Log in

Relevant bibliographies by topics / Sonnet sequence

Contents

Journal articles
Dissertations / Theses
Books
Book chapters

Academic literature on the topic 'Sonnet sequence'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Sonnet sequence.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Sonnet sequence"

1

Rega, Christine. "The Politics of Sentiment in Tony Harrison’s The School of Eloquence." Critical Survey 30, no. 4 (December 1, 2018): 54–66. http://dx.doi.org/10.3167/cs.2018.300405.

Full text

Abstract:

Tony Harrison’s filial sonnets, from his major ongoing sonnet sequence The School of Eloquence (1978–), are widely regarded as among the most moving poems in the language, and have conversely been criticized for sentimentality. Blake Morrison observes that the focus upon the sentiment of the filial sonnets has obscured their political concerns. What has not been noticed is the sonnets’ politics of sentiment. Harrison’s merging of filial and political concerns and the way his socialist humanism is refracted in these intimate sonnets is examined in this article in relation particularly to the great elegiac sonnet ‘Marked with D’ and ‘Heredity’, the brilliant, little-discussed verse epigraph to the sonnet sequence. A purpose of this article is to show the extent to which the filial sonnets merge empathy and politics and express powerful personal and political feeling in their own terms.

APA, Harvard, Vancouver, ISO, and other styles

2

Williams, Rhian. "“OUR DEEP, DEAR SILENCE”: MARRIAGE AND LYRICISM IN THE SONNETS FROM THE PORTUGUESE." Victorian Literature and Culture 37, no. 1 (March 2009): 85–102. http://dx.doi.org/10.1017/s1060150309090068.

Full text

Abstract:

Sonnet XLI of Elizabeth Barrett Browning'sSonnets from the Portuguese is candid about its ambition to write love poetry that will last: — Oh, to shootMy soul's full meaning into future years, —That they should lend it utterance, and saluteLove that endures, with Life that disappears! – (Barrett Browning 397) This is a rare moment in the sequence of hope enunciated. Although littered with apparently unfettered exclamations of the newly loved and newly loving – “I seemed not one | For such man's love!” (XXXII), “Beloved, I only love thee!” (IX) – the rhetorical mode of the Sonnets from the Portuguese also feels reticent, provisional, even transient: “This said, ‘I am thine’ – and so, its ink has paled | With lying at my heart that beats too fast” (XXVIII). Yet the sequence's desire for endurance may be reconciled with its frequent return to moments of erasure – “My letters! – all dead paper, . . . mute and white! –” (XXVIII) – by attending to the generative effects of silence in this most ambivalent of sonnet performances. Indeed, the sequence appears to fall in with Daniel Barenboim's logic, which would dictate that if ensuing years are to produce, as the sonnet anticipates, “utterance” – to form sound – the sonnet itself must provide the pre-silence. If silence is the pulse of “Love that endures” (passing over from life to love), then the Sonnets from the Portuguese become, perhaps, an exercise in learning, in Derrida's terms, “how to be silent.” Despite such elevated investment, however, silence clearly troubles our reading of this sonnet sequence; not only does it threaten to undermine the efficacy of a sequence celebrated for the enunciation of love, but it also gestures at a broader Victorian discourse in which silence and “woman-love,” as sonnet XIII names it, are more frequently brought together as an effect of systemized suppression. But, I suggest that these sonnets are, in fact, pushing us to reconsider how we read silence; perhaps surprisingly, this is revealed by paying attention to the sequence's careful anticipation of marriage. Indeed, establishing a conjugal perspective on these poems reveals a radical dynamic in which silencing, in fact, gives way to finding, as Derrida asks, “how to say something.”

APA, Harvard, Vancouver, ISO, and other styles

3

Hamidizadeh, Parisa, and Yazdan Mahmoudi. "Opposition in the Language of Representation and Undecidability of Pronouns in William Shakespeare’s Sonnets." Advances in Language and Literary Studies 8, no. 6 (December 25, 2017): 88. http://dx.doi.org/10.7575/aiac.alls.v.8n.6p.88.

Full text

Abstract:

The purpose of this study is to consider the undecidability of pronouns in William Shakespeare’s sonnet sequence. In sonnet 53 of Shakespeare’s sonnet sequence it is not clear that whether the beloved is male or female, because the beloved has affinity to both men and women: “And you, but one, can every shadow lend/Describe Adonis, and the counterfeit/Is poorly imitated after you/On Helen's cheek all art of beauty set” (53. 4-7). In fact, in sonnet 53 the beloved has been likened both to Adonis who is a male character and to Helen that is female. Therefore, the speaker of sonnets uses pronouns in a very confusing manner that causes confusion for the reader in differentiating between male and female pronouns, because in some sonnets a reversal takes place in the reference point of the pronouns. Even in some of these sonnets it is never clear whether the pronoun “he” refers to a male subject or object, or whether the pronoun “she” is referring to male object. Important examples of this claim are sonnets 20 and 127. In sonnet 20, for example, the speaker tells the addressee that “A woman's face with nature's own hand painted/Hast thou, the master mistress of my passion/A woman's gentle heart, but not acquainted/With shifting change, as is false women's fashion” (20.1-4).

APA, Harvard, Vancouver, ISO, and other styles

4

Rowley, Rosemarie. "The Wake of Wonder." Ecozon@: European Journal of Literature, Culture and Environment 10, no. 2 (October 4, 2019): 191–94. http://dx.doi.org/10.37536/ecozona.2019.10.2.2751.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Moisiienko, Anatolii. "ARTISTIC SYNTHESIS IN CHESS SONNET." Слово і Час, no. 4 (August 3, 2021): 76–96. http://dx.doi.org/10.33608/0236-1477.2021.04.76-96.

Full text

Abstract:

The article focuses on one of the visual types of syncretic poetry — chess poems. Years ago Anatolii Moisiіenko initiated the chess poetry genre in Ukrainian literature; in a number of critical papers, he presented the specifics of construction and functioning of such artistic structures, which are basically characterized by the symbiosis of proper poetry and chess composition. In this article, the author uses Viktor Kapusta’s books of poems “The Checkered Continent” and “Unguaranteed Migrations” to analyze the chess sonnets of the poet who added a new page to the history of Ukrainian visual literary art by proposing a peer-to-peer combination of a strictly structured literary form and a chess problem. The aim is to conceptualize the figurative and compositional relations within the sonnet structure itself, which relies on the artistic palette of the chess game, with its diversity of geometric abstractions, local mise-en-scénes of unpredictable theatrical performances played out on the chess-board by wooden pieces — or on the chessboard of readers’ imagination. Attention is drawn to the transformational peculiarities of the sonnet line, read in a palindromic and pantorhymic way. The pantorhyme is the versificational and compositional basis for the chess sonnet sequence “Castling. A Herbarium of Stars”, which is analyzed here with regard to the transposition of some characteristics to the realm of chess composition. A diagrammed chess problem becomes a specific chess component of a sonnet sequence, where, for example, the variants of the solution (Black’s defensive moves and White’s attacking responses) correspond to the poetic lines making up the fourteen sonnets whereas the problem’s threat, like a principal poem, concentrates all the mentioned chess movements in a single variant.

APA, Harvard, Vancouver, ISO, and other styles

6

Shaytanov, I. O. "Metaphysics of the biography. How many parts to Shakespeare’s Sonnets?" Voprosy literatury, no. 6 (December 28, 2020): 144–77. http://dx.doi.org/10.31425/0042-8795-2020-6-144-177.

Full text

Abstract:

The two-part structure for the sequence of Shakespeare’s Sonnets was suggested by its first editor Edmund Malone at the end of the 18th c. and proved to be a long-standing tradition. Recently not a few attempts have been made to clarify the logic practiced by the Renaissance sonneteers in whose context Shakespeare’s lyrical narration is problematized. This article joins to ascertain the boundaries of inner cycles within the sequence in order to follow the denouement of its plot. The author argues that the Renaissance sequence, much unlike the narrative logic in the novel, does not present a consistent love story but rather the sessions of sweet silent thought (sonnet 30), reflective in the sonnet and growing more and more metaphysical in Shakespeare, both in diction and metaphor. Certain biographical allusions in the sequence (some of them advanced by the author) support that it was written between 1592 and 1603–1604 to the Earl of Southampton as its addressee.

APA, Harvard, Vancouver, ISO, and other styles

7

Kalinowska, Izabela. "The Sonnet, the Sequence, the Qasidah: East-West Dialogue in Adam Mickiewicz's Sonnets." Slavic and East European Journal 45, no. 4 (2001): 641. http://dx.doi.org/10.2307/3086126.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Wącior, Sławomir. "Reading the city: Edwin Morgan’s “Glasgow Sonnets” as a contemporary urban sonnet sequence." Roczniki Humanistyczne 63, no. 11 (2015): 291–307. http://dx.doi.org/10.18290/rh.2015.63.11-18.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

EARLE, T. F. "A Portuguese Sonnet Sequence of the Sixteenth Century." Bulletin of Hispanic Studies 63, no. 3 (July 1986): 225. http://dx.doi.org/10.3828/bhs.63.3.225.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Earle, T. F. "A Portuguese Sonnet Sequence of the Sixteenth Century." Bulletin of Hispanic Studies 63, no. 3 (July 1986): 225–34. http://dx.doi.org/10.1080/1475382862000363225.

Full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Sonnet sequence"

1

Holmes, John Robert. "The Victorian sonnet-sequence and the crisis of belief, 1870-1890." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365661.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Carr, Maureen. "So full of poetic suggestiveness : Christina Rossetti's Monna Innominata sonnet sequence." Thesis, Loughborough University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337993.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Ballantyne, Aileen Helen Georgina. "Voiceprints of an astronaut : a poetry collection, and, Politics and the personal in the sonnet and sonnet sequence : Edwin Morgan's 'Glasgow Sonnets' Tony Harrison's 'from The School of Eloquence' and selected sonnets by Paul Muldoon." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/10583.

Full text

Abstract:

“Voiceprints of an Astronaut” is a multi-faceted collection of poems that explores the fluid borders between memory and the imagined, the personal and the sociohistorical. The “voiceprints” of the title poem are the words, both imagined and real, of the only twelve men who ever walked on the moon. My own device, of an imagined ‘interview’ with figures from history, is deployed in the title poem. It is also used, for example, in the form of voiceprints from R.L. Stevenson, (“Tusitala”), Mary Queen of Scots’ maidservant, (“Beheaded”,“A Prayer fir James VI”), an acrobat-magician from the Qin Dynasty, (Bi xi Terracotta) and a time-travelling 14th century monk transposed to the Scottish Poetry Library (“In the Library”). In poems such as “Earthrise”, “Starlight from Saturn”, “In the Library”, and “Lines for Edwin Morgan” the tone is lyrical, taking the form of the sonnet, or sometimes simply reflecting the ghost of a sonnet framework. Recent events such as the Haiti earthquake are reflected, at times, by a purely personal response, such as in “Beads”, while poems about the Aids epidemic in the 80’s, (“Lunch-times with Rick”, “The Quilts”) spring from a period as Medical Correspondent for the Guardian, covering Aids conferences in London, Stockholm, Montreal and San Francisco. Others, such as “Roosevelt’s Bats”, “Fire-and-Forget” and “At Sea” are responses to modern war and conflict. In all of these, my aim has been to explore the political through the personal. The poems in this collection reflect an adult life split, almost equally, between two cities: Edinburgh and London. Regular visits too, to North America are another influence. An important part of the journey involved in writing these poems was a discovery of a Scots voice I thought I’d misplaced, only to find again, in poems such as “Beheaded” or “Haud tae me”. Some of these poems are autobiographical, dealing with parenthood, childhood, and growing up. Others, such as “Dana Point” or “Boy with Frog” celebrate a moment, a time and a place. In the case of the series of poems beginning with “Jim” and ending with “Black and White” the places and times take the form of memories, both in Scotland and Canada, of a much older sister. The critical essay that forms the second part of this thesis is entitled “Politics and the Personal in the Sonnet and Sonnet Sequence: Edwin Morgan's “Glasgow Sonnets”, Tony Harrison's “from The School of Eloquence” and selected sonnets by Paul Muldoon”. The first chapter examines the use of the sonnet form in Edwin Morgan’s “Glasgow Sonnets”; the second chapter concerns the sonnets written by Tony Harrison in from The School of Eloquence and Other Poems, published in 1978, while the third chapter looks at selected sonnets by Paul Muldoon.

APA, Harvard, Vancouver, ISO, and other styles

4

Gressman, Melissa R. "Performing Sincerity in Elizabeth Barrett Browning’s Sonnets from the Portuguese." University of Toledo Honors Theses / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1450401175.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Camp, Cynthia Turner. ""As though thy song could search me and divine": The intersubjective innovations of Augusta Webster's sonnet sequence "Mother and Daughter"." Thesis, University of Ottawa (Canada), 2003. http://hdl.handle.net/10393/26455.

Full text

Abstract:

Augusta Webster's (1837--1894) sonnet sequence Mother and Daughter (1895), twenty-seven sonnets spoken by a mother who is also a poet to her daughter and only child, combines the popular Victorian genre of motherhood poetry with the long-standing and highly codified tradition of the romantic sonnet sequence. Webster's fusion of these genres questions the primary assumption which underlies both traditions, that the poetic object, be it beloved or child, must be distanced from, "other" to, the poet himself or herself. Webster suggests a different, even radical, model of poetic creation and interaction between poet and object, as the daughter becomes an integral part of, and takes an active role in, the development of the mother-poet's psyche and the related writing of the sonnet sequence itself. The mother-daughter relationship which develops throughout the sequence is one of reciprocality and connectivity. Chapter 1 will provide background to the two genres under discussion, the familiar and often-explored sonnet sequence and the rarely-discussed topic of Victorian motherhood poetry. The second chapter introduces the intersubjectivity theory of feminist psychoanalyst Jessica Benjamin as an entree into the relationship of mutuality, then explores the intersubjective nature of selected sonnets. Chapter 3 discusses the breakdown and re-establishment of the reciprocal relationship, while Chapter 4 examines the effects of this intersubjective relationship on the aging mother's poetic confidence and the linguistic maturation of the mother-daughter relationship.

APA, Harvard, Vancouver, ISO, and other styles

6

Wilson, Scott. "Elizabethan subjectivity and sonnet sequences." Thesis, Cardiff University, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293055.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Smith, Rosalind. "Gender, genre and reception : sonnet sequences attributed to women, 1560-1621." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363677.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Hodder, Mike. "Petrarch in English : political, cultural and religious filters in the translation of the 'Rerum vulgarium fragmenta' and 'Triumphi' from Geoffrey Chaucer to J.M. Synge." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:49cdf913-cd2a-48c6-bf1e-533052018285.

Full text

Abstract:

This thesis is concerned with one key aspect of the reception of the vernacular poetry of Francesco Petrarca (Petrarch), namely translations and imitations of the Rerum vulgarium fragmenta (Rvf) and Triumphi in English. It aims to provide a more comprehensive survey of the vernacular Petrarch’s legacy to English literature than is currently available, with a particular focus on some hitherto critically neglected texts and authors. It also seeks to ascertain to what degree the socio-historical phenomena of religion, politics, and culture have influenced the translations and imitations in question. The approach has been both chronological and comparative. This strategy will demonstrate with greater clarity the monumental effect of the Elizabethan Reformation on the English reception of Petrarch. It proposes a solution to the problem of the long gap between Geoffrey Chaucer’s re-writing of Rvf 132 and the imitations of Wyatt and Surrey framed in the context of Chaucer’s sophisticated imitative strategy (Chapter I). A fresh reading of Sir Philip Sidney’s Astrophil and Stella is offered which highlights the author’s misgivings about the dangers of textual misinterpretation, a concern he shared with Petrarch (Chapter II). The analysis of Edmund Spenser’s Amoretti and Epithalamion in the same chapter reveals a hitherto undetected Ovidian subtext to Petrarch’s Rvf 190. Chapter III deals with two English versions of the Triumphi: I propose a date for Lord Morley’s translation which suggests it may be the first post- Chaucerian English engagement with Petrarch; new evidence is brought to light which identifies the edition of Petrarch used by William Fowler as the source text for his Triumphs of Petrarcke. The fourth chapter constitutes the most extensive investigation to date of J. M. Synge’s engagement with the Rvf, and deals with the question of translation as subversion. On the theoretical front, it demonstrates how Synge’s use of “folk-speech” challenges Venuti’s binary foreignising/domesticating system of translation categorisation.

APA, Harvard, Vancouver, ISO, and other styles

9

Waldura, Markus. "Monomotivik, Sequenz und Sonatenform im Werk Robert Schumanns /." Saarbrücken : Saarbrücker Druckerei und Verlag, 1990. http://catalogue.bnf.fr/ark:/12148/cb35419828q.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Cohen-Haguenauer, Odile, and Jean Frézal. "Contribution a l'etablissement d'une carte genetique humaine : localisation physique de sondes anonymes polymorphes et de sequences specifiques clonees." Paris 7, 1990. http://www.theses.fr/1990PA077239.

Full text

Abstract:

Etablir la carte genetique de l'homme consiste a repertorier les localisations geniques et a les ordonner le long des chromosomes. Ceci permet l'analyse: 1) de la situation d'un gene en se referant a ceux qui sont deja localises, 2) des familles multigeniques, 3) des maladies hereditaires et chromosomiques, 4) de l'evolution des especes. Le travail presente ici reunit des localisations geniques utilisant des methodes de cartographie physique; il est oriente selon deux axes: la carte genetique de liaison ou carte factorielle, pour les sondes anonymes polymorphes; la carte genetique physique pour les sequences codantes. Les localisations de sondes anonymes polymorphes regroupent, outre la localisation principe du gene de la fibrose kystique du pancreas, celle de 14 sondes genomiques en collaboration avec collaborative research et de 8 segments d'adn hautement polymorphes et 7 vntr, en collaboration avec l'equipe de ray white. Les localisations de sequences codantes sont presentees en trois sections: localisations fines utilisant un panel d'hybrides somatiques homme-rongeur et hybridation in situ sur chromosomes metaphasiques (amh; ren; gfap; c1s; c1s; c1inh); localisations relativement precises mettant a profit l'existence de translocations chromosomiques (myl1; chrng/chrnd; d6leh89); et localisations chromosomiques simples, utilisant le panel d'hybrides somatiques (myl3; myl4; chat; aldoa; 49ht8; bcei). L'elaboration progressive d'une carte genetique incluant des donnees de plus en plus nombreuses et precises trouve ses applications dans l'etude des maladies genetiques, de la biologie du developpement, des cancers et tumeurs hematopoietiques. L'application medicale immediate en est le diagnostic prenatal de maladies hereditaires. Une autre application, majeure, est representee par l'identification de genes, conduisant a elucider les mecanismes physiopathologiques de la maladie, a concevoir a facon des therapeutiques et en envisager une therapie genique

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "Sonnet sequence"

1

Storozynsky, L. M. Reinventing the Elizabethan sonnet sequence. Birmingham: University of Birmingham, 1991.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

John, Gurney. Observing Dr. Freud: A sonnet sequence. Salzburg, Austria: University of Salzburg, 1995.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

John, Gurney. Mr. Eliot's summer honeymoon: A sonnet sequence. Salzburg, Austria: University of Salzburg, 1995.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

The house of life: A sonnet-sequence. Cambridge: Boydell & Brewer, 2007.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

The sonnet sequence: A study of its strategies. New York: Twayne Publishers, 1997.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Halverson, Lloyd. The Redneck River Valley, or, American gothics: An Elizabethan sonnet sequence. [Oregon?]: Guy Fawkes Press, 1997.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Prowse, Anne. A meditation of a penitent sinner: Anne Locke's sonnet sequence with Locke's epistle. Waterloo, Ont: North Waterloo Academic Press, 1997.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Dante Gabriel Rossetti and the late Victorian sonnet sequence: Sexuality, belief, and the self. Aldershot, Hants, England: Ashgate Pub., 2005.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

McGovern, Iggy. A mystic dream of 4: A sonnet sequence based on the life of William Rowan Hamilton. Dublin, Ireland: Quaternia Press, 2013.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Old York Road At Midnight, ed. Trish: A Romance. Conshohocken, Pa: Tumblr: Old York Road At Midnight, 2016.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Sonnet sequence"

1

Chapman, Alison. "Sonnet and Sonnet Sequence." In A Companion to Victorian Poetry, 99–114. Oxford, UK: Blackwell Publishers Ltd, 2008. http://dx.doi.org/10.1002/9780470693537.ch5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Phelan, Joseph. "‘Illegal Attachments’: The Amatory Sonnet Sequence." In The Nineteenth-Century Sonnet, 107–33. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230512627_6.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Sheppard, Robert. "Convention and Constraint: Form in the Innovative Sonnet Sequence." In The Meaning of Form in Contemporary Innovative Poetry, 47–69. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-34045-6_3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Guissin-Stubbs, Tara. "Sonnet Sequences." In The Modern Irish Sonnet, 69–112. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53242-0_3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Innes, Paul. "Sequences and Others." In Shakespeare and the English Renaissance Sonnet, 39–71. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230372917_3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Bates, Catherine. "Synecdochic Structures in the Sonnet Sequences of Sidney and Spenser." In A Companion to Renaissance Poetry, 276–88. Chichester, UK: John Wiley & Sons, Ltd, 2018. http://dx.doi.org/10.1002/9781118585184.ch20.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Smith, Rosalind. "Introduction: Gender, Genre and Attribution in Early Modern Women’s Sonnet Sequences and Collections." In Sonnets and the English Woman Writer, 1560–1621, 1–12. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230513686_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

McCarthy, Erin A. "Typography, Genre, and Authorship in The Passionate Pilgrim (1599) and Shake-speares Sonnets (1609)." In Doubtful Readers, 57–104. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198836476.003.0003.

Full text

Abstract:

This chapter argues that Thomas Thorpe’s 1609 edition of Shake-speares Sonnets was stymied by the success of The Passionate Pilgrim, a poetry collection first published by William Jaggard in 1599 and reprinted in 1612. Critics have suggested that the success of Jaggard’s volume may “have spoiled the market for authentic ‘sugred Sonnets’ by Shakespeare.” But to date, no one has read The Passionate Pilgrim as a sonnet sequence in its own right. This chapter outlines a history of sonnet publication that reveals striking resemblances between The Passionate Pilgrim and the printed English sonnet sequences then in fashion. Moreover, every element of the book—the title page, the poems it contained, and even its format—seems designed to highlight its place within Shakespeare’s oeuvre. Thus, when Thorpe’s Shake-speares Sonnets was printed in 1609, it appeared to be less sequence-like and less Shakespearean than The Passionate Pilgrim.

APA, Harvard, Vancouver, ISO, and other styles

9

Blair, Kirstie, and Marjorie Stone. "‘Not Death, but Love’." In Poetry in the Making, 99–121. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198784562.003.0005.

Full text

Abstract:

In 2009, a long-unlocated notebook—MSS, by ElizabethBBarrett—re-entered the public domain, including among its contents a sequence titled Sonnets in the night and a previously uncatalogued and unknown draft of ‘Sonnet V’ of Sonnets from the Portuguese, predating all extant manuscripts of this much studied work. The first section of this chapter (Kirstie Blair) analyses the making and unmaking of Sonnets in the night, considering its intricate ordering and EBB’s disassembling of an elegiac sequence which, if published in its notebook form, might have anticipated Tennyson’s In Memoriam in its thematic motifs (voice, song, silence, tears, work, consolation). Section II (Marjorie Stone) further analyses this unmaking in exploring the complicated relations between EBB’s elegiac sequence and Sonnet V of Sonnets from the Portuguese, arguing that composition of the amatory sequence may have begun with the tangled, turbulent draft of this pivotal sonnet, connecting smouldering grief to newly awakened love.

APA, Harvard, Vancouver, ISO, and other styles

10

Eastman, Andrew. "The sonnet sequence as speech sound continuum." In The early modern English sonnet. Manchester University Press, 2020. http://dx.doi.org/10.7765/9781526144409.00018.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!