Journal articles: 'Sanskrit poetry – History and criticism'

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Reynolds, R. Clay, and R. S. Gwynn. "New Expansive Poetry: Theory, Criticism, History." South Central Review 17, no. 3 (2000): 141. http://dx.doi.org/10.2307/3190100.

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Truschke, Audrey. "Contested History: Brahmanical Memories of Relations with the Mughals." Journal of the Economic and Social History of the Orient 58, no. 4 (July 9, 2015): 419–52. http://dx.doi.org/10.1163/15685209-12341379.

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Brahman Sanskrit intellectuals enjoyed a century of relations with the Mughal elite. Nonetheless, such cross-cultural connections feature only sporadically in Persian chronicles, and Brahmans rarely elaborated on their imperial links in Sanskrit texts. In this essay I analyze a major exception to the Brahmanical silence on their Mughal connections, theKavīndracandrodaya(“Moonrise of Kavīndra”). More than seventy Brahmans penned the poetry and prose of this Sanskrit work that celebrates Kavīndrācārya’s successful attempt to persuade Emperor Shah Jahan to rescind taxes on Hindu pilgrims to Benares and Prayag (Allahabad). I argue that theKavīndracandrodayaconstituted an act of selective remembrance in the Sanskrit tradition of cross-cultural encounters in Mughal India. This enshrined memory was, however, hardly a uniform vision. The work’s many authors demonstrate the limits and points of contestation among early moderns regarding how to formulate social and historical commentaries in Sanskrit on imperial relations.

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Norman, K. R. "A History of Classical Poetry: Sanskrit - Pali - Prakrit. Siegfried Lienhard." Buddhist Studies Review 4, no. 1 (March 14, 1987): 84–88. http://dx.doi.org/10.1558/bsrv.v4i1.16030.

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SAWHNEY, SIMONA. "Who is Kalidasa? Sanskrit poetry in modern India." Postcolonial Studies 7, no. 3 (November 2004): 295–312. http://dx.doi.org/10.1080/1368879042000311098.

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Raksamani, Kusuma. "The Validity of the Rasa Literary Concept: An Approach to the Didactic Tale of PHRA Chaisurjya." MANUSYA 9, no. 3 (2006): 67–72. http://dx.doi.org/10.1163/26659077-00903004.

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The rasa (emotive aesthetics), one of the major theories of Sanskrit literary criticism, has been expounded and evaluated in many scholarly studies by Indian and other Sanskritists. Some of them maintain that since the rasa deals with the universalized human emotions, it has validity not only for Indian but for other literatures as well. The rasa can be applied to any kind of emotive poetry such as lyric, epic, drama and satire. However, in Thai literature an emotive definition of poetry encompasses a great variety of works. A question is then raised in this paper about whether the rasa can be applied to a Thai poem of didactic nature. Phra Chaisuriya, a versified tale by Sunthon Phu, is selected as an example of study.

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Pigoniowa, Mariola. "Some Lamentation Passages in Sanskrit Poetry (Especially in Kālidāsa’s Mahākāvyas)." Archiv orientální 89, no. 1 (June 25, 2021): 123–53. http://dx.doi.org/10.47979/aror.j.89.1.123-153.

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The paper gives a detailed comparison of the two Sanskrit lamentation passages, the laments of Aja (Ragh. 8. 37–69) and Rati (Kum. 4.1–38); it is conducted against the background of some other texts with similar content. The laments share a number of similar motifs. When examining the structure of these passages (as well as that of other related texts, not only those written in Sanskrit), the following elements may be discerned: the speakers’ stupor or loss of consciousness; their attempts at self-destruction; an address to the dead in which personal experiences are recalled. The lamenting persons are shown as coming to cry over themselves, thereby embracing some personal memories and finding comfort or protection. Apart from offering words of comfort, the consolatory speeches addressed to them also give an explanation of the causes of their loss (the death of Indumatī or the incineration of Kāma).

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M, Kavitha. "Nachinarkiniyar History and Textual Ability." International Research Journal of Tamil 4, S-8 (July 21, 2022): 233–38. http://dx.doi.org/10.34256/irjt22s834.

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Tamil language and literature have flourished with speeches composed by speechwriters. Are greatly aiding researchers who think innovatively. Texts serve as a bridge between linguistic research and e-literary criticism. The texts convey how the Tamil language has changed over time, as well as the living conditions, political changes and customs of the Tamil people. This article explores the history and textual ability of Nachinarkiniyar. Nachinarkiniyar was a knowledgeable and knowledgeable man of various arts, writing semantics for songs, and also possessing the art of religious ideas, music, drama, etc., which are included in the book. He is well versed in grammar, literature, dictionary, epic and puranam in Tamil. He is well versed in astrology, medicine, architecture, and crops. Nachinarkiniyar, who has written for Tamil grammar books, is well versed in the Vedic and phylogenetic theory of Sanskrit and is a university-oriented scholar of Tamil, Sanskrit scholarship, religious knowledge, land book knowledge, life and biology. This article explores the history and textual ability of Nachinarkiniyar.

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Italia, Maddalena. "Eastern Poetry by Western Poets: Powys Mathers’ ‘Translations’ of Sanskrit Erotic Lyrics." Comparative Critical Studies 17, no. 2 (June 2020): 205–24. http://dx.doi.org/10.3366/ccs.2020.0359.

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This essay focuses on a pivotal (if understudied) moment in the history of the translation and reception of Sanskrit erotic poetry in the West – a moment which sees the percolation of this classical poetry from the scholarly sphere to that of non-specialist literature. I argue that a crucial agent in the dissemination and inclusion of Sanskrit erotic poems in the canon of Western lyric poetry was the English poet Edward Powys Mathers (1892–1939), a self-professed second-hand translator of ‘Eastern’ literature, as well as the author of original verses, which he smuggled as translations. Using Black Marigolds (a 1919 English version of the Caurapañcāśikā) as a case study, I show how Powys Mathers’ renderings – which combined the practices of second-hand and pseudo-translation – are intertextually dense poems. On the one hand, Black Marigolds shows in watermark the intermediary French translation; on the other, it functions as a hall of mirrors which reflects, magnifies and distorts the emotional and aesthetic dimensions of both the classical/Eastern and modern/Western literary world. What does the transformation of the Caurapañcāśikā into a successful piece of modern(ist) lyric poetry tell us about the relationship that Western readers wished (and often still wish) to have with ‘Eastern’ poetry? Furthermore, which conceptual tools can we mobilize to ‘make sense’ of these non-scholarly translations of classical Sanskrit poems and ‘take seriously’ their many layers of textual and contextual meaning?

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Houston, John Porter. "French Romantic Poetry, Literary History, and the Newer Criticism." Romance Quarterly 34, no. 4 (November 1987): 389–95. http://dx.doi.org/10.1080/08831157.1987.11000479.

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Zohar Weiman-Kelman. "Touching Time: Poetry, History, and the Erotics of Yiddish." Criticism 59, no. 1 (2017): 99. http://dx.doi.org/10.13110/criticism.59.1.0099.

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Muir, James. "Poetry and Philosophy: Plato’s Spirit and Literary Criticism." European Legacy 19, no. 3 (April 16, 2014): 403–6. http://dx.doi.org/10.1080/10848770.2014.898954.

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Odnoral, Valeria. "The New Lyric Studies of the 21th Century: The Aesthetic and the Social in Poetry Criticism." Ideas and Ideals 13, no. 1-2 (March 19, 2021): 401–13. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-401-413.

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The article considers the problem of correlation of aesthetic form and social content in contemporary poetry through the prism of contemporary poetry criticism, in particular, the New Lyric Studies of 2008 (M. Perloff, Y. Prins, R. Terada, V. Jackson, etc.). A representation of the lyrics as a genre of poetry, in which historically structured subjectivism and identity of author are interrelated with poetic writing, is at the center of the New Lyric Studies. In this context the lyrics is relative and volatile but also is the closest genre to the poetic nature, that allows to merge an autonomous entity of poetry with ‘agendas’ in the poem, which were difficult to connect in either too formal or too contextual critical approaches to the poetry in the 20th century. This became possible in the conditions of New Lyric critics speaking up against a substitution of poetry and literary criticism for historical, anthropological and cultural criticism because of the high popularity of cultural studies in the 1990s and the ensuing incorporation of interdisciplinarity in literary studies. Despite the objective of New Lyric critics to revitalize a theoretical study of poetry in the spirit of academic criticism of the New Criticism, the modifications in the methods for producing, existence and broadcasting of poetry and therefore in poetry of the last 50 years, poetry itself prevented the New Lyric from becoming the regressive movement. Some representatives of the New Lyric Studies subsequently expressed the need to study poetry in terms of new historical poetics and to create different methods capable to analyze the relations between culture and poetic form – between the social and the aesthetic. Having considered advantages and limitations of the New Lyric studies in the context of contemporary poetry discourse, reflecting not only the nature of contemporary criticism, but also perhaps the history of poetry criticism of 20-21th centuries, which is the dynamical coexistence and the mutual succession of different movements, the author draws a conclusion that this movement defines the right vector for the reconciliation of the long-standing struggle of formalism and contextualism in the poetry criticism as well as social and aesthetic components which poetic work includes.

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Kapadia, Aparna. "The Last Cakravartin? The Gujarat Sultan as ‘Universal King’ in Fifteenth Century Sanskrit Poetry." Medieval History Journal 16, no. 1 (April 2013): 63–88. http://dx.doi.org/10.1177/097194581301600103.

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ABU-HAIDAR, J. A. "WHITHER THE CRITICISM OF CLASSICAL ARABIC POETRY?" Journal of Semitic Studies XL, no. 2 (1995): 259–81. http://dx.doi.org/10.1093/jss/xl.2.259.

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Karcz, Marta. "The ripeness of poetry—innovation in the concept of kāvyapāka as introduced by Bhoja." Cracow Indological Studies 22, no. 2 (December 31, 2020): 63–78. http://dx.doi.org/10.12797/cis.22.2020.02.04.

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The paper examines the contribution of Bhoja, an 11th-century theoretician of Sanskrit literature, to the theory of kāvyapāka—the maturity or ripeness of poetry. The concept relies on comparison between a poem and a fruit as they likewise must come to fruition to reach perfection—the state when they are most pleasing to their recipients. The theory is mentioned in numerous important Sanskrit works on poetics. However, different theoreticians perceive the state of perfection in poetry somewhat differently. Bhoja provides yet one more view on this matter. Although he relies on his predecessors, and in some points agrees with them, he also offers fresh perspectives on the subject. The paper focuses on the analyses of relevant passages from Bhoja’s works, Sarasvatīkaṇṭhābharaṇa and Śṛṅgāraprakāśa, concerning the subject of kāvyapāka, and compares them with the views of other theoreticians as summarized in the first part of the study.

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D’Avella, Victor B. "Recreating Daṇḍin’s Styles in Tamil." Cracow Indological Studies 22, no. 2 (December 31, 2020): 17–41. http://dx.doi.org/10.12797/cis.22.2020.02.02.

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In Sanskrit poetics, the defining characteristics of poetry, its very life breath, are the guṇas, ‘qualities’. They make up the phonetic and syntactic fabric of poetic language without which there would be nothing to further to ornament. Many of these intimate features are by necessity specific to the Sanskrit language and defined in terms of its peculiar grammar including phonology and morphology. In the present article, I will describe what happens to four of these guṇas when they are transferred to the Tamil language in the Taṇṭiyalaṅkāram, a close adaptation of Daṇḍin’s Kāvyādarśa. I wish to demonstrate that the Tamil Taṇṭi did not thoughtlessly accept the Sanskrit model but sought, in some cases, to redefine the qualities so that they are meaningful in the context of Tamil grammar and its poetological tradition. A partial translation of the Tamil text is included.

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Berthoud, Luiza Esper. "Art History and Other Stories." ARS (São Paulo) 18, no. 38 (April 30, 2020): 197–217. http://dx.doi.org/10.11606/issn.2178-0447.ars.2020.162471.

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Through the analysis of one erroneous piece of art criticism, an essay by Goethe that re-imagines a lost ancient sculpture, I demonstrate the difficulty that the discipline of art history has with conceptualizing the experience of art making and how one ought to respond to it. I re-examine the relationship between art making and art appreciation informed by ideas such as the Aristotelian view of Poiesis, Iris Murdoch’s praise of art in an unreligious age, and Giorgio Agamben’s call for the unity between poetry and philosophy. I also argue that much of modern art criticism has forgotten Arts’ earlier conceptual vocation, and propose methods of appreciating art that are in themselves artistic.

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Markov, Alexander. "Contemporary Russian Poetry in the Period of Intense Events." Philosophy. Journal of the Higher School of Economics VI, no. 3 (September 30, 2022): 256–88. http://dx.doi.org/10.17323/2587-8719-2022-3-256-288.

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This article examines the impact of being inside the intense development of events on contemporary Russian poetry as a set of institutions of production and consumption of texts. We prove that under this influence of events, not only individual ways of texts' existence are changing, but also the very meaning of media and social contexts of poetry development. Poetry turns out to be an area not so much of comprehending current reality as differentiating the very modes of utterance that represent the actual state of affairs. Therefore, in the period of events, poetry partly returns to the representational principles of the old art, but there also appear new ways of poetry expansion, from illustrated publication to collaborations with intellectuals, commentators or artistic communities, which enable it to operate in the field of public discourse. The following shifts are taking place in Russian poetry now: (1) the rejection of reliance on former resources of relevance for the sake of establishing new infrastructures of social attention; (2) the creation of new forms of justification of poetic expression, different from previous criticism or statements; (3) the problematic action in the political field in differentiating figures of “proper” and “other”; (4) metacriticism of poetics as a figurative text structure, along with implicit indications of the limitations of figurative writing. As a result, in contemporary Russian poetry, the problematization of the other as unpredictable, dangerous, and yet necessary entirely coincides with the latest postcolonial, gender, and social criticism.

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Wojtczak, Lidia. "The Winding Ways of Poetry: Ratnaśrījñāna on Daṇḍin’s mārgas." Cracow Indological Studies 22, no. 2 (December 31, 2020): 1–15. http://dx.doi.org/10.12797/cis.22.2020.02.01.

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One of the earliest Sanskrit poeticians, Daṇḍin, dedicates an entire chapter of his Kāvyādarśa to the investigation of mārgas or the ‘ways’ of poetry. These are based on adaptable configurations of poetic qualities and faults and, although there seems to be an infinite number of ‘ways’, Daṇḍin characterises only two, Vaidarbha and Gauḍīya. In this paper, I show how the earliest known commentator of the Kāvyādarśa, Ratnaśrījñāna, uses philosophical discussions and archetypes to expand on Daṇḍin’s rather cursory engagement with the methodology of the ‘ways’ to create a truly śāstric schema.

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Shacham, Ilanit Loewy. "Expanding domains and the personal, imperial style of Kṛṣṇadevarāya." Indian Economic & Social History Review 56, no. 3 (July 2019): 311–37. http://dx.doi.org/10.1177/0019464619852437.

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In modern literary histories of Telugu literature, no period shines as bright as King Kṛṣṇadevarāya’s reign (1509–29). This period is noted for its bustling literary court from which a significant part of the Telugu canon emerged. These works, commonly referred to as the prabandhas, are often characterised as the Telugu counterpart of the Sanskrit mahākāvya/court poem and within this context, Kṛṣṇadevarāya’s reign is called ‘the golden age’ of Telugu literature and the ‘age of prabandha’. Close examination of the prabandhas indicates that despite common influences from Sanskrit and Telugu literature, each of the prabandhas, takes a radically different approach to poetry, convention, and language, and is innovative in extremely diverse ways. As a case study, this article uses Kṛṣṇadevarāya’s own celebrated Telugu poem, the Āmuktamālyada. Though Kṛṣṇadevarāya uses many of the conventions associated with Sanskrit courtly culture in general and with the mahākāvya in particular, he does so in unconventional ways. He gives everyday life a new, prominent role (previously unavailable to it in mahākāvyas) and is able to do so by creating a new type of division of labour between Sanskrit and Telugu. He also integrates new poetic realms such as the village and temple into the so-called courtly settings, creating a new mode of narration. Thus, examined outside the context of the golden age of the Telugu prabandha, the Āmuktamālyada emerges as a work in which previous schemes of power are inverted: the periphery and so-called margins—social, geographic, linguistic, and religious—create a new core which in turn, reflects Kṛṣṇadevarāya’s unique personal and political worldview.

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Schelling, Andrew. "Nobby, or Metamorphosis." boundary 2 49, no. 3 (August 1, 2022): 123–32. http://dx.doi.org/10.1215/01903659-9789752.

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Abstract Andrew Schelling recalls and discusses a college course, “World Poetry,” which Norman O. Brown taught at University of California, Santa Cruz, in 1974. The turbulent politics and weird, harrowing culture changes of North America set a context. Brown's class met weekly in a remote meadow ringed by second-growth redwoods. Brown developed his interest in the “law of metamorphosis,” which he thought poetry captures, and put his attention on how the human body changes, producing text as sound or performance. Using two anthologies compiled by Jerome Rothenberg, Brown drew students into a poetry that was physical, raw, multilingual, and perhaps a scriptural base for the era's counterculture. Schelling portrays Brown as a quixotic figure, Sir John Falstaff among scholars. A quick sketch of the “Santa Cruz ecosystem” brings into the mix Gregory Bateson, whose thoughts on evolution paralleled Brown's on poetry, and Jan Willis, veteran civil rights activist and scholar of Sanskrit.

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Armstrong, Isobel. "The First Post: Victorian Poetry and Post-War Criticism." Journal of Victorian Culture 8, no. 2 (January 2003): 292–304. http://dx.doi.org/10.3366/jvc.2003.8.2.292.

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DAVIES MITCHELL, M. "Review. Apollinaire, Visual Poetry, and Art Criticism. Bohn, Willard." French Studies 48, no. 3 (July 1, 1994): 353. http://dx.doi.org/10.1093/fs/48.3.353.

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David, Alun. "Sir William Jones, Biblical Orientalism and Indian Scholarship." Modern Asian Studies 30, no. 1 (February 1996): 173–84. http://dx.doi.org/10.1017/s0026749x00014128.

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For many students of late-eighteenth and nineteenth-century British intellectual and literary history, Sir William Jones (1746–94) has lately come to seem a figure of great significance for our understanding of the period. A notable if implicit claim for his importance is to be found in Jerome McGann's revisionist New Oxford Book of Romantic Period Verse (1993); A Hymn to Na'ra'yena (1785), Jones's translation from the Sanskrit, is symbolically placed as the anthology's first item. This essay will argue that Jones's Indian scholarship will be better understood in the light of its links with contemporary developments in biblical criticism.

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Wolwacz, Andrea Ferras. "TOM PAULIN'S POETRY OF TROUBLES." Organon 34, no. 67 (December 9, 2019): 1–23. http://dx.doi.org/10.22456/2238-8915.96943.

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This paper is part of my PhD thesis. It examines contemporary Northern Irish Literature written in English with the help of the theoretical approach of Irish Studies. It aims to introduce and make a critique of poetry written by Tom Paulin, a contemporary British poet who is regarded one of the major Protestant Irish writers to emerge from Ulster province. The thread pursued in this analysis relates to an investigation of how ideological discourses and the issues of identity are represented in the poet’s work. The author’s critical evaluation of existing ideologies and identities and his attempt to respond to them will also be analyzed. Four poems from three different collections are investigate. Paulin’s poems function as testimonies, denouncement and criticism of the Irish history.

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Elfenbein, Andrew. "Cognitive Science and the History of Reading." PMLA/Publications of the Modern Language Association of America 121, no. 2 (March 2006): 484–502. http://dx.doi.org/10.1632/003081206x129675.

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Cognitive psychologists studying the reading process have developed a detailed conceptual vocabulary for describing the microprocesses of reading. Modified for the purposes of literary criticism, this vocabulary provides a framework that has been missing from most literary-critical investigations of the history of literate practice. Such concepts as the production of a coherent memory representation, the limitations of working memory span, the relation between online and offline reading processes, the landscape model of comprehension, and the presence of standards of coherence allow for close attention to general patterns in reading and to the ways that individual readers modify them. The interpretation of Victorian responses to the poetry of Robert Browning provides a case study in the adaptation of cognitive models to the history of reading. Such an adaptation can reveal not only reading strategies used by historical readers but also those fostered by the discipline of literary criticism. (AE)

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Parina, Elena. "Textual Criticism and Text Reconstruction: Approaches to Early Russian and Welsh Poetry." Studia Celto-Slavica 5 (2010): 149–58. http://dx.doi.org/10.54586/iumu8654.

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The Tale of Igor’s Campaign and The Gododdin, two poetic texts crucially important for the history of Early Russian and Welsh literature respectively, have a very dark history. Both are preserved in only one reliable source and are supposed to be composed about 600 years before this edition or manuscript was created. Anna Dybo and John Koch however propose an attempt of reconstruction for the Ur-Text of these poetic masterpieces. In this article we compare the framework within which these reconstructions were created. Whereas Anna Dybo relies mainly on contemporary texts, John Koch in the absence of such monuments has to rely more on historical interpretation.

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Hendren, T. George. "Catullus’s Ameana Cycle as Literary Criticism." Mnemosyne 69, no. 2 (February 4, 2016): 262–75. http://dx.doi.org/10.1163/1568525x-12341769.

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This paper will reevaluate Catullus’s venom in poems 41 and 43 (the so-called ‘Ameana Cycle’) to show that his attacks on Ameana are in fact veiled criticisms of Mamurra’s loathsome poetry. Catullus’s descriptions of Ameana substantiate this reading: her physical features are disproportionate and ill suited to Roman conceptions of beauty, she is entirely without wit, and despite her patent imperfections, she has no idea how hideous she really is. The use of a poetic mistress in this manner has parallels within the Catullan corpus, and is also referenced in the work of Martial.

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Vasilyeva, L. A. "“Mir Taqi Mir”. A fragment from the History of Urdu Poetry “Water of Life” of Muhammad Husayn Azad." Orientalistica 3, no. 5 (December 29, 2020): 1437–49. http://dx.doi.org/10.31696/2618-7043-2020-3-5-1437-1449.

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The article is a translation into Russian of the chapter from the “Water of Life” by Muhammad Husain Azad (1830–1910). This is the chapter about the greatest Urdu poet Mir Taki Mir (1713/1723(?)–1810 AD). The critical work by Azad, the “Water of Life” is considered as the first history of Urdu poetry written in Urdu. Azad was the first to see in this phenomenon a continuous process. The periods in the development of literature are interlinked. Azad identifies five major periods of Urdu poetry and briefly describes each of them. His work comprises biographical facts, characteristics, vivid word-portraits of outstanding Urdu poets and colourful historical anecdotes associated with them. The “Water of Life” had a very significant impact on contemporaries of Azad, as well as on the further development of literary-critical thought in Urdu. It set the standard for literary criticism for many decades. “Water of Life” had a significant impact on contemporaries, as well as on the further development of literary-critical thought in Urdu. It set the standard for literary criticism for many decades to come. Regardless that some historical dates and literary facts, as well as some important generalizations of the author, seem today at least controversial, still many Urdu literati and critics even nowadays fully rely upon the evaluation and criticism of famous poets as given by Azad.

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Wright, Matthew. "POETS AND POETRY IN LATER GREEK COMEDY." Classical Quarterly 63, no. 2 (November 8, 2013): 603–22. http://dx.doi.org/10.1017/s000983881300013x.

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The comic dramatists of the fifth centuryb.c.were notable for their preoccupation with poetics – that is, their frequent references to their own poetry and that of others, their overt interest in the Athenian dramatic festivals and their adjudication, their penchant for parody and pastiche, and their habit of self-conscious reflection on the nature of good and bad poetry. I have already explored these matters at some length, in my study of the relationship between comedy and literary criticism in the period before Plato and Aristotle. This article continues the story into the fourth century and beyond, examining the presence and function of poetical and literary-critical discourse in what is normally called ‘middle’ and ‘new’ comedy.

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Bula, Andrew. "Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya." Journal of Practical Studies in Education 2, no. 5 (August 6, 2021): 26–31. http://dx.doi.org/10.46809/jpse.v2i5.30.

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Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, which he completed in 1989, is a staggering 734-page document. Professor Akwanya has also taught many literature courses, namely: European Continental Literature, Studies in Drama, Modern Literary Theory, African Poetry, History of Theatre: Aeschylus to Shakespeare, European Theatre since Ibsen, English Literature Survey: the Beginnings, Semantics, History of the English Language, History of Criticism, Modern Discourse Analysis, Greek and Roman Literatures, Linguistics and the Teaching of Literature, Major Strands in Literary Criticism, Issues in Comparative Literature, Discourse Theory, English Poetry, English Drama, Modern British Literature, Comparative Studies in Poetry, Comparative Studies in Drama, Studies in African Drama, and Philosophy of Literature. A Fellow of Nigerian Academy of Letters, Akwanya’s open access works have been read over 109,478 times around the world. In this wide-ranging interview, he speaks to Andrew Bula, a young lecturer from Baze University, Abuja, shedding light on a variety of issues around which his life revolves.

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Bethea, David M., Aleksey Gibson, Anna Prismanova, Petra Couvee, Iurii Mandel'shtam, Ed Weeda, Valerii Pereleshin, and Jan Paul Hinrichs. "Russian Poetry and Criticism in Paris from 1920 to 1940." Russian Review 54, no. 1 (January 1995): 128. http://dx.doi.org/10.2307/130789.

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Beaujour, Elizabeth Klosty, and Aleksey Gibson. "Russian Poetry and Criticism in Paris from 1920 to 1940." Russian Review 50, no. 3 (July 1991): 358. http://dx.doi.org/10.2307/131084.

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Chukwu, Mathias O., Kingsley O. Ugwuanyi, and Anenechukwu K. Amoke. "Texture in Okigbo’s poetry: An exploration of cohesion." IKENGA International Journal of Institute of African Studies 22, no. 3 (September 1, 2021): 1–19. http://dx.doi.org/10.53836/ijia/2021/22/3/001.

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Even among system texts, poetic language is unique. On the surface, the words appear disparate, resulting in the perceived difficulty associated with its study/analysis. Okigbo’s works have been criticised for their esotericism. Insights from the linguistic approach of cohesion, however, reveal that Okigbo’s poetic language is neither disparate nor deny access to the poetic text. Indeed, the words cohere, quite uniquely, sustaining ancient kinships and entering into new relationships, helping them to achieve texture. A(re)reading of Okigbo in light of this approach addresses the perceived opacity associated with his works and raises fresh questions on the traditional criticism of Okigbo, particularly the motif of the prodigal son. This study, therefore, explores the interpretive affordances of the notion of cohesion in selected poems by Okigbo. The overarching aim is to re-examine Okigbo’s works with the lens of cohesion, underpinned by the cohesion theory of Halliday and Hasan (1976/2013) in order to offer new insights into the interpretation and criticism of his poetry.

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Tourmuzi, Lalu Muhamad Rusdi F., and Tatik Mariyatun Tasnimah. "KRITIK SASTRA ARAB ERA SHADR ISLAM." SHAWTUL ‘ARAB 1, no. 2 (April 24, 2022): 78–86. http://dx.doi.org/10.51192/sa.v1i2.322.

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This article aims to examine the development of literary criticism in the early era of Islam. The research method used by the researcher is the library method. Researchers look for data related to the content of the study, take notes, and collect data relating to the history of the development of literary criticism in the early era of Islam. As for the results of this study, the reader can find out what is relevant regarding the definition of criticism, the development of literary criticism, the purpose of poetry, and know the influence of Islam on Arabic literature Islam. This makes the writers of the present era know the traces of Muslim writers at the beginning of the development of Islam.

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Annabil, Muhammad Naufal, and Tatik Mariyatut Tasnimah. "KRITIK SASTRA ARAB ERA UMAWY DAN ABBASY." `A Jamiy : Jurnal Bahasa dan Sastra Arab 10, no. 2 (September 20, 2021): 245. http://dx.doi.org/10.31314/ajamiy.10.2.245-255.2021.

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This writing aims to examine the development of Umawy and Abbasy literary criticism. The method used in collecting data in this historical research is the literature method, the researcher looks for all the data related to this research and then records the data into a notebook. The method used in this research is descriptive qualitative method, this method uses interpretation through descriptive media. Meanwhile, the approach applied in this research is a historical approach, in which the researcher looks for history related to the development of literary criticism in Umawy and Abbasy The results of this study are that we can find out the definition and division of literary criticism, and find out about the purpose of prose and poetry Umawy or Abbasy. In addition, this research produces information about literary criticism in Umawi and Abbasy. In Umawy, literary criticism is still in a developmental stage, whereas in Abbasy, literary criticism is in a perfect state.

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Bongers, Anna. "Remembering the Beginning: “All Electrons Are (Not) Alike” by Rosmarie Waldrop." aspeers: emerging voices in american studies 6 (2013): 25–39. http://dx.doi.org/10.54465/aspeers.06-04.

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Through a close reading of “All Electrons Are (Not) Alike,” the opening poem of Rosmarie Waldrop’s latest collection of prose poetry, Driven to Abstraction (2010), this paper shows how the poem deconstructs history and memory through criticism of language. Retelling the narration of the conquest of the Americas, “All Electrons Are (Not) Alike” calls into question the beginning of what was to become US American national identity. Putting Waldrop’s poem in the broader context of transnational criticism, I argue that its deconstructive poetic and philosophical use of language contributes to the transnational turn, helping to create the room that transnational criticism needs in order to come up with new, more appropriate ways of structuring literary studies.

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M. Himeidi, Assist Prof Dr Sundus. "Plagiarism in Arabic Criticism Heritage." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 223, no. 1 (December 1, 2017): 33–56. http://dx.doi.org/10.36473/ujhss.v223i1.318.

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The phenomenon of plagiarism has been commonly dealt with in Arabic criticism heritage,and many traditional Arab critics have written a specific part in their books covering this phenomenon under the title of "literary thefts". Literary thefts have been condemned in Arabic heritage as one poet takes some expressions or phrases from his predecessors, and such a tendency leads to the underestimation of the poet’s status. This phenomenon is called "citation" in Arabic rhetorics when the cited materials are extracted from the Glorious Qur'an or the Prophetic Traditions. This phenomenon has been given different names in Arabic heritage depending on the source of taken materials like sayings, poetry, etc.The phenomenon of plagiarism can be found in the poetic antithesis. Accordingly, plagiarism is the focus of this study. This study is organized around an introduction and three sections. Section one presents the concept of plagiarism from linguistic and terminological perspectivesa long with its history. Section two is limited to the different types of plagiarism in Arabic criticism heritage. Section three deals with the construction patterns of Arabic criticism heritage. Finally, conclusions are drawn out.

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Shomakhmadov, Safarali H., and Jens-Uwe Hartmann. "Recent Insights into a Manuscript of Ornate Poetry from Toyoq: A new Fragment of Mātṛceṭa’s <i>Varṇārhavarṇa</i>." Written Monuments of the Orient 8, no. 2 (January 27, 2023): 58–70. http://dx.doi.org/10.55512/wmo112468.

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The article continues a series of publications of the Sanskrit manuscript fragments written in the Proto-Śāradā script, kept in the Serindia Collection of the Institute of Oriental Manuscripts of the Russian Academy of Sciences. The authors introduce into scientific circulation a fragment of the Varṇārhavarṇa, the work of the famous Buddhist thinker and poet Mātṛceṭa. The article provides the paleographic analysis of the manuscript fragment, as well as brief information about the author, his works, the Varṇārhavarṇa structure. The article provides transliteration and translation of the fragment.

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Bender, Lucas Rambo. "Against the Monist Model of Tang Poetics." T’oung Pao 107, no. 5-6 (December 9, 2021): 633–87. http://dx.doi.org/10.1163/15685322-10705004.

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Abstract In recent decades, a significant amount of Western scholarship on traditional Chinese poetry and poetics has either proposed or assumed a vision of the art underwritten by the supposed “monism,” “nonduality,” and “immanence” of traditional Chinese worldviews. This essay argues that although these were important ideas in certain periods and contexts, they cannot be taken as unproblematically defining the world of thought in which poetry operated during the Tang dynasty. Instead, Tang writers more routinely drew in their discussions of art upon the epistemological tensions and discontinuities posited by medieval intellectual and religious traditions. For this reason, they often outlined models of poetry very different from those most common in contemporary criticism.

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Naaman, Erez. "Collaborative Composition of Classical Arabic Poetry." Arabica 65, no. 1-2 (February 27, 2018): 163–206. http://dx.doi.org/10.1163/15700585-12341476.

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Abstract Evidence of collaborative composition of poetry goes back to the earliest documented phases in the history of Arabic literature. Already during pre-Islamic times, poets like Imruʾ al-Qays used to challenge others to complete their impromptu verse and create poetry collaboratively with them. This practice—commonly called iǧāza or tamlīṭ and essentially different from the better known poetic dueling of the naqāʾiḍ (flytings)—has shown remarkable stability and adherence to its form and dynamics in the pre-modern Arabophone world. In this article, I will discuss evidence of collaborative poetry from pre-Islamic times to the early seventh/thirteenth century, in order to present a picture of the typical situations in which it was practiced, its functions, its composition process, and formal aspects. Although usually not producing poetic masterpieces, this practice has the merit of revealing much about the processes of composing classical Arabic poetry in general. In this respect, its study and critical assessment are highly important, given the fact that medieval Arabic literary criticism does not always reflect praxis or focus on the actual practicalities of composing poetry. This practice and the contextualized way in which it was preserved allow us to see vividly the inextricable link between poetic form and the conditions in which poetry was created. It likewise sheds light on the intricate ways in which poets resisted, influenced, and manipulated others by poetic means. Based on the obvious fact that collaborative composition is imbued with the spirit of play, I offer at the end of the article criticism of Johan Huizinga’s famous play concept and his (much less famous) views of early Arabic culture and poetry in light of the evidence I studied.

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Giri, Bed Prasad. "The Literature of the Indian Diaspora: Between Theory and Archive." Diaspora: A Journal of Transnational Studies 16, no. 1-2 (March 2012): 243–53. http://dx.doi.org/10.3138/diaspora.16.1-2.243.

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The literature of the Indian diaspora constitutes an important part of the burgeoning field of anglophone postcolonial literature. Some of the better-known authors in this archive include V.S. Naipaul, Salman Rushdie, Rohinton Mistry, Bharati Mukherjee, Amitav Ghosh, Jhumpa Lahiri, Anita Desai, M.G. Vassanji, Shyam Selvadurai, and Kiran Desai. The growing international visibility of these authors has gone hand in hand with the popularity of postcolonial criticism and theory in academe. Vijay Mishra’s scholarly work on Bollywood cinema, Indian devotional poetry, Indian diasporic literature, and postcolonial theory and criticism has contributed greatly to our understanding of this important area of writing.

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Hardie, P. "The Criticism of Didactic Poetry: Essays on Lucretius, Virgil, and Ovid. A Dalzell." Classical Review 48, no. 2 (February 1, 1998): 297–98. http://dx.doi.org/10.1093/cr/48.2.297.

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Chapman, Michael. "The Potential and Limitations of Symptomatic Criticism: The Case of Ruth Miller’s Poetry." English Academy Review 37, no. 2 (July 2, 2020): 49–66. http://dx.doi.org/10.1080/10131752.2020.1847485.

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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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Kalasaridou, Sotiria. "The history of C. P. Cavafy in Greek education: Landmarks and Gaps." Journal of Literary Education, no. 2 (December 6, 2019): 90. http://dx.doi.org/10.7203/jle.2.12049.

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Abstract This article aims to highlight the crucial stages of C.P. Cavafy’s “history in education” through textbooks about literature from 1930 until today. More specifically, the research is constructed around two areas: a) the fundamental role of literary criticism and how it was related to the introduction of C.P. Cavafy in education in 1930, b) the degree of osmosis between History of Literature and History of Education. The methodological criteria of the research are drawn from different areas, such as: i) literary criticism, ii) history of education and educational policy, iii) history of textbook anthologies, and iv) poetry anthologies. a) During a course of eighty years, C. P. Cavafy is found in thirty-five anthologies, teachers’ textbooks and curricula, whereas the parallel reading recommendations reach a staggering eighty-seven; Ithaca is the most anthologised poem — twelve times. b) The positive opinions by the critics and the momentum of school anthologies that tried a holistic approach to poetry defined the inclusion of C. P. Cavafy in the school anthologies during the educational reform of 1929-1932. c) The position of Cavafy in the History of Modern Greek Literature by K. Th. Dimaras surpasses the efforts made by the critics of that time. Moreover, Linos Politis also holds a part of the restoration of C. P. Cavafy as far as the school textbooks are concerned, as his History of Modern Greek Literature, as well as his poetic anthology, determined the school literary canon from the days of the Restoration of Democracy until now.

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Sparks, Matthew Ryan. "‘The Fire Does Not Disturb Us’." Anthropology of the Middle East 16, no. 2 (December 1, 2021): 91–109. http://dx.doi.org/10.3167/ame.2021.160205.

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Abstract This article examines the contemporary qaṣīda poetry of South Sinai Muzīna Bedouin women from an anthropological perspective, drawing primarily upon a history of emotions framework, as well as Bedouin ethnographic studies and Arabic literary criticism. The article argues that the composition and vocalisation of qaṣīda poetry in South Sinai is more than a performative art; it is a means of ‘navigating’ one's emotions as a woman in a patriarchal society where emotional expression for both men and women is deemed inappropriate. In the poetry of Nādiyyah and Umm ‘Īd, we gain insight into the subjective lived experience of Bedouin women in South Sinai, as they attempt to poetically express their desire, elation, grief and passion, while simultaneously demonstrating their ability to ‘control’ their emotional states.

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CHAUDHURI, ROSINKA. "Cutlets or Fish Curry?: Debating Indian Authenticity in Late Nineteenth-Century Bengal." Modern Asian Studies 40, no. 2 (April 18, 2006): 257–72. http://dx.doi.org/10.1017/s0026749x06001740.

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Current discussions on the development of modern literary genres and aesthetic conventions in nineteenth-century colonial Bengal have tended, perhaps because of its relative neglect in the modern day, to ignore the seminal role of poetry in formulating the nationalist imagination. In academic discourse, the coming together of the birth of the novel, the concept of history and the idea of the nation-state under the sign of the modern has led to a collective blindness toward the forceful intervention of poetry and song in imagining the nation. Thus Dipesh Chakrabarty, in a chapter devoted to poetry in Provincializing Europe, ironically elides any mention of it at the crucial instance of the formulation of national modernity, when he takes his argument about the division between the prosaic and the poetic in Tagore further to say, without mentioning the seminal role of poetry, that: ‘The new prose of fiction—novels and short stories—was thus seen as intimately connected to questions of political modernity’. Partha Chatterjee discusses, in the introduction to The Nation and Its Fragments, the shaping of critical discourse in colonial Bengal in relation to drama, the novel, and even art, but ignores completely the fiercely contested and controversial processes by which modern Bengali poetry and literary criticism were formulated. ‘The desire to construct an aesthetic form that was modern and national’, to use his words, ‘was shown in its most exaggerated shape’ not, it is my contention, in the Bengal school of art in the 1920s as he says, but long before that in the poetry of Rangalal Banerjee, Hemchandra Bandyopadhyay, Madhusudan Dutt, and Nabinchandra Sen, and in the literary criticism and controversy surrounding their work.

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Mehl, Scott. "Early Twentieth-Century Terms for New Verse Forms (‘free verse’ and others) in Japanese and Arabic." Studia Metrica et Poetica 2, no. 1 (July 7, 2015): 81–106. http://dx.doi.org/10.12697/smp.2015.2.1.04.

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In the first half of the twentieth century, when Japanese and Arabic poets began writing free-verse poetry, many terms were proposed as labels for the new form. In addition to the calques on “free verse,” neologisms were created to name the new poetry. What is striking is that, in these two quite different literary spheres, a number of the proposed neologisms were the same: for example, in both Japanese and Arabic the terms prose poetry, modern poetry, and colloquial poetry were proposed (among others) as alternatives to the label free poetry. This essay provides an annotated list of the neologisms in Japanese and Arabic, with a list of English terms for comparison; and by referring to the contemporary Japanese and Arabic criticism on the topic of poetic innovation, this essay attempts to explain the similarity between the Japanese and Arabic neologisms. In short, the Japanese and Arabophone arguments in favour of adapting the free-verse form were based on similar premises regarding modernity, freedom, and a vision of literary history that was rooted in an evolutionary theory of genre development.

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García, Miguel Ángel. "Crítica en simpatía." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 55, no. 1 (February 19, 2019): 117–37. http://dx.doi.org/10.1075/rro.18015.gar.

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Abstract For the first time, we analyze in detail the reading that Pedro Salinas makes of a series of relevant anthologies for the history of contemporary Spanish poetry: the two anthologies of Gerardo Diego (1932–1934) and the anthologie of Federico de Onís (1934), among others. Also, we study his theoretical reflection about this genre, which is always supported in these “criticism with simpathy” that he claims.

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Journal articles on the topic 'Sanskrit poetry – History and criticism'

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