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Journal articles on the topic 'Praise – Poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Maimane, K. C., and N. Mathonsi. "“TO BE OR NOT TO BE, THAT IS THE QUESTION”: THE CASE OF LITHOKO VS PRAISE POETRY." Southern African Journal for Folklore Studies 26, no. 2 (2017): 12–23. http://dx.doi.org/10.25159/1016-8427/1890.

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For a long time, lithoko have been understood and so referred to as not just poetry but praise poetry. This is evidenced in some of the classical lithoko analysts such as Damane and Sanders (1974), and Kunene (1971) in their texts: Lithoko sotho Praise poems and Heroic Poetry of the Basotho respectively. The same perception still prevails in the eyes and minds of many modern and oral literature analysts even today. Hence the question this paper poses: whether lithoko are to be or not to be perceived as praise poetry. This paper therefore sets out to pursue this critical question regarding lith

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2

Nigliazzo, Stacy R. "Praise For Poetry." AJN, American Journal of Nursing 111, no. 1 (2011): 12. http://dx.doi.org/10.1097/01.naj.0000393039.16042.40.

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3

Ramsay, William Everett. "Against Stanley Fish on Ben Jonson and the Community of the Same." Ben Jonson Journal 24, no. 1 (2017): 117–40. http://dx.doi.org/10.3366/bjj.2017.0182.

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In his classic essay “Authors-Readers: Ben Jonson and the Community of the Same,” Stanley Fish argues, primarily on the basis of a series of close readings, that (1) Jonson's poetry of praise hints at a community in which everyone is the same; (2) Jonson's poetry of praise is nonrepresentational, while his poetry of blame is representational; (3) Jonson's poems of praise and the members of the community mentioned in them are largely interchangeable; and (4) Jonson writes nonrepresentational poetry of praise in which everyone is the same in order to maintain his independence in a patronage soci

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4

Hazrat, Florence. "In Praise of Useless Poetry." Cambridge Quarterly 48, no. 2 (2019): 171–80. http://dx.doi.org/10.1093/camqtly/bfy038.

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5

Sedakova, Olga, Stephanie Sandler, and Caroline Clark. "Supplication | In Praise of Poetry." Prairie Schooner 88, no. 4 (2014): 51–52. http://dx.doi.org/10.1353/psg.2014.0144.

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6

Draskic-Vicanovic, Iva. "Psychagogic art theory." Theoria, Beograd 55, no. 2 (2012): 107–17. http://dx.doi.org/10.2298/theo1202107d.

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The text represents a specific approach to Gorgias' Praise to Helen. Instead of considering it as a cradle of art theory of illusion (apate) or some kind of rhetoric acrobatic feat in which Gorgia praises the blameworthy, author considers Praise to Helen as first aesthetic text in European philosophy in which fine arts and poetry had been connected by means of one notion - notion of psychagogia, and looks upon it as a foundation of art theory that could be denoted as theory of psychagogia.

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7

Kibigo, Mary Lukamika. "Language, History, Ideology and Power Relations Used in Bullfighting Praise Poetry: A Case Study of Kakamega County, Kenya." East African Journal of Arts and Social Sciences 2, no. 1 (2020): 171–82. http://dx.doi.org/10.37284/eajass.2.1.234.

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Language is a people’s culture and it cannot be discussed singly without associating it to a certain community. The concept of bullfighting in the Isukha Community, Shinyalu Sub- County of Kakamega County in Kenya has a long history as it involves chanting of words that portray masculinity in this community. The Isukha praise poetry that is chanted during the Shilembe ritual and the indigenous sport of Mayo is one of the ways in which masculinity is portrayed during bullfighting. In this praise poetry, language, history, ideology and power relations are portrayed by the artists. This article h

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8

Ojaide, Tanure, and Ode Ogede. "Art, Society, and Performance: Igede Praise Poetry." World Literature Today 73, no. 1 (1999): 199. http://dx.doi.org/10.2307/40154639.

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9

Olson, Glending. "The Poetry of Praise (review)." JEGP, Journal of English and Germanic Philology 108, no. 3 (2009): 401–3. http://dx.doi.org/10.1353/egp.0.0047.

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10

Zimmerman, E. "Swift's Scatological Poetry A Praise of Folly." Modern Language Quarterly 48, no. 2 (1987): 124–44. http://dx.doi.org/10.1215/00267929-48-2-124.

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11

Mac Cana, Proinsias. "Praise Poetry in Ireland Before the Normans." ÉRIU 54, no. -1 (2004): 11–40. http://dx.doi.org/10.3318/eriu.2004.54.1.11.

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12

Simpson, J. "J. A. BURROW, The Poetry of Praise." Notes and Queries 56, no. 2 (2009): 278–80. http://dx.doi.org/10.1093/notesj/gjp006.

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13

Purvis, Tristan Michael. "Speech rhythm in Akan oral praise poetry." Text & Talk - An Interdisciplinary Journal of Language, Discourse Communication Studies 29, no. 2 (2009): 201–18. http://dx.doi.org/10.1515/text.2009.009.

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14

Park, Arum. "TRUTH AND GENRE IN PINDAR." Classical Quarterly 63, no. 1 (2013): 17–36. http://dx.doi.org/10.1017/s000983881200078x.

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By convention epinician poetry claims to be both obligatory and truthful, yet in the intersection of obligation and truth lies a seeming paradox: the poet presents his poetry as commissioned by a patron but also claims to be unbiased enough to convey the truth. In Slater's interpretation Pindar reconciles this paradox by casting his relationship to the patron as one of guest-friendship: when he declares himself a guest-friend of the victor, he agrees to the obligation ‘a) not to be envious of hisxenosand b) to speak well of him. The argumentation is:Xeniaexcludes envy, I am axenos, therefore I

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15

Day, Joseph W. "Rituals in stone: early Greek grave epigrams and monuments." Journal of Hellenic Studies 109 (November 1989): 16–28. http://dx.doi.org/10.2307/632029.

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The goal of this paper is to increase our understanding of what archaic verse epitaphs meant to contemporary readers. Section I suggests their fundamental message was praise of the deceased, expressed in forms characteristic of poetic encomium in its broad, rhetorical sense, i.e., praise poetry. In section II, the conventions of encomium in the epitaphs are compared to the iconographic conventions of funerary art. I conclude that verse inscriptions and grave markers, not only communicate the same message of praise, but do so in a formally parallel manner. Section III, drawing on Pindar as a pr

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16

Obaid Najm, Assistant Professor Dr Muneer. "Poetic Lexicon At Andalusia Feminist Poetry." Psychology and Education Journal 58, no. 1 (2021): 3393–403. http://dx.doi.org/10.17762/pae.v58i1.1277.

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Every poet has a set of vocalizations that he used to use in his poetry until it became his own stylistic feature, and Ibn Rashiq Al-Qayrawani referred to this idea in his saying, “The well-known poets are well-known and familiar examples that the poet should not prepare nor use any other” (1). Each poet has his own language that distinguishes him from other poets, and they are multi-cultural and literary. They take care of it, as it represents the basic element of building poetry. Lexical even carries a great aura of synonym It has congeners (2), for each creative product has its own linguist

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17

Martin, Richard P. "Hesiod's Metanastic Poetics." Ramus 21, no. 1 (1992): 11–33. http://dx.doi.org/10.1017/s0048671x00002654.

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The received wisdom about Hesiod's poetics is simple: he is no Homer. His poetry is supposedly rough, awkward, unsophisticated, repetitive, disjointed, a second-best versifier's striving after effect. Too often the rhetoric even of those who respect Hesiodic poetry damns it with faint praise. Readers of the Princeton Encyclopedia of Poetry and Poetics—to take just one easily available reference that students might consult—learn that Hesiod's ‘didactic epics’ were meant forthe peasant of Boeotia rather than the Ionian aristocrat, being concerned with the morality and beliefs of the small farmer

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18

Odom, Glenn. "Before Us a Savage God: Self-Fashioning the Nation in Yorùbá Performance." TDR/The Drama Review 55, no. 2 (2011): 73–85. http://dx.doi.org/10.1162/dram_a_00071.

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The concept of identity is in a state of evolution in Yorùbá society, and this evolution works itself out in praise poetry. This poetry is performed in a variety of contexts, and each performance context contributes something distinctive to Yorùbá modernity.

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19

Nabijonovna, Keldiyorova Naima. "The praise of motherland in azim suyun‘s poetry." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 5 (2020): 1117. http://dx.doi.org/10.5958/2249-7137.2020.00469.3.

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20

Westley, David M. "A Select Bibliography of Southern Bantu Praise Poetry." Research in African Literatures 33, no. 1 (2002): 153–77. http://dx.doi.org/10.2979/ral.2002.33.1.153.

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21

Westley, David. "A Select Bibliography of Southern Bantu Praise Poetry." Research in African Literatures 33, no. 1 (2002): 153–77. http://dx.doi.org/10.1353/ral.2002.0040.

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22

Akoma, Chiji. "Art, Society, and Performance: Igede Praise Poetry (review)." Research in African Literatures 30, no. 4 (1999): 227–28. http://dx.doi.org/10.1353/ral.2005.0023.

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23

Townend, M. "Pre-Cnut praise-poetry in Viking age England." Review of English Studies 51, no. 203 (2000): 349–70. http://dx.doi.org/10.1093/res/51.203.349.

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24

MILLER, PETER J. "IN THE SHADOW OF PRAISE: EPINICIAN LOSERS AND EPINICIAN POETICS." Bulletin of the Institute of Classical Studies 61, no. 1 (2018): 21–41. http://dx.doi.org/10.1111/2041-5370.12068.

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AbstractWhile athletic competition relies on comparison (the necessary similarity of opponents, rules, conditions of victory), epinician poetry claims superlative fame and similarly singular victors. By addressing all explicit and implicit instances of losers and losing, and by paying close attention to epinician language (particularly boasts and litotes), this article deconstructs the naturalized binary of winner/loser in the poetry of Pindar and Bacchylides. Athletic competition, which is structured around similarity, problematizes the matchless fame of epinican and therefore epinician poetr

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25

Wellendorf, Jonas. "No need for mead." Grammarians, Skalds and Rune Carvers II 69, no. 2 (2016): 130–54. http://dx.doi.org/10.1075/nowele.69.2.02wel.

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This paper will see Bjarni Kolbeinsson as a representative of the new kind of skaldic poetry that had developed around the turn of the thirteenth century. By then, formal skaldic poetry had become an art form cultivated by men who had received schooling and clerical ordination. Skalds such as Bjarni had turned their attention from the praise of kings of the present or the near past towards subjects of the more distant past and religious themes. In Jómsvíkingadrápa, Bjarni brushed aside the Odinic mead hailed by former skalds and preferred to apply techniques of poetic composition that he had l

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26

Siedina, Giovanna. "Panegyric praise of for Yoasaf Krokovskyi." Слово і Час, no. 3 (May 26, 2020): 65–90. http://dx.doi.org/10.33608/0236-1477.2020.03.65-90.

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The author analyzes a long and complex panegyric poem dedicated to Yoasaf Krokovskyi, a key figure in Ukrainian cultural life and Orthodox Church of the late 17th — early 18th centuries (he was elevated to the three prominent Orthodox ecclesiastical posts in the Hetmanate: rector of the Kyiv Mohyla Collegium, archimandrite of the Kyivan Cave Monastery, and metropolitan). The poem was written in 1699 when Krokovskyi held the post of the Kyivan Cave Monastery archimandrite. Since the main goal of poetry at the time was contributing to the education of pious men and loyal subjects, panegyric poet

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27

Lombard, Daniël B. "The Manifestation of Religious Pluralism in Christian Izibongo." Religion and Theology 6, no. 2 (1999): 168–93. http://dx.doi.org/10.1163/157430199x00128.

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AbstractThe article contributes to scholarly inquiry into religious pluralism in South Africa, in particular to how Christian doctrine interacts with the African worldview. Evidence for the intercultural and interreligious discourse is based on an analysis of a eulogy of Christ, created and performed in the traditional style of izibongo, or Zulu praise poetry. The conclusion is drawn that the eulogy is a manifestation of vigorous interreligious dynamics, showing that Christianity and izibongo are both remarkably protean in their potential for creative interaction. Christianity is embraced, but

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28

Pavlou, Maria. "Metapoetics, Poetic Tradition, and Praise in Pindar Olympian 9." Mnemosyne 61, no. 4 (2008): 533–67. http://dx.doi.org/10.1163/156852508x252821.

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AbstractScholarly discussions of Pindar's Olympian 9 normally examine the opening reference to Archilochus' kallinikos hymn, the mythical exemplum of Heracles' theomachy, and the narrative of the foundation of Opus separately. The present study will attempt to examine these references together, as forming a dynamic whole. As will become clear, such an approach can provide a more successful reading of the poem because it accounts better for its constituent parts, better integrates metapoetry and poetry throughout, and offers valuable insights into Pindar's attitude towards previous poetry and t

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29

Dickie, June F. "Community Translation and Oral Performance of Some Praise Psalms within the Zulu Community." Bible Translator 68, no. 3 (2017): 253–68. http://dx.doi.org/10.1177/2051677017728564.

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There is a strong history among the Zulu community of performing praise poetry, and a passion for composing and performing poetry continues among Zulu youth today. On the other hand, the current Zulu Bible is considered by many young people to be irrelevant or difficult to read and understand. With these two factors in mind, I conducted a study in which Zulu youth were invited to participate in basic training, after which they made their own translations of various praise psalms and then performed them before a community audience using song, rap, or spoken poetry. This paper looks at the proce

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30

Frade, Gustavo Henrique Montes. "Comentário à Pítica VIII 1-60." Nuntius Antiquus 5 (June 30, 2010): 20–43. http://dx.doi.org/10.17851/1983-3636.5..20-43.

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A commentary on the first three triads of Pindar’s Pythian VIII. In the first triad, the poet uses the divine Hesykhía to relate sports, war and politics; he also indicates the dependence of the human excelence on divine action and uses the presence of gods to praise the champion. In the second triad, Pindar praises the champion’s homeland and shows the relation between the athlete and the poet, a brief remark on poetry and its social function. The third triad is dedicated to the mythical speech of Amphiaraus about luck and the oscillations between winning and losing in human life. &#x0D

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31

Gasim, Aseel Abod. "Pre-Islamic Features in the Poetry of Al-Raei Al-Nawmiri." Journal of the College of Education for Women 31, no. 4 (2020): 26–38. http://dx.doi.org/10.36231/coedw.v31i4.1425.

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This research is dedicated to study Al-Ra’ee Al-Numayri, a distinctive poetic character, to find out the most important (artistic) pre-Islamic features that contributed to its formation. It is further dedicated to know the influence of these features on his literature in the literary arena. After surveying his poetic texts and reading them according to the analytical and investigative methods, the art of the researcher was limited to the field of traditionalists. He was following the footsteps of the ancients by adhering to the traditional Arabic poetry style and the traditional poetic image.

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32

MARKELL, PATCHEN. "POLITICS AND THE CASE OF POETRY: ARENDT ON BRECHT." Modern Intellectual History 15, no. 2 (2016): 503–33. http://dx.doi.org/10.1017/s1479244316000366.

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Hannah Arendt's essay on Bertolt Brecht has often been understood as an indictment of Brecht's postwar accommodation with the Stalinist regime in East Germany, in line with Arendt's supposed commitment to a firm separation between poetry and politics. Offering the first full reconstruction of the transnational history of Arendt's writing on Brecht, this article shows instead that Arendt's essay was a defense of Brecht against the polemics it is often taken to exemplify. Joining poetry to politics by holding both at a distance from philosophy, Arendt assigned poetry the vocation of disruptive f

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33

Cull, Ryan. "“Inexhaustible Splendor”: Thylias Moss, Praise Poetry, and Racial Politics." MELUS: Multi-Ethnic Literature of the United States 41, no. 1 (2016): 125–47. http://dx.doi.org/10.1093/melus/mlv084.

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34

Brumbaugh, Michael E. "THE GREEK ὝΜΝΟΣ: HIGH PRAISE FOR GODS AND MEN". Classical Quarterly 69, № 1 (2019): 167–86. http://dx.doi.org/10.1017/s0009838819000624.

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Over a hundred instances of the word ὕμνος from extant archaic poetry demonstrate that the Greek hymn was understood broadly as a song of praise. The majority of these instances comes from Pindar, who regularly uses the term to describe his poems celebrating athletic victors. Indeed, Pindar and his contemporaries saw the ὕμνος as a powerful vehicle for praising gods, heroes, men and their achievements—often in service of an ideological agenda. Writing a century later Plato used the term frequently and with much the same range. A survey of his usage reveals instances of ὕμνοι for gods, daimones

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35

Isom, Rachael. "The Romanticism of Elizabeth Barrett's Juvenile Poetics." Journal of Juvenilia Studies 2, no. 1 (2019): 28–45. http://dx.doi.org/10.29173/jjs32.

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This article traces enthusiastic language and tropes across the juvenilia of Elizabeth Barrett (later Browning) in order to establish her investment in the concept during her teens and early twenties. Barrett’s early autobiographical essays praise and emulate Romantic strong feeling, but they also address the conflated—and sometimes conflicted—forms of enthusiasm at the root of this tradition. After analyzing "My Own Character" (1818) and "Glimpses of My Life and Literary Character" (1820), the article reads Barrett’s first major volume of poetry, An Essay on Mind, with Other Poems (1826), as

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36

Prigarina, N. I. "Linking the poetical text and the doctrines of Sufi brotherhoods: Sufi poetry of A. Lahuti." Orientalistica 2, no. 4 (2020): 1021–37. http://dx.doi.org/10.31696/2618-7043-2019-2-4-1021-1037.

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The article deals with the poetical heritage of Abulqasim Lahuti, more precisely his poetical works of an early period, which constitute a special section in his collection of poems, the Divan. It was published in Teheran as early as in 1979 by 'Ali Bashiri under the title As'ar-e mazhabi va 'erfani («Religious and Sufi verses»). The revolutionary, patriotic and lyrical poetical works by A. Lahuti published since 1909 are well-known. However, his early poetry, which reflects the time when he was in contact with various Sufi brotherhoods remains almost a terra incognita for most scholars who ha

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Flores Militello, Vicente. "Venationes en la poesía latina tardoimperial. El poder de la arena y su final." Nova Tellus 39, no. 2 (2021): 113–44. http://dx.doi.org/10.19130/iifl.nt.2021.39.2.79286.

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This article analyzes various passages from Claudian’s and Gorippus’s political poems (Claud., Ruf., 2; Theod.; Stil., 3; VI Hon.; Goripp., Laud. Iust. Min., 3) which describe hunting games in the Roman arena (venationes) and have communicative aims: they either praise officeholders (consuls, generals, and emperors), or they criticize their opponents. This theme plays a fundamental role in early imperial poetry. But while early imperial poets (Calpurnius, Statius, Martial, and Juvenal) convey their message of praise or invective with briefer passages, Claudian and Gorippus present concatenated

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38

SHIJA, Terhemba. "Tragedy and its Cathartic Effect in Tiv Praise Poetry: A Reflection on Misery and Death in the Praise Poetry of Obadiah Kehemen Orkor." Nile Journal of English Studies 1, no. 1 (2016): 67. http://dx.doi.org/10.20321/nilejes.v1i1.38.

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<p>There is an ironic sense of fatalism in the Praise Poetry of the Tiv people which is created to elicit honour, heroism and success. It is an art form that evokes extreme emotions but also purges them in a manner that puts the reader or hearer in control of himself.</p><p>This paper examines a selection of oral poems by Obadia Orkor from Ukum district of Benue State to prove that Tiv art is a secular craft that seeks rational interpretation of man’s tragic fate in the same manner Greek tragedies did in classical times.</p>

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39

Heath, Malcolm. "Greek Literature." Greece and Rome 63, no. 2 (2016): 251–55. http://dx.doi.org/10.1017/s0017383516000127.

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Let us begin, as is proper, with the gods rich in praise – or, more precisely, with The Gods Rich in Praise, one of three strikingly good monographs based on doctoral theses that will appear in this set of reviews. Christopher Metcalf examines the relations between early Greek poetry and the ancient Near East, focusing primarily on hymnic poetry. This type of poetry has multiple advantages: there is ample primary material, it displays formal conservatism, and there are demonstrable lines of translation and adaptation linking Sumerian, Akkadian, and Hittite texts. The Near Eastern material is p

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40

Foot, Sarah. "Plenty, Portents and Plague: Ecclesiastical Readings of the Natural World in Early Medieval Europe." Studies in Church History 46 (2010): 15–41. http://dx.doi.org/10.1017/s0424208400000474.

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Noli paterFather do not allow thunder and lightning,Lest we be shattered by its fear and its fire.We fear you, the terrible one, believing there is none like you.All songs praise you throughout the host of angels.Let the summits of heaven, too, praise you with roaming lightning,O most loving Jesus, O righteous King of Kings.(Thomas Owen Clancy and Gilbert Márkus,Iona: The Earliest Poetry of a Celtic Monastery, 85)Early medieval attitudes to the natural world were distinctly ambivalent. At one level the natural world represented the marvel of God’s creative power; filled with beauty, it supplie

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41

Mahlmann-Bauer, Barbara. "Sigmund von Birken, der Literaturbetrieb, Netzwerke und Werkpolitik." Scientia Poetica 24, no. 1 (2020): 1–56. http://dx.doi.org/10.1515/scipo-2020-001.

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AbstractSigmund von Birken belongs to the »Trio of poets from Nürnberg«, together with Georg Philipp Harsdörffer and Johann Klaj whose posthumous fame is mainly due to their pastoral poetry with fullsounding verses in praise of peace and love. Birken started his career with an enormous upshot as organizer of multi-media spectacles during the peace ceremony in Nürnberg in 1650. Apart from his hymns and pastoral love poems, Birken’s poetry does not belong to the canon of early modern literature in Germany. If he had lived longer, he would probably have edited later all those poems which he had w

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42

Barchiesi, Alessandro. "Poetry, Praise, and Patronage: Simonides in Book 4 of Horace's "Odes"." Classical Antiquity 15, no. 1 (1996): 5–47. http://dx.doi.org/10.2307/25011030.

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The paper aims at reconstructing the influence of Simonides on a contiguous series of Horatian poems ("Odes" 4.6-9). The starting point is provided by the discovery of new Simonidean fragments published by Peter Parsons and by Martin West in 1992. But the research casts a wider net, including the influence of Theocritus on Horace-and of Simonides on Theoocritus-and the simultaneous and competing presence of Pindar and Simonides in late Horatian lyric. The influence of Simonides is seen in specific textual pointers-e.g., a simile on the death of Achilles in 4.6, the idea of caducity in 4.7-as w

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43

Ingenito, Domenico. "“A Marvelous Painting”: the Erotic Dimension of Saʿdi’s Praise Poetry". Journal of Persianate Studies 12, № 1 (2019): 103–66. http://dx.doi.org/10.1163/18747167-12341335.

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Abstract This article approaches Saʿdi’s little-studied panegyric production. The contribution focuses on an encomiastic modality that is almost completely neglected when it comes to the study of the Persian qasida as a performative text that enacts the political, ethical, and aesthetic values of the court. This modality is primarily amatory, and combines the standard erotic discourse of the Ghaznavids and late Saljuq poems of praise with Saʿdi’s original theo-erotic lyricism, which is mostly known through his ghazals. This critical approach will unfold by unearthing its underlying functions i

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HUTCHINGS, W. "'To tempt creative praise': new studies in eighteenth-century poetry." Critical Quarterly 27, no. 3 (1985): 73–77. http://dx.doi.org/10.1111/j.1467-8705.1985.tb00802.x.

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45

Furley, William D. "Praise and persuasion in Greek hymns." Journal of Hellenic Studies 115 (November 1995): 29–46. http://dx.doi.org/10.2307/631642.

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Largely because the processes of transmission have been unkind, the religious hymns sung by the Greeks during worship of a god on a public or private occasion have received less than their due attention from modern scholars. Our sources frequently mention in passing that hymns were sung on the way to Eleusis, for example, or at the well Kallichoron on arrival at Eleusis, or by the deputations to Delos for the Delia, but they usually fail to record the texts or contents of these hymns. Until the fourth century BC temple authorities did not normally have the texts of cult songs inscribed; and th

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Mojalefa, M. J. "The verse-form of Northern Sotho oral poetry." Literator 23, no. 1 (2002): 85–96. http://dx.doi.org/10.4102/lit.v23i1.322.

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Although examples of certain Northern Sotho traditional oral genres have been collected over years, a study of verse-form in traditional initiation poetry has not yet been undertaken. This article will consider the way in which Northern Sotho traditional initiation poems are structured or arranged in verse-form. It will be attempted to indicate that traditional oral initiation poetry in Northern Sotho is not metrically defined (as in Western poetry) but that Northern Sotho oral poetry is also structured by its performance and by symmetrical boundaries and other techniques. The structure of the

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Dean, Tim. "Genre Blindness in the New Descriptivism." Modern Language Quarterly 81, no. 4 (2020): 527–52. http://dx.doi.org/10.1215/00267929-8637950.

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Abstract This essay considers the “descriptive turn” in literary studies from the vantage point of poetics, arguing that the history of Western poetry, from the Greeks to the present, offers through the category of epideixis a theory and practice of description that illuminates some of the methodological impasses of contemporary literary studies. Epideixis, a basic mode of pointing or linguistic ostension, confers value, often by way of praise or blame, without trying to persuade its audience with the practical immediacy of political or forensic rhetoric. Drawing on the ordinary language philo

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Brown, Christopher G. "Pindar on Archilochus and the gluttony of blame (Pyth. 2.52-6)." Journal of Hellenic Studies 126 (November 2006): 36–46. http://dx.doi.org/10.1017/s0075426900007643.

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AbstractInPyth. 2.52–5 Pindar describes Archilochus as ‘growing fat on dire words of hatred’. This article argues that Pindar portrays Archilochus as a glutton in the manner of iambic invective. A glutton is seen as a person who grows fat at the expense of others, and so fails in the matter of χάρις. In this light, Archilochus, the poet of blame, stands with Ixion in the poem as a negative paradigm, serving as a foil to Pindar's praise of Hieron. Praise is thus placed in a setting that recognizes its opposite: praise is only meaningful when seen in relation to blame. Pindar's poetry is not the

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Hildebrandt, Annika. "Mit spartanischer Stimme. Sibylla Schwarz und die Lyrik des Dreißigjährigen Kriegs." Daphnis 44, no. 1-02 (2016): 122–38. http://dx.doi.org/10.1163/18796583-04401005.

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Currently the focus within the study of war literature lies on experience. In contrast to this, Sibylla Schwarz’s “In Praise of Sensible and Virtuous Women” accentuates the interplay between poetical and historical discourses: in her translation of Heinsius, she adapts the speech of a Spartan woman in the mode of parenetical poetry. Read symptomatically, Schwarz’s approach highlights the generic conditions under which war poetry is produced. Simultaneously, it indicates the ambivalent status the genre achieves due to historical circumstances.

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Molde, Klas. "Toward a Theory of Poetic License." Poetics Today 41, no. 4 (2020): 561–93. http://dx.doi.org/10.1215/03335372-8720071.

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In a supposedly enlightened and disenchanted age, why has lyric poetry continued to make claims and perform gestures that are now otherwise inadmissible or even unimaginable? Animation, invocation, and unmotivated praise, apparently artificially imposed (dis)order, and spurious gnomic and vatic sayings that pretend to universal or transcendent knowledge are marks of the lyric as a genre. Sketching a theory of poetic license, this article addresses the lyrical entanglement of enchantment and embarrassment. The author argues for a concept of the lyric as a medium for regulating the balance betwe

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