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Journal articles on the topic 'Poetry of Mourning'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Kimball, Cynthia, and Jahan Ramazani. "Poetry of Mourning: The Modern Elegy from Hardy to Heaney." Rocky Mountain Review of Language and Literature 49, no. 1 (1995): 96. http://dx.doi.org/10.2307/1347947.

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12

Burt, John. "Poetry of Mourning: The Modern Elegy from Hardy to Heaney." Modernism/modernity 1, no. 3 (1994): 285–86. http://dx.doi.org/10.1353/mod.1994.0049.

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13

Dickinson, Colby. "The Logic of the ‘as if’ and the (non)Existence of God: An Inquiry into the Nature of Belief in the Work of Jacques Derrida." Derrida Today 4, no. 1 (May 2011): 86–106. http://dx.doi.org/10.3366/drt.2011.0007.

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For Derrida, the ‘as if’, as a regulative principle directly appropriated and modified from its Kantian context, becomes the central lynchpin for understanding, not only Derrida's philosophical system as a whole, but also his numerous seemingly enigmatic references to his ‘jewishness’. Through an analysis of the function of the ‘as if’ within the history of thought, from Greek tragedy to the poetry of Wallace Stevens, I hope to show how Derrida can only appropriate his Judaic roots as an act of mourning that seeks to render the lost object as present, ‘as if’ it were incorporated by the subject for whom this act nevertheless remains an impossibility. As Derrida discerns within the poetry of Paul Celan, bringing a sense of presence/presentness to our experiences, and as a confirmation of the subject which the human being struggles to assert, is the poetic task par excellence. It is seemingly also, if Derrida is to be understood on this point, the only option left to a humanity wherein poetry comes to express what religious formulations can no longer justify.

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14

Fryatt, Kit. "The Poetics of Elegy in Maurice Scully's Humming." Irish University Review 46, no. 1 (May 2016): 89–104. http://dx.doi.org/10.3366/iur.2016.0203.

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Maurice Scully published Humming (2009), a single, self-contained work, after the completion of the monumental eight-book ‘set’ Things That Happen (1987–2008). Humming is an elegy, dedicated to the poet's brother, who died in 2004. This article explores Humming as a poem of mourning, assessing the extent to which it expresses and subverts some of the traditional characteristics and functions of elegy. Elegies often include pastoral motifs, repetitions (particularly repeated questions), an element of imprecation, multivocal performance, commentary on the elegist's ambition and achievement, and enact a general movement from grief to consolation; this essay considers the forms these take. For Scully, whose poetic practice advocates self-effacement, the egoistical nature of elegy, its emphasis on accomplishment and aspiration, presents a problem which is perhaps only partially overcome by the formal strategies discussed here. Poetry without designs upon its subjects or readers remains a goal to be achieved: 'it is hard/ work whichever way/ you look at it.' In conclusion, however, it might be said that Humming, like many elegies, enacts a transition between different phases of the poet's work.

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15

Abdulla, Ismail A., and Abbas F. Lutfi. "Cognitive Semantic Analysis of Conceptual Metaphors in Donne’s “A Valediction: Forbidding Mourning”." Polytechnic Journal of Humanities and Social Sciences 1, no. 1 (June 30, 2020): 1–12. http://dx.doi.org/10.25156/ptjhss.v1n1y2020.pp1-12.

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There has always been a widely held view among literary and linguistic circles that poetic language and naturally occurring language represent two quite different registers; hence, they can by no means be subjected to treatment through the same rout of analysis. Another problem is that poetic language is said to utilize some special figures as meaning construction devices that are called meaning devices, which are purely literary devices and have little value outside literature. This paper aims at analyzing poetic language in terms of the renowned cognitive semantic model known as conceptual metaphor theory which was first prosed for the analysis of everyday language and cognition. Another aim of this study is to prove the fallacy of the traditional view that treated metaphor as an ornamental literary device and one source of linguistic or semantic deviation. Adopting the conceptual metaphor theory, the present research hypothesizes that the conceptual metaphor theory is applicable to the poetic language as well. It is also hypothesized that traditional view toward metaphor is completely false. To achieve the above aims and check the hypotheses, the researchers have analyzed one of the most renowned metaphysical poems by John Donne, titled “A Valediction: Forbidding Mourning.” Through the analysis, it has been concluded that the conceptual metaphor theory is applicable to poetic language as it is to everyday language and the conceptual metaphors are basic, rather than ornamental, for understanding poetry, and for the meaning construction in poetic language as they are in non-poetic one.

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16

Marsal, Florence. "Mourning and the Call to Possible Worlds in Jacques Roubaud's Poetry." Contemporary French and Francophone Studies 6, no. 2 (2002): 357–69. http://dx.doi.org/10.1080/718591985.

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17

Balsamo, G. "Mourning to Death: Love, Altruism, and Stephen Dedalus's Poetry of Grief." Literature and Theology 21, no. 4 (October 15, 2007): 417–36. http://dx.doi.org/10.1093/litthe/frm035.

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18

Bechtol, Harris B. "Event, Death, and Poetry." Philosophy Today 62, no. 1 (2018): 253–68. http://dx.doi.org/10.5840/philtoday201839211.

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Since Heidegger, at least, the theme of the event has become a focal point of current debate in continental philosophy. While scholars recognize the important contributions that Jacques Derrida has made to this debate, the significance of his considerations of the death of the other for his conception of the event has not yet been fully appreciated. This essay focuses on Derrida’s efforts to develop the notion of the event in reference to the death of the other through his engagement with Paul Celan in “Rams—Between Two Infinities, The Poem.” I argue that Derrida’s approach results in a three-fold contribution to the debate about the character of the event. Derrida turns to one of Celan’s poems in an effort to find the kind of speech that attests to the event in its singularity, and in this turn, he develops not only the structure of the event’s appearance in the death of the world when the other dies but also the ethical impetus that accompanies this event of the death of the other, namely a call for workless mourning. Through Derrida’s contribution, we learn that the concern for the event not only includes novel approaches to ontology but also attempts to weave together ontological, ethical, as well as existential concerns.

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19

Yoon, Miseon. "The Culture of Mourning and Meaning of Death on Emily Dickinson’s Poetry." JOURNAL OF HUMANITIES STUDIES 116 (September 30, 2019): 215–38. http://dx.doi.org/10.46346/tjhs.116..8.

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20

Chull Wang. "Poetics of Grief and Mourning: Presence of Mother in Natasha Tretheway’s Poetry." Studies in English Language & Literature 37, no. 4 (November 2011): 69–89. http://dx.doi.org/10.21559/aellk.2011.37.4.004.

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21

Phillips. "Intimacy, Epistolarity, and the Work of Queer Mourning in James Schuyler's Poetry." Journal of Modern Literature 42, no. 3 (2019): 55. http://dx.doi.org/10.2979/jmodelite.42.3.04.

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22

Ahn, Ji-Young. "The Politics of Mourning and Sentimentalism ― Focusing on Park In-Hwan’s Poetry." Study of Humanities 33 (June 30, 2020): 171–204. http://dx.doi.org/10.31323/sh.2020.06.33.07.

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23

ChoHeejeong. "Re-Discovering Otherness: The Poetics of Mourning in Hardy and Hughes’s Poetry." New Korean Journal of English Lnaguage & Literature 59, no. 3 (August 2017): 97–118. http://dx.doi.org/10.25151/nkje.2017.59.3.006.

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24

Berger, Charles. "Poetry of Mourning: The Modern Elegy from Hardy to Heaney. Jahan Ramazani." Modern Philology 95, no. 1 (August 1997): 142–45. http://dx.doi.org/10.1086/392471.

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25

Castronovo, Russ. "American Elegy: The Poetry of Mourning from the Puritans to Whitman (review)." Eighteenth-Century Studies 41, no. 1 (2007): 123–24. http://dx.doi.org/10.1353/ecs.2007.0052.

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26

Boylan, Amy. "Maternity, Mortality and Mourning in the Trench Poetry of World War I." Forum Italicum: A Journal of Italian Studies 46, no. 2 (September 2012): 380–402. http://dx.doi.org/10.1177/001458581204600206.

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27

Viljoen, L. "’n Retoriese analise van die vyf lykdigte in T.T. Cloete se Allotroop." Literator 16, no. 3 (May 2, 1995): 81–102. http://dx.doi.org/10.4102/lit.v16i3.640.

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A rhetorical analysis of the five funerary poems in T.T. Cloete’s AlloiroopThis article works from the premise that these poems form part o f a tradition that can he traced back to the funerary poetry of the Dutch Renaissance and from there to the funeral orations of Classical times. After referring to the current revival of interest in rhetoric, attention is given to the role which rhetoric played in Renaissance poetics and the influence it had on the practice of writing funerary poetry. The funerary poems in Cloete's Allotroop are then analysed, making use of the Renaissance descriptions of and prescriptions for funerary poetry researched by S.F. Witstein in Funeraire poëzie in de Nederlandse Renaissance. These analyses prove that Cloete’s poems make use of the elements basic to the Renaissance funerary poem and the classical funeral oration namely praise (laus), mourning (luctus) and consolation (consolatio) and that the rhetorical terminology devised centuries ago can still be useful in the reading of these poems.

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28

Stuart-Smith, Sue. "Time in Literature." Group Analysis 36, no. 2 (June 2003): 218–22. http://dx.doi.org/10.1177/0533316403036002006.

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The subject of Time is one of the great themes of Literature. It is intrinsic to so many aspects of what it is to be human - the transience of beauty, loss and mourning, the importance of memory, hopes for the future and the nature of the creative act itself. Within a short space of time, it can only be possible to touch on some aspects of its representation in Western literature and for the most part I will focus on poetry.

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29

김승희. "Forms of Discourse in Postwar Poetry : Language of Mourning and Language of Depression." Korean Poetics Studies ll, no. 23 (December 2008): 123–52. http://dx.doi.org/10.15705/kopoet..23.200812.005.

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30

Park, Dong-uk. "A study on the aspects of mourning in the war poetry of Ku Sang." Korean Literature and Arts 23 (September 30, 2017): 287–318. http://dx.doi.org/10.21208/kla.2017.09.23.287.

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31

ÖZTÜRK, Murat. "ENJOYİNG THE MOURNİNG: THE EXPRESSİON OF JOY FOR DEATH İN THE CLASSİCAL TURKİSH POETRY." Journal of Turkish Studies Volume 7 Issue 1, no. 7 (2012): 1803–24. http://dx.doi.org/10.7827/turkishstudies.2915.

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32

Dyer, Rebecca. "Poetry of Politics and Mourning: Mahmoud Darwish's Genre-Transforming Tribute to Edward W. Said." PMLA/Publications of the Modern Language Association of America 122, no. 5 (October 2007): 1447–62. http://dx.doi.org/10.1632/pmla.2007.122.5.1447.

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This essay provides an analysis of “Tibaq,” an elegy written in Edward W. Said's honor by the acclaimed Palestinian poet Mahmoud Darwish. Noting that the poem exhibits aspects of a number of genres and demonstrates Darwish's generally innovative approach to traditional literary forms, I consider how he has transformed the marthiya, the elegiac genre that has been part of the Arabic literary tradition since the pre-Islamic era. I argue that Darwish used the elegy-writing occasion to comment on Said's politics and to make respectful use of his critical methods, particularly his interdisciplinary borrowing of counterpoint, a concept typically used in music analysis. By reworking the conventional marthiya to represent Said's life in exile and his diverse body of work and by putting his contrapuntal method into practice in the conversation depicted in the poem, Darwish elegizes a long-lasting friendship and shores up a shared political cause.

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33

Stephen Fredman. "American Elegy: The Poetry of Mourning from the Puritans to Whitman (review)." Early American Literature 43, no. 3 (2008): 733–34. http://dx.doi.org/10.1353/eal.0.0031.

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34

Yun, Hye‑ji. "A Study on the Mourning Poetry of Chinese Woman Poets in the Ming Dynasty." Journal of Chinese Studies 91 (February 28, 2020): 163–205. http://dx.doi.org/10.36493/jcs.91.6.

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35

Hickey, Ian. "Elegising the Past and Future: Seamus Heaney's ‘Route 110’ Sequence." Irish University Review 49, no. 2 (November 2019): 340–55. http://dx.doi.org/10.3366/iur.2019.0410.

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This article solely focuses on Seamus Heaney's ‘Route 110’ sequence from his final collection of poetry, Human Chain. The sequence is broadly founded in memory and sees the poet revisit a series of significant instances from his life. It can be argued that this poem is an elegy, not only in the sense of mourning someone else, but also an elegy for the self and for the past. ‘Route 110’ sees the poet reflect on life from the perspective that comes with experience. Notions of birth and rebirth, allusions to classical myth, and lamentation feature prominently throughout the course of the sequence.

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36

Avsenik Nabergoj, Irena. "POSEBNOSTI JUDOVSKIH ŽALOSTINK IN ŽALNIH OBREDOV V PROTIJUDOVSKEM OKOLJUSPECIAL FEATURES OF JEWISH LAMENTS AND MOURNING RITUALS IN HONOR OF THE DEAD IN AN ANTI-SEMITIC ENVIRONMENT." Traditiones 48, no. 2 (June 28, 2019): 19–47. http://dx.doi.org/10.3986/traditio2019480202.

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Prispevek z metodama pozornega branja in intertekstualne primerjave med različnimi kulturami in religijami odkriva posebnosti judovskih žalostink za umrlimi in judovskih žalnih obredov, kot so izpričani v žalostinkah Svetega pisma in v posvetopisemskih judovskih virih, na antičnih judovskih nagrobnih napisih, v tradicionalnih judovskih verskih praksah žalovanja, v srednjeveških judovskih literarnih tradicijah spomina na mučence in v komemoracijah za žrtvami holokavsta v moderni judovski poeziji. Raziskuje tudi odnos do trpljenja in smrti Judov, izpričan v slovenskem ljudskem izročilu in v izbranih delih slovenske rokopisne tradicije.***This contribution discloses, by using the methods of close reading and intertextual comparison with various cultures and religions, peculiarities of Jewish laments in honour of the dead and of Jewish mourning rituals, as they are witnessed in laments of the Bible and in post-Biblical Jewish sources, in ancient Jewish epitaphs, in Jewish traditional religious mourning practices, in medieval Jewish literary traditions of commemorating martyrs and in commemorations of holocaust victims in modern Jewish poetry. It deals also with the relationship to suffering and the death of Jews, as they are witnessed in Slovenian literary folklore and in selected works of Slovenian manuscript tradition.

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Modouw, Wigati Yektiningtyas. "Introducing Helaehili, an Oral Poetry From Sentani, Papua." ATAVISME 13, no. 2 (December 31, 2010): 149–60. http://dx.doi.org/10.24257/atavisme.v13i2.126.149-160.

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This paper is partially taken from my research on a Sentani oral poetry, helaehili that is sung in mourning occasions or funerals. It is also usually known as a song of lamentation. The research was conducted in Sentani, Papua, for almost four years (2004-2008). The data were taken directly from the field through recording. The data were then transcribed, translated into English and analyzed. Through the research, it is found that helaehili is rarely heard. Not many people, especially those who live near Jayapura city and young generation, know the song. It is predicted that helaehili will extinct in some years. The research finds the composition, formula, theme, and notation of helaehili. Abstrak: Tulisan ini merupakan sebagian dari penelitian saya tentang lantunan lisan Sentani, helaehili yang biasanya dilantunkan ketika ada kedukaan atau penguburan jenazah. Lantunan ini juga disebut sebagai ratapan. Penelitian dilakukan di wilayah Sentani, Papua selama hampir empat tahun, pada 2004-2008. Data diambil melalui rekaman langsung dari para pelantun di lapangan, kemudian ditranskripsi, diterjemahkan ke dalam bahasa Indonesia, dan dianalisis. Mela- lui penelitian ini ditemukan bahwa helaehili sudah jarang dilantunkan. Tidak banyak orang, terutama yang tinggal dekat kota Jayapura dan para generasi muda yang mengenalinya. Dengan demikian, diprediksi bahwa lantunan ini akan hilang pada beberapa tahun ke depan. Penelitan ini menemukan komposisi, formula, tema, dan notasi mayor helaehili. Kata-Kata Kunci: puisi lisan, formula, tema, helaehili

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SCHROEDER, DORIS, and PETER SINGER. "Access to Life-Saving Medicines and Intellectual Property Rights: An Ethical Assessment." Cambridge Quarterly of Healthcare Ethics 20, no. 2 (March 25, 2011): 279–89. http://dx.doi.org/10.1017/s0963180110000939.

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Dying before one’s time has been a prominent theme in classic literature and poetry. Catherine Linton’s youthful death in Wuthering Heights leaves behind a bereft Heathcliff and generations of mourning readers. The author herself, Emily Brontë, died young from tuberculosis. John Keats’ Ode on Melancholy captures the transitory beauty of 19th century human lives too often ravished by early death. Keats also died of tuberculosis, aged 25. “The bloom, whose petals nipped before they blew, died on the promise of the fruit” is how Percy Bysshe Shelley expressed his grief over Keats’ death. Emily Dickinson wrote So Has a Daisy Vanished, being driven into depression by the early loss of loved ones from typhoid and tuberculosis.

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39

Barros, Paula. "In Fortune Fair and Foul." Critical Survey 32, no. 3 (September 1, 2020): 82–93. http://dx.doi.org/10.3167/cs.2020.320308.

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This article focuses on the idiosyncratic conception of happiness Sir Kenelm Digby develops in the letters he wrote after the death of his wife in 1633. It contextualises Digby’s vision of happiness through an examination of the different traditions he revisits and appropriates to develop his personal and subjective ethics of self-care, mainly Renaissance Neoplatonism, the idealisation of conjugal love, the idealism of Italian poetry, and an ascetic model of widowhood linked to the tradition of spiritual mourning. It analyses how Digby’s conception of happiness, through its vindication of subjectivity and excess, challenges the early modern ethos of consolation and speculates on the reasons that may have led Digby to present his readers with such an extraordinary self-portrait.

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40

Warnek, Peter. "Fire from Heaven in Elemental Tragedy: From Hölderlin’s Death of Empedocles to Nietzsche’s Dying Socrates." Research in Phenomenology 44, no. 2 (July 31, 2014): 212–39. http://dx.doi.org/10.1163/15691640-12341286.

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The paper considers the legacy of Empedocles as it bears upon the difficulty confronted by Hölderlin in his Death of Empedocles: how are we to understand Hölderlin’s failure to complete this ‘mourning play’ despite his continued and repeated efforts? This difficulty is elaborated through a reading of Hölderlin’s own understanding of “elemental tragedy” as it is presented and developed in the three dense so-called Homburg essays on tragedy. It is evident that the understanding of tragedy that emerges here entails a dramatic poetry that would break with the prevailing tradition and its determination of poetry according to a mimetic operation. Aristotle’s own account of Empedocles and his apparent refusal to consider Empedocles as a poet is considered alongside other ancient accounts of Empedoclean poetry, notably those provided by Plutarch, Diogenes Laertius, and Lucretius. In this context, Nietzsche’s account of the end of tragedy through his interpretation of another philosophical death, that of Socrates, is introduced as a counterpoint to help elucidate the difficulties faced by Hölderlin. This Nietzschean account of ‘the image of the dying Socrates’ also proves to be related to Nietzsche’s own brief but provocative statements concerning what is eclipsed with the loss of Empedoclean tragic philosophy and emergence of Socratism. The paper concludes by returning to Hölderlin’s letters to Böhlendorff as these letters make thematic an ‘elemental’ difference in the impossible recovery of the tragic in our time.

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정은귀. "From “The Falling Man” to Girly Man: American Poetry after 9/11 and the Logic of Mourning." American Studies 34, no. 2 (November 2011): 63–86. http://dx.doi.org/10.18078/amstin.2011.34.2.003.

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Miller, Alisa. "Youthful Death and Melancholia: The Case of Rupert and Mary Brooke." European Journal of Life Writing 9 (July 6, 2020): LW&D177—LW&D197. http://dx.doi.org/10.21827/ejlw.9.36906.

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This article considers how Mary Brooke, the mother of the poet-soldier Rupert Brooke, managed her mourning and melancholia in the wake of the death of her sons in the First World War. It briefly considers how Brooke’s death and poetry framed and, to some extent, predicted his popularity during and after the war. It goes on to explore how Mary Brooke constructed lasting literary and physical monuments to her son, which reframed his public life narrative and reflected her own culturally ingrained philosophical and aesthetic preferences. It examines how her experience reflects established and changing practices with respect to women and public death, and the elements that made her case exceptional. Finally, it places her story in the wider history of European melancholia as it relates to war, grief and creative expression.

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Babcock, David. "Korean Composers in Profile." Tempo, no. 192 (April 1995): 15–21. http://dx.doi.org/10.1017/s0040298200004071.

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Ancient, ornately carved palaces in the midst of a megalopolis, the spirituality of delicate green Koryo celadon, an archaic traditional music as pungent (and delicious) as kimchi – once experienced, never forgotten. Add to these the city of Kyongju, called the ‘museum without walls’, the many reminders of a long history of suffering under Japanese oppression and the uninterrupted excellence of its poetry and visual arts, and one begins to feel Korea's special quality. The country is prosperous; education in all fields, including the arts, is given high priority. Contemporary life is vibrant and intense; the people possess a seemingly boundless capacity for hard work as well as for celebration, festivity, ceremony and mourning – and for music-making. Hardly surprising, then, that the compositional scene in the Republic of South Korea is booming, to say the least.

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Reimo, Tiiu. "TOD! – GRAB! – VERWESUNG! VISUALISIERUNG VON TOD UND STERBEN IN DEN ESTNISCHEN FREMDSPRACHIGEN FUNERALDRUCKEN DES 17. UND 18. JAHRHUNDERTS." Baltic Journal of Art History 17 (May 15, 2019): 5–35. http://dx.doi.org/10.12697/bjah.2019.17.01.

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The materials in the Retrospective National Bibliography of foreignlanguagepublications printed in Estonia before 1830 provide variousopportunities for analysing the production of local print shops.The article focuses on the illustrative elements in printed funeralsermons and works of poetry, which cast a light on the memorialand commemorative customs in the early modern period.Visual decorative elements like headpieces and vignettes had ageneral symbolic meaning and were used to illustrate funeral textsirrespective of the age, vocation or position of the deceased. Oneobjective was to remind the viewers of their own mortality. Skulls andcoffins were among the main vignette motifs used to depict Death,and less often, Death was depicted as a skeleton or the Grim Reaper.Inscriptions added to the vignettes emphasised relevant passagesfrom the Bible to strengthen one’s faith. The fact that the same orsimilar vignettes were simultaneously used in different countries isnoteworthy. The motifs for visualising Death and mourning used inthe foreign-language funeral publications in Estonia are very similarto those used in Sweden and Finland during the same period.

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Dastur, Françoise. "Negative Philosophy: Time, Death and Nothingness." Research in Phenomenology 50, no. 3 (October 14, 2020): 317–32. http://dx.doi.org/10.1163/15691640-12341454.

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Abstract Retracing the way I have followed since the beginning of my philosophical studies, I focus on the main issues that have guided my teaching and research: Time, Death, and Nothingness, all of which take place in the domain of what I have called “negative philosophy”. My first interest was in the problem of language and logic in their relation to temporality, a special privilege being granted in this respect to poetry; subsequently I concentrated my work on the thematic of death and finitude, in order to show that mourning and relation to absence are what establish a fundamental difference between the human being and the animal; and finally, the critique of Western ontology has brought me to concentrate my research on Eastern thinking, with a special engagement with the thematic of nothingness in Indian and Japanese Buddhism. All my work in philosophy has been guided by Heidegger’s question of the relation between Being and Time.

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Hollsten, Anna. "Puhetta kuolleelle." AVAIN - Kirjallisuudentutkimuksen aikakauslehti, no. 1 (April 3, 2017): 6–21. http://dx.doi.org/10.30665/av.66190.

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Speaking to the Dead: Poetic Address and Continuing Attachment in Elegies by Paavo Haavikko, Aale Tynni, and Anja Vammelvuo This article focuses on the addressment of the deceased in Finnish elegies from the late 1960s and the early 70s written by Paavo Haavikko, Aale Tynni and Anja Vammelvuo to commemorate their spouses. Until recently, the psychoanalytical theory of grief has been in uential among scholars of elegy. This article, however, aims to revise this dominant paradigm by applying a more up-to-date understanding of grief – the continuing bonds model – to the study of elegiac poetry. In contrast to the psychoanalytical theory of grief, the continuing bonds model emphasizes that relationships with the deceased are continued rather than abandoned; people do not recover from experience of loss, rather, the mourner renegotiates his or her relationship to the deceased. In the elegies analysed in this article, addressing the deceased is used to express the mourning speaker’s experiences of presence as well as the absence of the person passed. The differences in coping with and expressing grief are partly connected to gender in the analysed poems; Haavikko’s male speaker is more reluctant to openly grieve than Tynni’s and Vammelvuo’s female speakers, who beg their spouses to come back and who can feel the presence – and in Vammelvuo’s case, even the touch of the deceased. However, in all these cases the speakers try to make sense of their continuing relationship to the dead person in their present life.

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Lisak-Gębala, Dobrawa. "„Kicz, kiczyzm” Justyny Bargielskiej." Przestrzenie Teorii, no. 31 (December 6, 2019): 173–96. http://dx.doi.org/10.14746/pt.2019.31.9.

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The article develops the analysis of recurrent kitschy motifs in poetry and prose by Justyna Bargielska. This authoress consciously and intensively takes advantage of pop-cultural kitsch, kitsch connected to maternity and femininity, sacrokitsch and consolatory kitsch used in mourning practices. She derives many fetishized objects from these areas and transforms them into private talismans; she also borrows many established pop-cultural visions that serve her heroines to create their identity, but sometimes these patterns become a costume for individual fears and phantasies. The term ‘kitschism’ was invented by Bargielska herself and it suggests intellectual distance towards the figures and requisites used. The writer’s attitude towards kitschy cliches is developed as a dialectical movement of attraction and repulsion, and is not meant to overthrow dominant stereotypes; this approach is often similar to camp strategies, yet it extends beyond ludic or ironic games. Bargielska is interested mainly in the anthropological aspect of kitsch, which is situated between the individual and the community. The writer tests the usefulness of cliches while confronting her heroines with the most serious subjects, like death, love or loss.

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Berkman, Karin. "‘Remember Sharpeville’: Radical Commemoration in the Poetry of the Exiled South African Poets, Dennis Brutus and Keorapetse Kgositsile." English in Africa 47, no. 1 (October 2, 2020): 25–46. http://dx.doi.org/10.4314/eia.v47i1.2.

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The Sharpeville Massacre of 1960 has been widely seen as a watershed moment, marking a fundamental shift in the nature of the resistance to apartheid. Its effect on cultural production was monumental: in the face of a massive government crackdown, almost every black writer and artist of note was forced into exile. The poets who write within the long shadow of the massacre must negotiate its legacy and the fraught question of its commemoration.This article takes as its point of focus two poems by Dennis Brutus and Keorapetse Kgositsile that address the place of Sharpeville in cultural memory. I consider the distinctiveness of the poetics of mourning and commemoration that they fashion in relation to South Africa’s most renowned elegy for the victims of Sharpeville, Ingrid Jonker’s “The Child.” I suggest that Brutus’ anti-poetic, subverted elegy “Sharpeville” re-stages commemoration as an act of resistance that is prospective rather than retrospective. In considering Kgositsile’s poem “When Brown is Black,” I examine Kgositsile’s transnational framing of Sharpeville and its location on a continuum of racial suffering, drawing attention to the significance of the links that Kgositsile forges between Malcolm X and “the brothers on Robben Island,” (42) and between Sharpeville and the Watts riots in Los Angeles in 1965. This paper suggests that for both Brutus and Kgositsile commemoration is framed as a mode of activism. Keywords: Sharpeville, Ingrid Jonker, Dennis Brutus, Keorapetse Kgositsile, cultural memory, commemoration, elegy

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Gowers, Emily. "Lucan’s (G)natal Poem." Classical Antiquity 40, no. 1 (April 1, 2021): 45–75. http://dx.doi.org/10.1525/ca.2021.40.1.45.

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This paper explores the aesthetics of miniaturization in Statius’ Silvae 2.7, in relation to Statius’ unexpected decision to write a tribute to the dead epic poet Lucan in hendecasyllables. The choice of a meter associated with irreverence, ephemerality, speed, and fun has been variously justified as expressing the poet’s ambivalent mood—mourning and celebration combined—or encapsulating his subject’s brief life. This paper builds on these explanations from a different angle. The epitome of miniature, playful poetry in the Silvae is the pseudo-Virgilian Culex (Gnat), mentioned first in Statius’ opening preface as a model for his collection and then in the tribute to Lucan as a yardstick for the young poet’s precocity. This is no casual coincidence. Statius’ résumé of baby Lucan’s future career uses techniques of retrospective prophecy similar to those with which the Culex-poet anticipates and absorbs Virgil’s entire oeuvre. Other clues suggest that Statius is engaging with the faked juvenile work more than sporadically, writing the equivalent for Lucan in the smallest meter imaginable while aiming to surpass both Virgil and Lucan as a poet of speed and synoptic vision.

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Scheick, William J. "American Elegy: The Poetry of Mourning from the Puritans to Whitman. Max Cavitch. Minneapolis: University of Minnesota Press, 2007. Pp. viii+353." Modern Philology 107, no. 4 (May 2010): E109—E112. http://dx.doi.org/10.1086/651285.

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