titres de recueils d’élégies : outre les très célèbres Élégies de Duino de Rilke (1923), ce sont par exemple les Élégies de Juan Ramón Jiménez (1908), les Élégies et satires de Karyotákis (1927), les Hollywoodelegien (1942) et les Buckower Elegien (1953) de Brecht, les Élégies de Pierre Emmanuel (1940), de Jean Grosjean (1967), les Élégies d’Oxópetra d’Elýtis (1991), ou encore les trois grands recueils posthumes de Nelly Sachs, Schwedische Elegien (1940), Die Elegien von den Spuren im Sande (1943) et Elegien auf den Tod meiner Mutter (1950). L’élégie, née au VIIe siècle avant J.-C., est bien vivante au XXe siècle. Face à une telle longévité, trois questions se posent, qui structurent notre travail : sous quelles formes et selon quelle(s) définition(s) l’élégie existe-t-elle au XXe siècle ? Comment joue-t-elle des rapports entre modernités et traditions ? Comment se repositionne-t-elle face aux attaques virulentes des détracteurs du lyrisme et par quoi se caractérisent les nouveaux lyrismes qu’elle met en jeu au XXe siècle ?
Elegy is generally believed to have disappeared from European poetry in the XXth century, after a period of apogee during the Romanticism and after the hard criticism that the “modern” poets, who rejected the “excessive” romantic lyricism, leveled at the elegiac poets. Elegy was considered by the former as the emblem of a romantic out-of-date lyricism. Lyricism and the poetry expressed in the first person remained also the target of the attacks and mockery from a part of the XXth century poets and literary critic. Yet a real revival of the genre happens since the very beginning of the XXth century, hesitant and gradual during the first half of the century, then more abundant and obvious in the second part of the period. The names of major European poets of this century are linked with the genre of elegy, and the titles of their works show it: Juan Ramon Jiménez’s Elegías (1908), Rilke’s Duineser Elegien (1923), Karyotákis’ Elegies and satires (1927), Brecht’s Hollywoodelegien (1942) and Buckower Elegien (1953), Pierre Emmanuel’s and Jean Grosjean’s Élégies (respectively 1940 and 1967), Elýtis’s Oxopetra Elegies (1991), or the three posthumous works of Nelly Sachs, Schwedische Elegien (1940), Die Elegien von den Spuren im Sande (1943) et Elegien auf den Tod meiner Mutter (1950). Born in the VIIth century B.C., the genre of elegy is well alive in the XXth. Such a longevity brings us to three questions which organize our research: which are the shapes of the elegy of the XXth century and on which definition(s) of the genre is it based? Which are the connections and balance between traditions and modernity? How does the genre of elegy outlive the attacks against lyricism and what are the characteristics of the new lyricisms which it gives birth to?
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O'Connor, Clémence. "'Pour garder l'impossible intact' : the poetry of Heather Dohollau." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/791.

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Burkowski, Jane M. C. "The symbolism and rhetoric of hair in Latin elegy." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:44e36b32-8c44-4dd0-8241-3206e40e67f9.

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This thesis examines the hair imagery that runs through the works of Propertius, Tibullus, and Ovid. Comparative analysis of the elegists’ approaches to the motif, with particular emphasis on determining where and how each deviates from the cultural assumptions and literary tradition attached to each image, sheds light on the character and purposes of elegy as a genre, as well as on the individual aims and innovations of each poet. The Introduction provides some background on sociological approaches to the study of hair, and considers the reasons why hair imagery should have such a prominent presence in elegy. Chapter 1 focuses on the elegists’ engagement with the idea of cultus (‘cultivation’), and their manipulation of the connotations traditionally attached to elaborate hairstyles, of sophistication on the one hand, and immorality on the other, to suit an elegiac context. Chapter 2 looks at how the complexities of the power relationship between the lover and his mistress play out in references to violent hair-pulling. Chapter 3 focuses on the sometimes positively and sometimes negatively spun image of grey-haired lovers, as a reflection of the lover-poet’s own contradictory wishes for his relationship with his mistress; it also considers grey hair as a symbol of physical mortality, as contrasted with poetic immortality. Chapter 4 examines the use of images of loose hair (especially images of dishevelled mourning) to suggest connotations ranging from the erotic to the pathetic, and focuses on the effects the elegists achieve by using a single image to communicate multiple implications. The Conclusion considers the ‘afterlife’ of elegiac hair imagery: the influence that their approaches had on later authors’ handling of similar images.
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Antici, Ilena. "Deux poètes lecteurs de Proust : mémoire et relation au tu dans l’œuvre lyrique d’Eugenio Montale et de Pedro Salinas." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100161.

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Cette thèse prend la forme d’une pyramide renversée : à la base, qui est en réalité la surface, il faut imaginer les deux poètes du XXe siècle, alors qu’à la pointe extrême se situerait Proust, point d’émanation d’une certaine énergie intellectuelle qui se diffuse dans toute la modernité. Pedro Salinas et Eugenio Montale ont lu À la recherche du temps perdu dans l’Europe du premier proustisme (1920-1930). Les poétiques du poète italien et du poète espagnol s’inscrivent dans une même recherche du secret invisible, de l’essence du monde. Le parallélisme, inédit et intertextuel, entre leurs poèmes et le roman proustien met en valeur des aspects essentiels de leur lyrisme : une mémoire intermittente, oublieuse et épiphanique, enveloppant le parcours amoureux du sujet lyrique moderne. Les recueils « La voz a ti debida » (1933) de Salinas et « Le occasioni » (1939) de Montale, en particulier, sont deux véritables canzonieri d’amour construits autour de la phénoménologie du souvenir et de l’ « adresse tutoyante ». Les poétiques de Montale et de Salinas convergent d’autant plus vers la présence-absence d’un destinataire féminin, qu’ils s’écartent du chemin du Narrateur proustien. La comparaison entre prose et poésie fait émerger l’adresse au tu comme élément nouveau qui, n’existant pas dans le roman de Proust, constitue en poésie une alternative au « solipsisme proustien ». La relation exclusive du je lyrique avec un tu lyrique l’amène à partager l’intime, à sauvegarder la mémoire et à continuer l’amour contre tout oubli
This thesis has the form of an upside down pyramid: at the base, which is on top, we put two lyrical 20th century poets. At the tip of the pyramid is Proust, from who emanates an intellectual energy that spreads all over modern thought. Pedro Salinas and Eugenio Montale read “In Search of Lost Time” during the first period of European proustism (1920-30). Just as Proust, they shared the same search for the invisible secret, for the world’s essence. Comparing their poems between them and with Proust’s novel reveals key-aspects of their lyricism. In their poetry, like in Proust’s novel, memory is intermittent, alternating between oblivion and epiphanic moments that are essentially part of the experience of love. “La voz a ti debida” (1933) by Salinas and “Le occasioni” (1939) by Montale are based on a phenomenology of memory and love address. When Montale’s and Salinas’s poetics converge on the importance of dialogue with female figure, they move away from the Proustian narrator’s trajectory. The comparison between prose and poetry demonstrates that the lyrical relationship with “you” (an element which was absent in Proust's novel) has a direct impact on the writing form. Dialogical form of lyricism appears an alternative to the “Proustian solipsism”. The lyrical subject of Salinas and Montale can share with his beloved “tu” (you) his memory and preserve love from oblivion
Questa tesi ha la forma di una piramide rovesciata: alla base, che è in realtà la superficie, sisituano due poeti del XX secolo, la punta estrema è invece Proust, punto d’emanazione d’una certa energia intellettuale che si diffonde in tutta la modernità. Pedro Salinas e Eugenio Montale hanno letto Alla ricerca del tempo perduto immerse nel primo proustismo europeo (1920-1930). Le poetiche del poeta italiano e del poeta spagnolo convergono verso una ricerca simile del segreto invisibile, dell’essenza del mondo. Il parallelismo, inedito e intertestuale, tra le loro opere e il romanzo di Proust mette in luce alcuni aspetti fondamentali della loro poesia lirica: memoria intermittente, oblio e momenti epifanici costituiscono il perno del loro discorso soggettivo e amoroso. Le raccolte “La Voz un debida ti” (1933) di Salinas e “Le occasioni” (1939) di Montale, in particolare, sono due “canzonieri” moderni costruiti intorno alla fenomenologia della memoria e al dialogo con il tu amato. Le poetiche di Montale e di Salinas convergono verso la presenza-assenza costante di un tu femminile nel momento stesso in cui più si allontanano dal percorso del Narratore proustiano. Il confronto tra poesia e prosa lascia emergere il dialogo con il “tu lirico” come un elemento nuovo, inesistente nel romanzo di Proust, che diventa in poesia un’alternativa al “solipsismo proustiano”. La relazione esclusiva tra io e tu lirico porta il soggetto lirico alla condivisione dell’intima ricerca, per custodire la memoria e continuare l’amore contro le forme dell’oblio
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Blackmore, Sabine. "In soft Complaints no longer ease I find." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2015. http://dx.doi.org/10.18452/17176.

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Diese Dissertation untersucht die verschiedenen Konstruktionen poetischer Selbstrepräsentationen durch Melancholie in Gedichten englischer Autorinnen des frühen 18. Jahrhunderts (ca. 1680-1750). Die vielfältigen Gedichte stammen von repräsentativen lyrischer Autorinnen dieser Epoche, z.B. Anne Wharton, Anne Finch, Elizabeth Singer Rowe, Henrietta Knight, Elizabeth Carter, Mary Leapor, Mary Chudleigh, Mehetabel Wright und Elizabeth Boyd. Vor einem ausführlichen medizinhistorischen Hintergrund, der die Ablösung der Humoralpathologie durch die Nerven und die daraus resultierende Neupositionierung von Frauen als Melancholikerinnen untersucht, rekurriert die Arbeit auf die Zusammenhänge von Medizin und Literatur im 18. Jahrhundert. Für die Gedichtanalysen werden gezielt Analysekategorien und zwei Typen poetisch-melancholischer Selbstrepräsentationen entwickelt und dann für die Close Readings der Texte eingesetzt. Die Auswahl der Gedicht umfasst sowohl Texte, die auf generisch standardisierte Marker der Melancholie verweisen, als auch Texte, die eine hauptsächlich die melancholische Erfahrung inszenieren, ohne dabei zwangsläufig explizit auf die genretypischen Marker zurück zu greifen. Die detaillierten Close Readings der Gedichte zeigen die oftmals ambivalenten Strategien der poetisch-melancholischen Selbstkonstruktionen der Sprecherinnen in den Gedichttexten und demonstrieren deutlich, dass – entgegen der vorherrschenden kritischen Meinung – auch Autorinnen dieser Epoche zum literarischen Melancholiediskurs beigetragen haben. Die Arbeit legt ein besonderes Augenmerk auf die sog. weibliche Elegie und ihrem Verhältnis zur Melancholie. Dabei wird deutlich, dass gerade Trauer, die oftmals als weiblich konnotierte Gegendiskurs zur männlich konnotierten genialischen Melancholie wahrgenommen wird, und die daraus folgende Elegie von Frauen als wichtiger literarischer Raum für melancholische Dichtung genutzt wurde und somit als Teil des literarischen Melancholiediskurses dient.
This thesis analyses different constructions of poetic self-representations through melancholy in poems written by early eighteenth-century women writers (ca. 1680-1750). The selection of poems includes texts written by representative poets such as Anne Wharton, Anne Finch, Elizabeth Singer Rowe, Henrietta Knight, Elizabeth Carter, Mary Leapor, Mary Chudleigh, Mehetabel Wright und Elizabeth Boyd. Against the background of a detailed analysis of the medical-historical paradigmatic change from humoral pathology to the nerves and the subsequent re-positioning of women as melancholics, the thesis refers to the close relationship of medicine and literature during the eighteenth century. Specifical categories of analysis and two different types of melancholic-poetic self-representations are developed, in order to support the close readings of the literary texts. These poems comprise both texts, which explicitly refer to generically standardized melancholy markers, as well as texts, which negotiate and aestheticize the melancholic experience without necessarily mentioning melancholy. The detailed close readings of the poems discuss the often ambivalent strategies of the poetic speakers to construct and represent their melancholic selves and clearly demonstrate that women writers of that time did – despite the common critical opinion – contribute to the literary discourse of melancholy. The thesis pays special attention to the so-called female elegy and its relationship to melancholy. It becomes clear that mourning and grief, which have often been considered a feminine counter-discourse to the discourse of melancholy as sign of the male intellectual and/or artistic genius, and the resulting female elegy offer an important literary space for women writers and their melancholy poetry, which should thus be recognized as a distinctive part of the literary discourse of melancholy.
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Books on the topic "Poetry of Mourning"

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Kerr, Luella. Light of mourning. Victoria, B.C: Ekstasis Editions, 1990.

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Kerr, Luella. Light of mourning. Victoria, B.C: Ekstasis Editions, 1990.

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Wallace, Dale. In mourning. Calgary: Late Bloomers, 2004.

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A season of mourning. Ilderton, Ont: Brick books, 1988.

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Greene, Vivian. Mourning glory: Love lives forever. Hollywood, FL: Lifetime Books, 1998.

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Holender, Barbara D. Shivah poems, poems of mourning. Hartford, CT: Andrew Mountain Press, 1986.

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Mourning sickness: The art of grieving. Totowa, N.J: Resurrection Press, 2003.

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A ritual of drowning: Poems of love and mourning. Oakland, CA: Tabor Sarah Books, 1999.

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Cox, Douglas A. Paloma: A love story. Santa Ana, Calif: Seven Locks Press, 1996.

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Ramazani, Jahan. Poetry of mourning: The modern elegy from Hardy to Heaney. Chicago: University of Chicago Press, 1994.

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Book chapters on the topic "Poetry of Mourning"

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Vine, Steve. "‘Shot from the locks’: Poetry, Mourning, Deaths and Entrances." In Dylan Thomas, 140–57. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1007/978-0-230-21369-2_8.

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Johnson, George M. "Purgatorial Passions: “The Ghost” (aka Wilfred Owen) in Owen’s Poetry." In Mourning and Mysticism in First World War Literature and Beyond, 187–200. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137332035_7.

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Mundal, Else. "Female Mourning Songs and Other Lost Oral Poetry in Pre-Christian Nordic Culture." In The Performance of Christian and Pagan Storyworlds, 367–88. Turnhout: Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.miscs-eb.1.100762.

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Brennan, Eugene. "Mourning and Mania: Visions of Intoxication and Death in the Poetry of Georges Bataille." In Literature and Intoxication, 67–80. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-48766-7_4.

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"Mourning and Melancholia." In Victorian Poetry Now, 323–408. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781444340440.ch8.

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Tausig, Benjamin. "A Quiet Mourning." In Bangkok is Ringing, 86–104. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190847524.003.0008.

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This chapter argues for a poetry of dynamics within the Red Shirt movement. Rather than always aiming to be louder, various protesters found ways of producing sound that were intense and intensely affective without necessarily being volume-dependent. Working with the keyword “pity” or “pitiful,” which many dissidents used to describe themselves, I claim that different protest contexts valorize different modes of political engagement. For sound studies and music studies, it is necessary to consider the vernacular ways in which sound and dynamics are rendered poetic. The Red Shirts aimed toward pitiful sounding that hailed listeners to feel responsibility for their plight. The chapter engages three ethnographic examples: a man who sits in theatrical silence, orphan girls, and a stage musician.
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"MARTIAL’S MODES OF MOURNING. SEPULCHRAL EPITAPHS IN THE EPIGRAMS." In Flavian Poetry, 349–67. BRILL, 2006. http://dx.doi.org/10.1163/9789047417712_022.

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"Memory, Mourning, and Malvern Hill: Herman Melville and the Poetry of the American Civil War." In Memory, Mourning, Landscape, 43–60. Brill | Rodopi, 2010. http://dx.doi.org/10.1163/9789042030879_004.

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"War poetry, romanticism, and the return of the sacred." In Sites of Memory, Sites of Mourning, 204–22. Cambridge University Press, 1998. http://dx.doi.org/10.1017/cbo9781107050631.009.

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Freer, Alexander. "Metrical Pleasures." In Wordsworth's Unremembered Pleasure, 106–43. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198856986.003.0004.

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Chapter 3 reads Wordsworth’s poetic theory as a far-reaching account of compositional pleasure. It considers the crucial relation between of poetry’s claims to truth and its claims to produce and communicate pleasure, and uses the question of poetic pleasure to explore the tense relation in Wordsworth’s prose between real language and events and the artificial and mechanical operation of verse. It goes on to position Wordsworth’s theory of poetry in opposition to the persistent critical problem of sublimation. In place of the assumption that artistic pleasures must be substitute satisfaction or sheer fantasy, it explores the claim that poetry might disclose existing but unacknowledged pleasure in the world. The challenges and pleasures of metrical verse, it argues, are for Wordsworth constitutive of its retrospective, reparative forms of attention. The chapter concludes by returning to Wordsworth’s poetry and considering how metrical pleasure might function as a form of mourning.
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Conference papers on the topic "Poetry of Mourning"

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Zhang, Xinxin. "Research on the Emotional Direction of Mourning Poetry in the Song Dynasty." In 2015 International Conference on Management, Education, Information and Control. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/meici-15.2015.102.

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