Relevant bibliographies by topics / Poetry writing

Contents

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

Academic literature on the topic 'Poetry writing'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Poetry writing"

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Livingstone, D. "Writing Poetry." English in Africa 40, no. 3 (May 1, 2014): 91. http://dx.doi.org/10.4314/eia.v40i3.17.

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송여주. "Study on Intertextual Poetry Writing in Poetry Writing Education." Journal of CheongRam Korean Language Education ll, no. 49 (March 2014): 413–38. http://dx.doi.org/10.26589/jockle..49.201403.413.

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Perloff, Marjorie. "Writing Poetry/Writing about Poetry: Some Problems of Affiliation." symploke 7, no. 1 (1999): 21–29. http://dx.doi.org/10.1353/sym.1999.0018.

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Puteri, Dinike Agustin. "PENERAPAN METODE QUANTUM WRITER UNTUK MENINGKATKAN KEMAMPUAN MENULIS PUISI PADA SISWA SMK TELEKOMUNIKASI DARUL’ULUM." sarasvati 1, no. 2 (December 9, 2019): 91. http://dx.doi.org/10.30742/sv.v1i2.744.

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Quantum Writer method is good way to help student more easy and attractive to write. Quantum Writer method is contains four steps teaching learning writing ang can be easy to with PAK ! namely: concentrate (P), arrange (A), composing (K), the best (!). This method used to finished that problem appear (1) How to proces learning poerty at begining with Quantum Writer method, (2) How to proces learning poerty when student is writing poerty with Quantum Writer method, (3) How to proces learning poerty at the finishing or after writer poerty with Quantum Writer method, in this case every statement of the problem given student score. This Action Research (PTK) used descriptive kealitatif method is doing two steps is that observation student SMK Telekomunikasi Darul’Ulum. The data take from pre writing is contain students ability to mention theam. Then the result take from when student is writing poerty. With Quantum Writer merhod. Second step is that finished to write the result contains are reading a poerty, give suggestion with friend’s poetry, and revisi again based on friend’s suggestion. The result of the observation is that appliying Quantum Writer writer method can be increase to writing poetry very good for student. Students ability to writing poetry more increase every steps. And the response of the student increase.
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Wu, Botao. "Composing and Translating Poetry: Learning From Scholarly and Daily Activities." LEARNing Landscapes 15, no. 1 (June 23, 2022): 29–37. http://dx.doi.org/10.36510/learnland.v15i1.1084.

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Poetic Inquiry invites people to return to the thousand-yearlong scholarly activity, namely writing original poetry. It encourages multiple possibilities of combining lexical thinking, poetry composition, and translation. In an attempt to revive the glory of writing, Poetic Inquiry appeals to a broader readership of scholarly works. This article explores my scholarly and daily life and seeks to learn by writing original poems. It also analyzes how I translate my Chinese poetry into English. With poetic works, I travel across languages, time, and space toward a better understanding of myself and the world.
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Islam, Mohammad Shafiqul. "Bangladeshi Poets Writing in English." Journal of World Literature 6, no. 1 (October 22, 2020): 65–83. http://dx.doi.org/10.1163/24056480-20201003.

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Abstract This article observes that Kaiser Haq has made an immense contribution to Bangladeshi poetry in English, leading the school of English poetry of the country from the front. A relatively new field, Bangladeshi writing in English has started becoming a part of world literature, and its scope, no doubt, is expanding rapidly. The article also focuses on the legacy of Bangladeshi writing in English to demonstrate how Bangladeshi poetry in English has simultaneously progressed. The article argues that Haq’s enormous contributions justify his position as the best English-language poet in Bangladesh. For his poetry, the poet takes material from his motherland and its rich culture, and his style, technique, and diction resonate with those of prominent poetic voices of the world. The article also sheds light on how Haq presents Bangladesh, depicting numerous shades of reality, and how he still dominates in the contemporary scene of Bangladeshi poetry in English.
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Johnston, Fred, Pearse Hutchinson, Pat Boran, and Nigel McLoughlin. "Writing Poetry Seriously." Books Ireland, no. 249 (2002): 126. http://dx.doi.org/10.2307/20623996.

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Mooney, Sharon Fish, and Ansley Little. "Students Writing Poetry." Journal of Christian Nursing 37, no. 2 (2020): 126. http://dx.doi.org/10.1097/cnj.0000000000000697.

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Lum, Wing Tek, Jennifer Hayashida, and Juliana Chang. "Creative Writing: Poetry." Journal of Asian American Studies 19, no. 3 (2016): 427–28. http://dx.doi.org/10.1353/jaas.2016.0043.

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Wang, Dorothy, Kazim Ali, and Cathy Linh Che. "Creative Writing: Poetry." Journal of Asian American Studies 20, no. 3 (2017): 465. http://dx.doi.org/10.1353/jaas.2017.0040.

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Dissertations / Theses on the topic "Poetry writing"

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Cookson, Jennifer Colleen. "Topographies (Original writing, Poetry)." Diss., Connect to online resource, 2005. http://wwwlib.umi.com/cr/colorado/fullcit?p1425798.

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Bonhomme, Desmond. "Creative Writing Thesis: Poetry." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/563.

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The title of this compilation of my own creative writings is Trees, Breathe, Paper. This unique collection of poetry, short stories and prose contains a range of work, composed from 2002-2012. The thematic goal of this undertaking is to ballast as many implicit and explicit meanings as are comprehensible, and to extrapolate a distinct spectrum of latent and straightforward explanations with discernible psycho-analytical accuracy. We all know poetry is truly formless and based on springs of natural inspiration. Thus, we derive our purest inspiration from the natural world and we prune it in its unfiltered, raw state. Poetry is an externality that materializes from thin air.
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King, Willow. "Yantra: A creative writing thesis (Original writing, Poetry, Creative fiction)." Diss., Connect to online resource, 2005. http://wwwlib.umi.com/cr/colorado/fullcit?p1425764.

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Nguyen, Alina. "Poetry as a Museum." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10262632.

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Poetry as a Museum is a two-part collection of poems that reveals different subject matter from the poet’s view of the world. The first part deals with family and the juxtapositions of life in the United States and Vietnam. The second part is focused on the poet, her voice, and lens outside of family. Both parts cohere as a collection around the idea of a poetry museum, one that curates the various stories, memories, experiences, and interests of family and poet, in Vietnam and the United States. Moreover, the poems rely on their strangeness in image as well as structure.

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Fisher, Matt 1966. "Animated writing." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28047.

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Accompanying materials housed with archival copy.
Using an animation program on a Macintosh computer, I have animated poems, song lyrics and expressions in an experimental way to investigate alternatives to the restrictive poetics of the static medium of paper. Animated Writing is thus the process of enacting, in a visually rich and compelling fashion, the various semantic possibilities of text presented on a screen. While a CD-ROM or Web site would flawlessly display the pristine digital content of the animations which comprise the Creative Writing Master's Thesis, for ease of distribution the thesis is presented on analog VHS videotape. An animated text offers many subtle nuances, doubling of meaning and delicate complexity which are wholly impossible to achieve on paper. This technique of animating words provides for an exciting and intriguing enrichment of both original poetry created specifically for the form, and prose, lyrics or other found text adapted for use.
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Halliday, Simon D. "Intersections : a collection of poetry." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8087.

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Griffiths, David. "Song writing : poetry, Webern, and musical modernism." Thesis, King's College London (University of London), 1993. https://kclpure.kcl.ac.uk/portal/en/theses/song-writing--poetry-webern-and-musical-modernism(eda44e12-79d4-423f-887f-4d0543a03bc9).html.

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Beckerling, Philippa Mary. "Wings into darkness & Poetry - An Essay." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/6938.

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Beaulieu, Derek. "Text without text : concrete poetry and conceptual writing." Thesis, University of Roehampton, 2015. https://pure.roehampton.ac.uk/portal/en/studentthesis/text-without-text(9881aca7-f74a-4f6e-b8d2-58d83c01d7ae).html.

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Concrete poetry has been posited as the only truly international poetic movement of the 20th Century, with Conceptual writing receiving the same cultural location for the 21st-Century. Both forms are dedicated to a materiality of textual production, a poetic investigation into how language occupies space. My dissertation, Text Without Text: Concrete Poetry and Conceptual Writing consists of three chapters: “Dirty”, “Clean” and Conceptual.” Chapter One outlines how degenerated text features in Canadian avant-garde poetics and how my own work builds upon traditions formulated by Canadian poets bpNichol, bill bissett and Steve McCaffery, and can be formulated as an “inarticulate mark,” embodying what American theorist Sianna Ngai refers to as a “poetics of disgust.” Chapter Two, “Clean,” situates my later work around the theories of Eugen Gomringer, the Noigandres Group and Mary Ellen Solt; the clean affectless use of the particles of language in a means which echoes modern advertising and graphic design to create universally understood poetry embracing logos, trademarks and way-finding signage. Chapter Three, “Conceptual,” bridges my concrete poetry with my work in Conceptual writing—especially my novels Local Colour and Flatland. Conceptual writing, as theorized by Kenneth Goldsmith, Vanessa Place and others, works to interrogate a poetics of “uncreativity,” plagiarism, digitally aleatory writing and procedurality. Text Without Text: Concrete Poetry and Conceptual Writing also includes three appendices that outline my poetic oeuvre to date.
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Goodson, R. P. "Writing 'The See-Through Man' : poetry and commentary." Thesis, Nottingham Trent University, 2011. http://irep.ntu.ac.uk/id/eprint/160/.

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'Writing The See-Through Man: Poetry and Commentary' is a Creative Writing thesis in two parts. The first part is a collection of poems called The See-Through Man, written specifically for this project. It comprises thirty short poems (of approximately one page in length) and one long poem, '1969' (approximately sixty pages in length). The second part of the thesis is a personal, critical commentary which reflects on the evolution of the themes in this collection, from an initial desire to write about the male nude in art, to a desire to write about masculinity, to, finally, a desire to write autobiographically on issues of male embodiment. It reflects, retrospectively, on the creative processes behind the writing of the poems, with specific reference to technical experiments undertaken during the writing of key poems. It uses my own contemporaneous journals to piece together their 'histories', from idea to final draft. It also reflects on the influence of other poets and poetic traditions, with particular reference to the long poem, the prose-poem and the sonnet (and how assigning a central place to the sonnet grew out of a translation of Michelangelo). The sonnet, for example, comes to be understood as a metaphor for the Apollonian male body (considered to be a negative construct) and the versions of sonnets in the collection as examples of that form undergoing Dionysian adjustments. The end of the commentary explains how this leads to the formulation of a Queer poetics, one in which texts signify not solely by their apparent themes but also by their 'open' and inter-penetrative forms. The single poem in the collection which best exemplifies this poetics is '1969', although the whole collection is structured in order to demonstrate it. The thesis contributes to the field of Creative Writing and to Queer literary studies.
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Books on the topic "Poetry writing"

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Writing poetry. 2nd ed. Fort Worth: Harcourt Brace College Publishers, 1994.

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Writing poetry. 2nd ed. London: A & C Black, 2006.

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Writing poetry. Glenview, Ill: GoodYearBooks, 1992.

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Writing poetry. London: A. & C. Black, 2001.

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Writing poetry. New York: Routledge, 2009.

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Herbert, W. N. Writing poetry. New York: Routledge, 2009.

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Davidson, Chad, and Gregory Fraser. Writing Poetry. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-12070-0.

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Hartley, Williams John, ed. Writing poetry. London: Hodder Education, 2008.

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Writing dangerous poetry. Lincolnwood, Ill: NTC/Contemporary Pub. Group, 1999.

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Margaret, Ryan. Extraordinary poetry writing. New York: F. Watts, 2006.

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Book chapters on the topic "Poetry writing"

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Monroe, Jonathan. ")Writing Writing(." In Poetry & Pedagogy, 63–79. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-11449-5_5.

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Mark, Alison. "Writing About Writing About Writing (About Writing)." In Contemporary Women’s Poetry, 64–75. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1007/978-1-137-15406-4_11.

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McLoughlin, Nigel. "Writing Poetry." In A Companion to Creative Writing, 40–55. Chichester, UK: John Wiley & Sons, Ltd, 2013. http://dx.doi.org/10.1002/9781118325759.ch3.

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Saldaña, Johnny. "Writing Poetry." In Writing Qualitatively, 176–85. London ; New York : Routledge, [2018]: Routledge, 2018. http://dx.doi.org/10.4324/9781351046039-15.

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Casterton, Julia. "Writing Poetry." In Creative Writing, 97–122. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-1-137-11496-9_10.

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Casterton, Julia. "Writing Poetry." In Creative Writing, 95–123. London: Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-14679-6_9.

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Yeh, Jane. "Revising poetry." In Creative Writing, 312–29. 2nd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003189169-19.

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Yeh, Jane. "Introduction to poetry." In Creative Writing, 211–34. 2nd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003189169-15.

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Davidson, Chad, and Gregory Fraser. "Introduction." In Writing Poetry, 1–5. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-12070-0_1.

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Davidson, Chad, and Gregory Fraser. "Voice." In Writing Poetry, 146–55. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-12070-0_10.

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Conference papers on the topic "Poetry writing"

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Booten, Kyle, and Katy Ilonka Gero. "Poetry Machines: Eliciting Designs for Interactive Writing Tools from Poets." In C&C '21: Creativity and Cognition. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3450741.3466813.

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Zeng, Haijin. "INFLUENCE OF CHRISTIANITY ON THE CREATIVITY OF THE GUANGDONG POET HUANG LIHAI." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.25.

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Huang Lihai is one of the most active contemporary Chinese poets in the past two decades. His poems are a return to poetry, language and life. In the era of change and grand discourse dominating the aesthetic interpretation of literature, Huang Lihai’s poetry and spiritual exploration have obvious implications. His vitality in poetry creation and poetry activities has an important connection with his Christian faith and his thought resources. Huang Lihai pays close attention to individual life with heavy religious feelings, and tries to restore the relationship between man and god, the relationship between man and man, and the relationship between man and nature in the post-modern era. Backed by belief, he maintained human dignity and integrity with poetry, and opened up the divine dimension of poetry writing, which opened up a new aesthetic dimension for the Chinese contemporary poetry.
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Ouellet, Chantal, Amal Boultif, and Pierre Jonas Romain. "OUTCOMES OF SLAM WRITING WORKSHOPS FOR HAITIAN STUDENTS AT THE END OF ELEMENTARY SCHOOL." In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v2end052.

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"In Haiti, the success rate in elementary school remains very low and the majority of teachers do not have sufficient knowledge of effective pedagogical approaches to writing which leads to demotivation and a low sense of effectiveness as scriptwriters among students. We chose slam as a genre of contemporary and urban poetry (Vorger, 2011) and the workshop device to work on slam poetic writing (Troia, Lin, Cohen and Monroe, 2011), ideal to improve students' writing skills, motivation and sense of effectiveness. The research took place in two primary schools in Port-au-Prince against the backdrop of a socio-political crisis. Twelve facilitators (10 women and 2 men), trained in advance, facilitated the workshops in 13 sessions of 90 minutes each. A total of 61 students aged 12-13 participated in the after-school writing workshops (26 boys and 38 girls). Students completed a questionnaire on their motivation and sense of writing skills before and after the program. A corpus of 41 texts of claimed poetry written by students is the subject of a thematic and linguistic analysis. The results indicate that students benefit from their writing and oral expression skills, self-confidence and empowerment, and that their texts demonstrate a high degree of linguistic creativity and thematic richness. The positive results are consistent with those obtained in other socio-cultural contexts (Patmanathan, 2014) regarding the impact of the writing workshops. They contribute to new knowledge about slam poetry as an appropriate literary genre for young people, even at the end of primary school."
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Amalia, Farida, Dudung Gumilar, and Riswanda Setiadi. "Poetry in Teaching French Descriptive Texts Writing." In 4th International Conference on Language, Literature, Culture, and Education (ICOLLITE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.039.

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Ma, Qingyun, Haiou Liu, and QiQiang Liu. "The study of intelligent poetry writing robots." In 2022 Global Conference on Robotics, Artificial Intelligence and Information Technology (GCRAIT). IEEE, 2022. http://dx.doi.org/10.1109/gcrait55928.2022.00017.

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Saputro, Agung, Sahid Widodo, Joko Nurkamto, and Kundharu Saddhono. "Synectic Multiliteration: Latest Findings in Poetry Writing Learning." In Proceedings of the First International Conference of Science, Engineering and Technology, ICSET 2019, November 23 2019, Jakarta, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.23-11-2019.2301612.

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Carriere, Patrizia, Carla Giazzi, Simona Quadrelli, and Marco Maiocchi. "WRITING POETRY IN PRIMARY SCHOOLS: A TEACHING EXPERIENCE." In International Technology, Education and Development Conference. IATED, 2016. http://dx.doi.org/10.21125/inted.2016.0683.

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Thompson, Jayne, and Julie Wollman. "LISTENING FOR POETRY: READING AND WRITING POETRY BEHIND THE WALLS OF THE U.S. PRISON." In 12th annual International Conference of Education, Research and Innovation. IATED, 2019. http://dx.doi.org/10.21125/iceri.2019.1020.

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Malinovschi, Victoria. "The Evidence of Textual Narcissism in the Eighties Lyric from the Left of the Prut." In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.35.

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n the eighty’s poetry from the left of the Prut, a kind of self-referential writing is highlighted, defined by literary exegesis by the term textual narcissism (Cristian Moraru). This own lyrical manner belongs the poets Emilian GalaicuPăun and Nicolae Leahu and It supposes the concentration on one’s own linguistic resources and their experimentation in the field of language. The developed lyrical constructions, frequently used in the work of these poets, they bring language games, quotations, allusions, parodies, rewritings, etc. Although, both poets don’t ignore the ideational plan, which an attentive reader can perceive, the finality of their writing consists, however, in the creating of the discourse, which It detaches itself from any other reality and It exists autonomously, being self-sufficient. Thus, such a poem returns the myth of Narcissus, stating the concept of self-referential and self-contemplative writing.
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"Training strategies of reverse thinking in poetry writing teaching." In 2017 3rd International Conference on Economy, Management and Education Technology. Francis Academic Press, 2017. http://dx.doi.org/10.25236/icemet.2017.026.

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Reports on the topic "Poetry writing"

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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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Journal articles Dissertations / Theses Books
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