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Relevant bibliographies by topics / Poetry; Textual criticism; Literary criticism

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Academic literature on the topic 'Poetry; Textual criticism; Literary criticism'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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Journal articles on the topic "Poetry; Textual criticism; Literary criticism"

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Panagiotidou, Maria-Eirini. "‘In the mind’s eye’: A cognitive linguistic re-construction of WD Snodgrass’ ‘Matisse: The Red Studio’." Language and Literature: International Journal of Stylistics 25, no. 2 (May 2016): 130–44. http://dx.doi.org/10.1177/0963947016636272.

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Although ekphrastic poetry has always been a popular poetic genre, the twentieth century saw a profusion in the production of literary texts that describe art objects. Ekphrastic criticism is abundant with critical discussions raising questions concerning aesthetics, the value of artistic creations, and the nature of representation. However, these discussions rarely consider the experience of reading an ekphrastic poem or account for readers’ responses to ekphrastic texts. The present paper uses the tools and methodology of cognitive poetics to examine how WD Snodgrass’ ekphrastic poem ‘Matisse: The Red Studio’ may be mentally reconstructed. The analysis focuses on figure–ground relations and the psychological notion of attention to explore how textual cues are brought together to create a representation of the painting described in the poem. It examines the use of particular lexical items that denote colors, forms, and textures as they become available for processing into objects. While addressing Snodgrass’ questions concerning the ownership of art objects and the notion of ‘still movement’, it also illustrates the ability of cognitive poetics to account for reader responses to ekphrastic poems in a way that complements and expands on trends in linguistics and literary criticism.

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Elhariry, Yasser. "f." PMLA/Publications of the Modern Language Association of America 131, no. 5 (October 2016): 1274–83. http://dx.doi.org/10.1632/pmla.2016.131.5.1274.

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This essay argues that there remains a far way to go before the translingual complexities of contemporary francophone poetry are exhausted. It introduces a new, different constellation of international poets, essayists, and translators to bear on the question of language choice as a means of creative expression. Building on the debates over franco-Arabic textual bilingualism that began in the 1980s, it presents close readings of translations by Salah Stétié and of original poetic compositions by Ryoko Sekiguchi. Two translational moments that foil, in french script, a deeper Arabic intertext show how literature and criticism work in multilingual situations, as they transform literary language through the aspiration of a single phonemic consonant—f.

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XANTHOU, MARIA G. "LUDOLPH DISSEN, AUGUST BOECKH, GOTTFRIED HERMANN AND TYCHO MOMMSEN: TRACING ASYNDETON, STEERING INFLUENCE." Bulletin of the Institute of Classical Studies 57, no. 2 (December 1, 2014): 1–21. http://dx.doi.org/10.1111/j.2041-5370.2014.00070.x.

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Abstract Ludolph Dissen's Excursus II on the use of asyndeton in poetic diction, accompanying his 1830 edition of Pindar's odes and fragments, sparked a controversy among German classical scholars, August Boeckh, Gottfried Hermann, Theodor Bergk, Friedrich Schneidewin, and Tycho Mommsen among them. Set in a diachronic framework, this article explores Dissen's observations in his Excursus II and argues that Dissen's and Mommsen's views mark the two ends of a diachronic spectrum, constructing a virtual diptych of literary and textual criticism, as both classical scholars tackled the use of asyndeton in their editions. Along this train of thought, it scrutinizes Dissen's influence on Mommsen's editio maior. It also discusses the influence exerted on their views by Boeckh's and Hermann's editorial practices. Hence, in the light of the rivalry between Boeckh and Hermann, the article explores their reaction to Dissen's observations. In conclusion, it argues that nineteenth-century German classical scholarship fertilized Pindaric literary criticism through large scale projects e.g. the edition of texts, as well as through subtle observations resulting from textual criticism and close reading.

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

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

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Görner, Rüdiger. "Poetik der Kritik – Ästhetik des Deutens." Journal of Literary Theory 14, no. 1 (March 1, 2020): 31–54. http://dx.doi.org/10.1515/jlt-2020-0003.

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AbstractSome of the mainly unchartered territories in literary criticism are the implications of Susan Sontag’s frontal attack on traditional hermeneutical practices in Against Interpretation (1969). This contribution to investigations into the modes of interpretation attempts to draw constructive consequences from this provocation and investigate the notion of a ›poetics of criticism‹ emanating into what can be called the ›aesthetics of interpretation‹. In so doing, it explores the Romantic backdrop of this discourse through examining Friedrich Schlegel’s plea for a ›poetization‹ of critique and his demand to turn critical approaches into aesthetic, if not artistic, acts. Then, these reflections examine notions of perception or Anschauung as a cornerstone of comprehension; discuss poetic renderings of thought with Nietzsche, who epitomizes the fusion of reflection and aesthetic production; single out one of Gottfried Benn’s early poems (»Kreislauf«) as an object for putting aesthetic interpretation into practice given the specific character of this Expressionistic text; and, finally, assess elements of theories of recognition in terms of aesthetic practice with specific reference to a paragraph in early Adorno, which highlights cognitive transformation processes as matters of aesthetic experience.Thus, this essay illustrates the interrelationship between critical theory and practice as an aesthetic act, which takes into account the significance of Sontag’s challenge, exemplifying the necessity of finding a language register that can claim to strive towards adequacy in relation to the (artistic) object of criticism without compromising analytical rigour.The argument developed in this contribution towards an aesthetics of interpretation begins with a critical appreciation of various forms and modes of criticism in literature and other aspects of artistic expression. It centres on the significance of the dialogue as an explorative means of critical discourse, ranging from Friedrich Schlegel to Hugo von Hofmannsthal and indeed Hans Magnus Enzensberger. With the (fictive) dialogue as an instrument of aesthetic judgement, ›experience‹ entered the stage of literary criticism negotiating ambivalences and considering alternative points of view often generated from the texts under consideration.In terms of the ambivalences mentioned above, this investigation into the nature of criticism considers the notion of criticism as a form of art and an extrapolation of aesthetic reason as propagated already by Henry Kames, once even quoted by Hegel in connection with the establishing of a rationale for the critical appreciation of artistic products.It discusses the interplay of distance from, and empathy with, objects of aesthetic criticism asking to what extent the act of interpretation (Wolfgang Iser) can acquire a creative momentum of its own without distorting its true mission, namely to assess the characteristics and aesthetic qualities of specific (poetic) texts or other artistic objects. Following the closer examination of several of Nietzsche’s poems and Roland Barthes’s insistence on the segmentation of the linguistic material that constitutes a textual entity worthy of criticism, the article examines one of Gottfried Benn’s early poems (»Kreislauf«, 1912) in respect of its textual and structural dynamics, awkward sensuality as a form of negative eroticism. On the basis of a detailed linguistic, and indeed poetic, examination it shows where, when, and how literary criticism can meaningfully identify structural features as denominators for aesthetic experience.The final section is devoted to instrumentalize Adorno’s point that concepts can turn with some inevitability into images enabling the theory of cognition to acquire some credibility as a potentially fertile basis for aesthetic practice – both in literary criticism and poetic production. With a concluding reference to Paul Celan’s remark that language acquires a Being of its own and that something of existential significance occurs in the poem, this article illustrates that interpretation depends on a successful interplay of cognitive and sensual processes, which leaves criticism somewhere between aesthetic analysis and contextualization as well as between taking linguistic images metaphorically or indeed literarily. Finally, it suggests regarding aesthetic criticism as a way to assess both the actual creative process and its results as if they were involved in a ›dialogue‹ of their own. Therefore, interpretation can be seen as a process that generates its very own dynamics and procedures (i. e. ›poetics‹), either in relation to its object or in form of a juxtaposition. If the latter, the likelihood is stronger that ›interpretation‹ acquires more distinctiveness. Ultimately, however, the (quasi-performative) quality of interpretation depends on its stylistic features, the adequacy of language used, and conceptual stringency without disregarding its essential function, namely to enable a dialogue between the work of art and its recipient and the recipients amongst themselves.

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Mulahi, S., E. N. Eltsova, and S. M. Pinaev. "Topos of Egypt in Poetry of Silver Age." Nauchnyi dialog, no. 5 (May 28, 2021): 237–55. http://dx.doi.org/10.24224/2227-1295-2021-5-237-255.

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The specificity of the development of the geographical and cultural space of Egypt in the poetry of the Silver Age at the time when the “Russian” poetic Egypt was born as a system of leitmotifs, imagestopos and a specific lexicon is described. It is noted that in modern literary criticism, in comprehending the geopoetics of a regional text, works devoted to the European continent, in particular, geopoetic regional models of Russian literature, have been most fully investigated. The relevance of the study is seen in the need to comprehend and analyze the geopoetics of Egypt and, more broadly, Africa as a sacred geocultural space. The textual fragments of poetic works by K. Balmont, V. Bryusov, I. Bunin, N. Gumilyov, V. Khlebnikov, representing stable geospatial images and symbols of Egypt, are analyzed. The authors come to the conclusion that the poetry of the Silver Age combines geocultural images and symbols with mythological motives, which gives the topos of Egypt a geosophical meaning. The analyzed material made it possible to show the generalized artistic structure of the geopoetic representation of Egypt in the poetics of the Silver Age and to highlight the spatial geocultural dominants: the Nile, Africa, the desert, the Sphinx, Egyptian heroes as images-topos, the Arab East.

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Thwala, Jozi Joseph. "The Employment of Metaphor and Simile in Selected Siswati Poetry." IRA International Journal of Education and Multidisciplinary Studies 15, no. 5 (November 2, 2019): 181. http://dx.doi.org/10.21013/jems.v15.n5.p4.

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The focus of this research work on selected descriptive of images refers to the analytic survey of metaphor and simile. They are selected, defined, explained and interpreted. Their significances in bringing about poetic diction, licence, meaning, message and themes are highlighted. They are fundamental figures of speech that implicitly and explicitly display the emotive value, connotative meaning, literariness and language skills. The poetic images reflect and represent real life situations through poetic skills and meanings. The literary criticism, comparative and textual analysis is evident when the objects are looked at from animate to inanimate and inanimate to animate. They serve as basic methodologies that are backing the theories and strategies on selected figures of speech. Imagery is the use of words that brings picture of the mind of the receiver or recipient and appeal to the senses. It is, however, manifested in various forms for resemblances, contrasts and comparisons. Artistic language through images revealed poetic views, assertion and facts.

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Wright, Benjamin G. "The Septuagint as a Hellenistic Greek Text." Journal for the Study of Judaism 50, no. 4-5 (November 6, 2019): 497–523. http://dx.doi.org/10.1163/15700631-12505130.

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AbstractAs a response to the tradition of scholarship that focused on questions of LXX origins, translation techniques and textual criticism, this article looks at how the LXX translations in antiquity were already in certain respects marked as Greek texts at their production, constructed as Greek literary texts in their origins, and subsequently employed in the same ways as compositional Greek texts by those who engaged them. It shows how the author of Aristeas constructs the LXX as a Greek text, how it functioned as such for Aristobulos and Philo. Already the translators demonstrate in their use of poetic language that they could produce literary Greek. Subsequently, Jewish Hellenistic authors employed the LXX alongside other Greek texts, and treated it with the methods of Hellenistic scholarship.

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Leporati, Matthew. "New Formalism in the Classroom: Re-Forming Epic Poetry in Wordsworth and Blake." Humanities 8, no. 2 (May 20, 2019): 100. http://dx.doi.org/10.3390/h8020100.

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Recent years have seen a resurgence of interest in “New Formalism,” a close attention to textual language and structure that departs from the outdated and regressive stances of old formalisms (especially “New Criticism”) by interrogating the connections between form, history, and culture. This article surveys the contributions of New Formalism to Romanticism studies and applies its techniques to two canonical texts, suggesting that New Formalism is useful both for literary criticism and teaching literature. Opening with a survey of New Formalist theory and practices, and an overview of the theoretical innovations within New Formalism that have been made by Romantic scholars, the article applies New Formalist techniques to William Wordsworth’s Prelude and William Blake’s Milton: a Poem. Often read as poems seeking to escape the dispiriting failure of the French Revolution, these texts, I argue, engage the formal strategies of epic poetry to enter the discourse of the period, offering competing ways to conceive of the self in relation to history. Written during the Romantic epic revival, when more epics were composed than at any other time in history, these poems’ allusive dialogue with Paradise Lost and with the epic tradition more broadly allows them to think through the self’s relationship to the past, a question energized by the Revolution Controversy. I explore how Wordsworth uses allusion to link himself to Milton and ultimately Virgil, both privileging the past and thereby asserting the value of the present as a means of reiterating and restoring it; Blake, in contrast, alludes to Milton to query the very idea of dependence on the past. These readings are intertwined with my experiences of teaching, as I have employed New Formalism to encourage students to develop as writers in response to texts. An emphasis on form provides students with concrete modes of entry into discussing literature and allows instructors to help students identify and revise the forms and structures of their own writing in response to literature.

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GERLI, E. MICHAEL. "‘Por una gentil floresta’: Invention, Discovery and Desire in a Fifteenth-Century Villancico." Bulletin of Hispanic Studies 98, no. 5 (May 1, 2021): 453–69. http://dx.doi.org/10.3828/bhs.2021.26.

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We persistently fail to appreciate the very status of cancionero poetry as an innovative art form, as literature worthy of serious analysis, and as an intellectual and humanistic pursuit. The villancico ‘Por una gentil floresta’, attributed to both the Marqués de Santillana and Suero de Ribera, is a case in point, a composition that is very well known but grossly underappreciated as a work of art, a cultural commentary, or for its social significance. It exists in multiple incarnations, in both the manuscript and early printed traditions of the cancioneros, attesting to its ample circulation and popularity. While the object of intense philological enquiry regarding issues of authorship, transmission, and possible influence, the numerous studies dedicated to this villancico do not foreclose further discussion of it to achieve greater appreciation of its artistic and human complexity. Close reading illustrates the abundant literary, thematic and cultural possibilities it offers, and allows us to articulate the wealth, intricacy, human understanding and artistic significance of fifteenth-century Castilian courtly verse; possibilities that reach well beyond philology and textual criticism and prove it a rich source for fruitful interpretation that exemplifies the kind of poetry and hermeneutical potential that can be found in the cancioneros.

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Dissertations / Theses on the topic "Poetry; Textual criticism; Literary criticism"

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Nixon, Scott Michael. "A reading of Thomas Carew in manuscript." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319053.

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Alarauhio, J. P. (Juha-Pekka). "Matthew Arnold’s epics:towards a communicative approach." Doctoral thesis, University of Oulu, 2019. http://urn.fi/urn:isbn:9789529414253.

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Abstract This thesis is, on the one hand, an investigation into Matthew Arnold’s (1822–1888) literary communications and, on the other hand, an attempt to mediate between his writings and a twenty-first century readership. Arnold’s oeuvre is substantial and varied, but this study focuses on his epic poetry, which has remained a neglected part of his body of work despite its significance both to the author himself and to developing an understanding of Arnold’s development as a poet, cultural critic, and iconic ‘Victorian sage’. Furthermore, it is his epic poetry that seems to most fully address the theme of communication, and thus these longer poems function as points of orientation for a broader inquiry into Arnold’s communications. Arnold himself was keenly aware of the complicated status of communicative acts, but these complications have not always been acknowledged by the generations of criticism that have emerged since his death. Critics have thus produced images of Arnold which have not always done justice to the complexity of his communications. Based on an understanding of ‘communicative’ as a position of mediation between writers and readers, this thesis addresses the need for a more balanced communicative framework for mediating between Arnold’s writings in general — and his epic poetry in particular — his critics, and present audiences
Tiivistelmä Tässä väitöskirjassa tarkastellaan Matthew Arnoldin (1822–1888) kirjallista kommunikaatiota, pyrkien välittämään hänen kirjoitustensa merkityksiä 2000-luvun yleisölle. Arnoldin kirjallinen tuotanto on runsas ja monipuolinen, mutta tässä tutkimuksessa keskitytään erityisesti hänen runoepiikkansa tulkintaan. Tämä osa hänen työstään on jäänyt tutkimuksessa verrattain vähäiseen asemaan huolimatta siitä, että Arnoldin kaksi lyhyttä runoeeposta olivat tärkeitä paitsi hänelle itselleen, mutta erityisesti osana hänen kehitystään runoilijana, kulttuurikriitikkona ja ikonisena viktoriaanisen ajan julkisena intellektuellina. Arnoldin runoepiikka vaikuttaa myös tutkivan kommunikaation teemaa laajemmin kuin hänen muut runonsa, ja toimii myös tällä tavoin keskiönä hänen oman kommunikaationsa laajemmalle tarkastelulle. Arnold oli varsin tietoinen kommunikaatiopyrkimystensä haasteista, mutta näitä ongelmia ei ole hänen kuolemansa jälkeen ilmestyneessä kritiikissä aina otettu huomioon. Näin on syntynyt monia Arnold-käsityksiä, jotka eivät välttämättä tee oikeutta hänen kommunikaationsa monivivahteisuudelle. Tämä väitöskirja pyrkii tuottamaan tasapainoisemman kommunikatiivisen lähestymistavan toimiakseen välittäjänä Arnoldin kirjoitusten, eritoten hänen eepostensa, ja nykylukijan välillä
Original papers The original publications are not included in the electronic version of the dissertation. Alarauhio, J.-P. (2012). Towards a Dialogical Approach to Matthew Arnold. In Sell, Roger D. (Ed.) Literary Community-Making: The dialogicality of English Texts from the Seventeenth Century to the Present. (131 - 142) Amsterdam: John Benjamins. Alarauhio, J.-P (2007). Sohrab and Rustum and Balder Dead – Communicating about Communication. In Nordic Journal of English Studies Volume 6, No. 2 (2007), 47 - 64. Alarauhio, J.-P (Forthcoming). Sohrab and Rustum – Matthew Arnold’s Spectacle

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Neidorf, Leonard. "The Origins of Beowulf: Studies in Textual Criticism and Literary History." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11366.

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Beowulf is preserved in a single manuscript written out around the year 1000, but there are many reasons to believe that the poem was composed several centuries before this particular act of manual reproduction. Most significantly, the meter of Beowulf reveals that the poet regularly observed distinctions of etymological length that became phonologically indistinct before 725 in Mercia. This dissertation gauges the explanatory power of the hypothesis that Beowulf was composed about three centuries before the production of the extant manuscript. The following studies test the hypothesis of archaic composition by determining whether it is able to accommodate independent forms of evidence drawn from the fields of linguistics, textual criticism, and literary history.

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Atanassova, Rossitza I. "Doctrine, polemic and literary tradition in some hexameter poems of Prudentius." Thesis, University of Oxford, 2001. http://ora.ox.ac.uk/objects/uuid:f74b5c1a-7b1d-42ae-afe7-bebd9aa7caf7.

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The thesis, the topic of which is restricted to the polemical didactic poems, Apotheosis, Hamartigenia and Contra Symmachum 1-2, aims to establish the attitudes of Prudentius to the literary tradition and argues for his relationship with the Latin classical poets. Its main argument is that the hexameter poems as a group can be profitably studied from a stylistic angle, since they show how Prudentius combined, and used with innovation, the styles of several poets, namely Lucretius, Virgil and Juvenal, and in many cases engaged with the literary tradition as a whole. Chapter I surveys, as reflected in the poems, Prudentius' awareness of the political, religious and literary milieu in the Christian Empire of the West in his day. Chapter II examines how Prudentius employed the style of argument and imagery in the D.R.N. to present Christian doctrines on the body and the soul, and to reject pagan superstition. Chapter III shows how with much imagination and respect Prudentius adapted Virgil's phraseology and techniques to give new Christian interpretations of some mythical and historical themes in the Aen., such as the 'Golden Age' and the battle of Actium, and of topics on agriculture from the Georg. Chapter IV argues that, like other fourth century Christian writers, the poet entered into the spirit of Satire and alluded to Juvenal's themes and language in his treatment of the topics of sin and sexuality. Finally, in Chapter V Prudentius' adaptations of the biblical accounts in Gen. 19 and of Ps. 136 are used to demonstrate how allegory, which is a main feature of his poetry, was combined successfully with different classical techniques. In conclusion, the hexameter poems demonstrate that Prudentius did not reject classical poetry on the basis of its content, but used both its themes and poetic techniques in order to merge the ancient with the Christian literary tradition.

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Mason, Henry Charles. "The Hesiodic Aspis : introduction and commentary on vv. 139-237." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:05a4c022-03d0-4508-800c-9e68e8429999.

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This thesis is concerned with the pseudo-Hesiodic Aspis, also known as the Scutum or Shield of Herakles (Heracles). It is divided into two halves: the Introduction, consisting of four chapters, is followed by detailed line-by-line commentary on a portion of the Greek text. Chapter I surveys the evidence for the poem's origins and dating before moving on to its scholarly reception since Wolf. It then argues that, for a proper understanding of the Aspis, the methodologies of oral poetics must be balanced with an awareness of its responses to fixed texts (in particular the Iliad). Chapter II examines the author as a poet within the oral tradition, focussing on: narrative style and structuring; type-scenes; similes; poetic ethos; the poem's position relative to the Hesiodic corpus; the use of formular language; and the growth of the poem in the author's hands. These problems are most fruitfully approached by taking account of the interplay of tradition on the one hand and of allusion to specific texts on the other. Wider points about the advanced stages of the oral tradition also emerge; in particular, from an analysis of narrative inconsistencies in the Aspis it is suggested that writing played a role in the poem's composition. Chapter III positions the poet within the literary tradition: his interactions with other songs and tales are sometimes sophisticated engagements of a kind more often detected in Hellenistic and Roman poetry. The presentation of the protagonist of the Aspis evinces the poet's skilful handling of myth, here manipulated for political purposes. Chapter III concludes with a survey of the poem's reception in early art and in literature up to Byzantine times. In Chapter IV the central section of the poem, the description of Herakles' shield (vv. 139-320), is examined in detail, both in relation to the Homeric Shield of Achilles and within the context of the Aspis. The second half of the thesis comprises a critical edition of and lemmatic commentary on vv. 139-237.

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Brasil, Marta Maria da Silva. "Edição de alguns poemas éditos e inéditos de Godofredo Filho." Programa de Pós-Graduação em Letras e Linguística da UFBA, 2006. http://www.repositorio.ufba.br/ri/handle/ri/10978.

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Edição de alguns dos poemas de Godofredo Filho, éditos, publicados em jornais e revistas, e inéditos. Tecem-se breves considerações sobre o Acervo do escritor. Traça-se o perfil do poeta e do intelectual à frente do IPHAN, Instituto Nacional do Patrimônio Histórico e Artístico Nacional. Dá-se relevo ao seu papel como precursor do Movimento Modernista na Bahia. Define-se o corpus documental que se compõe de dez textos éditos, com testemunhos autógrafos e impressos, e quatorze inéditos, datiloscritos autógrafos. Aplicam-se ao corpus os procedimentos metodológicos da Crítica Textual, obedecendo-se às seguintes etapas para a edição dos textos: recensio, collatio, eliminatio, stemma codicum, emendatio e constitutio textus. Apresentam-se os textos críticos dos poemas, a partir da eleição do texto de base, indicando-se todas as variantes no aparato crítico.
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Paleou, Matrona. "Literary criticism, poetry and ideological commitment : C.P. Cavafy and the Greek Left ( 1950-1974)." Thesis, University of Birmingham, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529793.

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Capp, Laura. "Poetry by post." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/4951.

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Poetry by Post is a four-month poetry subscription service that will run from November of 2013 to February of 2014. I will produce one mailing per month that will include a letterpress-printed broadside that features a poem of my choosing and an accompanying literary analysis and reply postcard, also letterpress-printed, all contained within calligraphed envelopes and posted with vintage stamps. Subscriptions are available at $150 for the series or $50 for an individual mailing and will not exceed 50 in number. The inaugural Poetry by Post will feature Midwestern poets Jennie Kinneberg Wrisley, Eric McHenry, Catherine Tufariello, and Ted Kooser. I have taken "Midwestern" to mean anyone who has simply spent a good bit of time in the large swath of land in the middle of the U.S. And much like the Midwest, the poetry featured will be plainspoken but no less profound for that.

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Mark, Alison Katherine Marshall. "Reading between the lines : language, experience and identity in the work of Veronica Forrest-Thomson." Thesis, Birkbeck (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362716.

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Cremin, Kathleen Mary. "Women, domesticity and Irish writing : foundations for a new kitchen?" Thesis, University of York, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313905.

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Books on the topic "Poetry; Textual criticism; Literary criticism"

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Richards, I. A. Practical criticism: A study of literary judgement. London: Routledge, 2001.

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al- Shiʻrīyah al-tawlīdīyah: Madākhil naẓarīyah. al-Dār al-Bayḍāʾ: Sharikat al-Nashr wa-al-Tawzīʻ, al-Madāris, 2000.

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Saʻdanī, Muṣṭafá. Mafhūm al-lughah fī shiʻrinā al-ḥadīth: Qirāʾ ah fī al-naṣṣ. al-Iskandarīyah: Tawzīʻ Munshaʾat al-Maʻārif, 1989.

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4

Yeats, W. B. I cigni selvatici a Coole. Milano: Biblioteca Universale Rizzoli, 1989.

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5

B, Yeats W. The wild swans at Coole: Manuscript materials. Ithaca: Cornell University Press, 1994.

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6

Jansen, Jeroen. Decorum: Observaties over de literaire gepastheid in de renaissancistische poëtica. Hilversum: Verloren, 2001.

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7

Munīr, Walīd. Jadalīyat al-lughah wa-al-ḥadath fī al-drāmā al-shiʻrīyah al-ḥadīthah. [Cairo]: al-Hayʾah al-Miṣrīyah al-ʻĀmmah lil-Kitāb, 1997.

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8

Cognitive poetic readings in Elizabeth Bishop: Portrait of a mind thinking. New York: Mouton de Gruyter, 2010.

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9

Saʻdanī, Muṣṭafá. al- Madkhal al-lughawī fī naqd al-shiʻr: Qirāʾah binyawīyah. al-Iskandarīyah: Munshaʾat al-Maʻārif, 1987.

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Būzaffūr, Aḥmad. Taʾabbaṭa shiʻran: Dirāsah taḥlīlīyah fī al-shiʻr al-jāhilī. Dār al-Bayḍāʾ: Nashr al-Fank, 1990.

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More sources

Book chapters on the topic "Poetry; Textual criticism; Literary criticism"

1

Peck, John, and Martin Coyle. "Poetry." In Literary Terms and Criticism, 12–77. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-13155-6_2.

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Buchbinder, David. "New Criticism." In Contemporary Literary Theory and the Reading of Poetry, 12–35. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-12843-3_2.

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Aherne, Philip. "The Power of Criticism: Poetry, Aestheticism, and Literary Criticism." In The Coleridge Legacy, 89–126. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95858-3_4.

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Shattock, Joanne, Joanne Wilkes, Katherine Newey, and Valerie Sanders. "‘Mrs Browning's Poetry’." In Literary and Cultural Criticism from the Nineteenth Century, 189–201. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199922-27.

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Trebolle Barrera, Julio. "Textual and Literary Criticism on Passages Attested by 4QSam." In The Hebrew Bible in Light of the Dead Sea Scrolls, 70–83. Göttingen: Vandenhoeck & Ruprecht, 2011. http://dx.doi.org/10.13109/9783666535550.70.

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Shattock, Joanne, Joanne Wilkes, Katherine Newey, and Valerie Sanders. "‘The Poetry of Christina Rossetti’." In Literary and Cultural Criticism from the Nineteenth Century, 393–99. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199922-54.

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Hauge, Hans. "The Sin of Reading: Austin Farrer, Helen Gardner and Frank Kermode on the Poetry of St Mark." In Hermeneutics, the Bible and Literary Criticism, 113–28. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-21986-5_6.

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Stempel, Wolf-Dieter. "Syntax and Obscurity in Poetry: On Mallarme's/4 Ia nue accablante." In New Perspectives in German Literary Criticism: A Collection of Essays, 134–49. Princeton: Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400866984-007.

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Striedter, Jurij. "The "New Myth" of Revolution—A Study of Mayakovsky's Early Poetry." In New Perspectives in German Literary Criticism: A Collection of Essays, 357–86. Princeton: Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400866984-016.

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Rezetko, Robert. "The Qumran Scrolls Of The Book Of Judges: Literary Formation, Textual Criticism, And Historical Linguistics." In Perspectives on Hebrew Scriptures X, edited by Christophe Nihan and Ehud Ben Zvi, 23–98. Piscataway, NJ, USA: Gorgias Press, 2017. http://dx.doi.org/10.31826/9781463237646-004.

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