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Journal articles on the topic 'Sonnet sequence'

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Published: 4 June 2021

Last updated: 10 February 2022

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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.

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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.

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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.

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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.”

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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.

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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).

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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11

Woods, Susanne. "The Body Penitent: A 1560 Calvinist Sonnet Sequence." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 5, no. 2-3 (April 1992): 137–40. http://dx.doi.org/10.1080/0895769x.1992.10542747.

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12

Gouws, J. "Narrative strategies in Sir Philip Sidney’s Astrophil and Stella." Literator 31, no. 3 (July 25, 2010): 61–78. http://dx.doi.org/10.4102/lit.v31i3.58.

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In this article I suggest that historically lyric and narrative are not mutually exclusive categories. Focusing on the case of Sir Philip Sidney’s sonnet sequence, “Astrophil and Stella”, I argue that the fundamentally lyric form of the sonnet functions rhetorically and contextually in such a way as to invite narrative construal. I suggest that this is the norm in pre-Enlightenment poetic practice and theory, something which was perhaps occluded by the decline of interest in rhetoric.

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13

Jajtner, Tomáš. "“The True Forme of Love”: Transforming the Petrarchan Tradition in the Poetry of Lady Mary Wroth (1587–1631)." Prague Journal of English Studies 5, no. 1 (July 1, 2016): 9–26. http://dx.doi.org/10.1515/pjes-2016-0001.

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Abstract The following article deals with the transformation of the Petrachan idea of love in the work of Lady Mary Wroth (1587-1631), the first woman poet to write a secular sonnet sequence in English literature, Pamphilia to Amphilanthus. The author of the article discusses the literary and historical context of the work, the position of female poets in early modern England and then focuses on the main differences in Wroth’s treatment of the topic of heterosexual love: the reversal of gender roles, i.e., the woman being the “active” speaker of the sonnets; the de-objectifying of the lover and the perspective of love understood not as a possessive power struggle, but as an experience of togetherness, based on the gradual interpenetration of two equal partners.

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14

Hutchison, Coleman. "Breaking the Book Known as Q." PMLA/Publications of the Modern Language Association of America 121, no. 1 (January 2006): 33–66. http://dx.doi.org/10.1632/003081206x96104.

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This essay considers a series of questions about the relations between material presentation and poetic meaning that emerge from a simple but under-acknowledged fact about the 1609 Shake-speares Sonnets quarto: unlike nearly every other sonnet sequence from the period, Q's poems are broken by a series of nonuniform, seemingly arbitrary page breaks. Arguing that these breaks have profound implications for the interpretation and reception of Shakespeare's poems, the essay suggests that not reading page breaks is itself a reading practice-a historically specific, socially determined act in which certain elements of materiality are granted attention and authority while others are not. Espousing instead an approach to the materiality of Shake-speares Sonnets that would take seriously the matter of Q's page breaks, this essay understands the page and the page break to be units of meaning with particularly urgent implications for the recognition of poetic form and for the interrelations between a history of the book and the idea of literature. (CH)

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15

Rienstra, Debra. "“Let Wits Contest”: George Herbert and the English Sonnet Sequence." George Herbert Journal 35, no. 1-2 (2011): 23–44. http://dx.doi.org/10.1353/ghj.2011.0005.

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16

Spiller, Michael R. G. "A Literary "First": The Sonnet Sequence of Anne Locke (1560)." Renaissance Studies 11, no. 1 (March 1997): 41–55. http://dx.doi.org/10.1111/1477-4658.00228.

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17

Paul, Sarah. "Strategic Self-Centering and the Female Narrator: Elizabeth Barrett Browning's Sonnets from the Portuguese." Browning Institute Studies 17 (1989): 75–91. http://dx.doi.org/10.1017/s0092472500002686.

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As the first love sonnet sequence written by a woman in English, Elizabeth Barrett Browning's Sonnets from the Portuguese challenged the conventions of amatory poetry when it was published in 1850. The genre, which had always required its female inhabitants to maintain an aloof and icy silence, was not accustomed to female voices. Certainly a speaker like the narrator of Barrett Browning's sonnets, loudly proclaiming her right to adopt postures of adoration and unworthiness toward a male love object, had never before disturbed its rarefied spaces. The radical nature of the work, however, seems to have been lost on its nineteenth-century audience. Victorian readers saw nothing shocking or immodest about the sonnets and actually admired them a great deal, particularly because they seemed, oddly enough, to uphold an idealized model of devout and reticent femininity. Hall Caine called them “essentially feminine in their hyper-refinement, in their intense tremulous spirituality” (310–11), while Eric Robertson wrote that “no woman's heart indeed was ever laid barer to us, but no heart could have laid itself bare more purely” (281). Twelve years later Edmund Gosse spoke of the cycle's “noble dignity,” “stainless harmony,” and “high ethical level of distinguished utterance” (11, 21). Neither these nor any other nineteenth- or early twentieth-century critic saw anything revolutionary in the sequence. Only in the past dozen years have feminist critics re-evaluating Sonnets from the Portuguese discovered within its self-deprecating stanzas an “enterprise of heroinism” asserting a woman's “right” to be the active subject of both poetry and feeling rather than their passive object.

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18

Ma, Chunli. "The Physical Beauty in Shakespeare’s Sonnets." English Language and Literature Studies 6, no. 2 (April 28, 2016): 110. http://dx.doi.org/10.5539/ells.v6n2p110.

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<p>Beauty, one of the most reoccurring words throughout Shakespeare’s Sonnets, is the principal subject of the poet’s meditation. “From fairest creatures we desire increase, / That thereby beauty’s rose might never die” begins the first poem in the sonnet sequence, a statement about beauty that can be understood as the first articulation of the Sonnets’ aesthetic agenda. Beauty in Shakespeare’s Sonnets is represented in two dimensions: the physical beauty and the spiritual beauty. The physical beauty refers to the beauty of the body and the sensual pleasure derived from desires.By means of the illustration of the physical beauty, Shakespeare conveyed the aesthetical world which brings readers enjoyment and delight, moreover, the poet warns readers that the sensual pleasure should base on married chastity and social norms, otherwise, it would result in death and destruction. The account of sexual pleasure shows that on the one hand for enjoying the life itself, on the other hand, for leaving children behind to make the temporary time eternalized, thus returning back to timeless Garden of Eden. This returning course is the process of preserving beauty.This article only focuses on interpreting the physical beauty in the Sonnets, the part of the beauty in spiritual dimension will be presented in another one.</p>

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19

Kambasković-Sawers, Danijela. "Carved in living laurel: the sonnet sequence and transformations of idolatry." Renaissance Studies 21, no. 3 (June 2007): 377–94. http://dx.doi.org/10.1111/j.1477-4658.2007.00365.x.

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20

Prescott, Anne Lake. "Elizabeth's Garden of Virtue: Jacques Bellot's Sonnet Sequence for the Queen." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 5, no. 2-3 (April 1992): 122–24. http://dx.doi.org/10.1080/0895769x.1992.10542742.

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21

Hunter, Walt. "Claude McKay’s Lonely Planet: The Sonnet Sequence and the Global City." Hopkins Review 14, no. 2 (2021): 208–13. http://dx.doi.org/10.1353/thr.2021.0030.

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22

Gregory, Melissa Valiska. "Augusta Webster Writing Motherhood in the Dramatic Monologue and the Sonnet Sequence." Victorian Poetry 49, no. 1 (2011): 27–51. http://dx.doi.org/10.1353/vp.2011.0005.

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23

Mischo, John Brett. ""GREAT WITH CHILD TO SPEAKE": MALE CHILDBIRTH AND THE ELIZABETHAN SONNET SEQUENCE." Explorations in Renaissance Culture 24, no. 1 (December 2, 1998): 53–74. http://dx.doi.org/10.1163/23526963-90000196.

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24

Barańczak, Stanisław. "Polishing the Sonnet Sequence: A Polish Translator's Reflections on Seamus Heaney's “Clearances”." Translation Review 55, no. 1 (September 1998): 1–5. http://dx.doi.org/10.1080/07374836.1998.10523714.

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25

Goulding, Susan. "Legitimizing Voice: Petrarchan Form in Mary Darby Robinson's Sonnet Sequence, Sappho and Phaon." Essays in Romanticism 19, no. 1 (January 2012): 65–82. http://dx.doi.org/10.3828/eir.2012.19.6.

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26

Spiller, Michael R. G. "A literary ?first?: the sonnet sequence of Anne Locke (1560) an appreciation of Anne Locke's Sonnet Sequence: A Meditation of a Penitent Sinner ? with Locke's Epistle to the ? Duchesse of Suffolke." Renaissance Studies 11, no. 1 (March 1997): 41–55. http://dx.doi.org/10.1111/j.1477-4658.1997.tb00011.x.

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27

Kambaskovi-Sawers, Danijela. "“Her Stubborne Hart to Bend”: The Sonnet Sequence and the Charisma of Petrarchan Hatred." Journal of the Australasian Universities Language and Literature Association 2010, no. 113 (May 2010): 1–27. http://dx.doi.org/10.1179/000127910804775568.

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28

Gouws, J. "Wallace Stevens’s use of narrative markers in Harmonium." Literator 31, no. 3 (July 25, 2010): 161–80. http://dx.doi.org/10.4102/lit.v31i3.63.

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In this article Wallace Stevens’s first published volume of poetry, “Harmonium” is examined in order to demonstrate that by his deployment of narrative markers in key poems of the collection his quintessentially modernist lyrics challenge the restrictive figurative range of hegemonic enlightenment cultural theory and practice. In so doing I advance the argument of my article on Sidney’s sonnet sequence which suggests that awareness of strategic rhetorical figuration leads to a more nuanced understanding of the relationship between lyric and narrative.

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29

Kumar, Dr Rajiv. "John Donne : A Great Poet." SMART MOVES JOURNAL IJELLH 7, no. 12 (December 28, 2019): 8. http://dx.doi.org/10.24113/ijellh.v7i12.10230.

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John Donne is one of the greatest of English religious poets, and the poets of the 17th century on whom his influence was most deep and lasting than all religious poets. As Joan Bennett tells us this is so because his temperament was essentially religious. A man of religious temperament is constantly aware, constantly perceiving the underlying unity, the fundamental oneness of all phenomena, and the perception of such a relationship, such an inherent principle of unity, is revealed even by the imagery of the earliest poetry of Donne. No doubt Donne's religious poetry belongs to the later part of his career, to the period after his ordination, and the gloom, despair and frustration which resulted from the death of his wife, poverty, and ill-health. The earliest of his religious poems are the sonnet-sequence called La Corona and The Litanie; the best of his religious poetry is contained in the Holy Sonnets, the Divine Poems and The Three Hymns. The best of Donne's religious poetry was written only during the last phase of his career, but the nature of his imagery, even the early one, clearly indicated that his genius was religious and he was bound to take to religious poetry and to the pulpit.

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30

Morlier, Margaret M. "SONNETS FROM THE PORTUGUESE AND THE POLITICS OF RHYME." Victorian Literature and Culture 27, no. 1 (March 1999): 97–112. http://dx.doi.org/10.1017/s1060150399271057.

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ALTHOUGH VICTORIAN REVIEWERS uniformly praised Elizabeth Barrett Browning for the “sincere” poetic voice of Sonnets from the Portuguese, they often blamed her for faulty craft. In structure and rhyme scheme the poems in the sequence recall the Petrarchan tradition, suggesting the idealized love that accompanies it, yet their varied syntax and diction seem more conversational than ideal. Enjambment usually destroys the integrity of octave and sestet. Then in the Sonnets Barrett Browning continued her use of odd rhymes, which had been raising critical eyebrows since earlier poems. For example, in the most famous sonnet — XLIII, “How do I love thee?” — Barrett Browning rhymed the noun phrase “put to use” (9) with the infinitive “to lose” (11) and rhymed “faith” (10) with “breath” (12). Victorian reviewers, somewhat disoriented, offered a variety of explanations for these apparent technical lapses. Some attributed them to a defective ear for music (“Review of Poems” 278; [Massey] 517).1 George Saintsbury — taking the lead from the controversy over the “cockney school” of poetry — reproved Barrett Browning, born to the educated classes, for relying out of laziness on vulgar pronunciation to force rhymes instead of taking the time to discover correct ones (280–81). Even her poet-friend and correspondent, Mary Russell Mitford, wondered if isolation at Wimpole Street had led to an overly narrow experience with proper pronunciation of English (reported in Horne 458; see also Hayter 38–39). Victorian reproofs and anecdotes like these followed Barrett Browning’s work into the formalist twentieth century.

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31

Holmes, J. "The Growth of The Growth of Love Texts and Poems in Robert Bridges's Sonnet Sequence." Review of English Studies 55, no. 221 (September 1, 2004): 583–97. http://dx.doi.org/10.1093/res/55.221.583.

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32

Jenkins, Melissa Shields. "“STAMPED ON HOT WAX”: GEORGE MEREDITH'S NARRATIVES OF INHERITANCE." Victorian Literature and Culture 39, no. 2 (May 18, 2011): 525–43. http://dx.doi.org/10.1017/s106015031100012x.

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In “The Decay of Lying” (1889), Oscar Wilde's speaker calls Victorian novelist George Meredith “a child of realism who is not on speaking terms with his father” (Wilde 976). The comment underscores the idealism running through Meredith's strange and understudied novels. Wilde's speaker announces that Meredith “has made himself a romanticist” (976), a self-conscious reactionary against Victorian High Realism who is nonetheless situated deeply within it. Meredith's uneasy relationship with his own time has likely affected recent critical assessments of his work. Though his canonical status surpassed George Eliot's in the 1940s, and although there was a mini-explosion of Meredith scholarship in the 1970s, more recent work has focused on his sonnet sequence, Modern Love, and his psychological novel, The Egoist. However, with the rise of interest in the history of the book, gender and sexuality studies, and Victorian publishing, Meredith's novels are becoming the subject of renewed attention.

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33

Vasileva, O. V., A. S. Volynkina, I. V. Kuznetsova, S. V. Pisarenko, and A. N. Kulichenko. "MOLECULAR-GENETIC CHARACTERISTICS OF SHIGELLA SONNEI-2013 STRAIN ISOLATED DURING THE OUTBREAK IN DYSENTERY IN THE REPUBLIC ABKHAZIA IN 2013." Journal of microbiology epidemiology immunobiology, no. 1 (February 28, 2018): 72–76. http://dx.doi.org/10.36233/0372-9311-2018-1-72-76.

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Aim. Study of molecular-genetic properties of Shigella sonnei-2013 strain isolated during the outbreak in dysentery in the republic Abkhazia in 2013. Materials and methods. Genetic typing of the tested strains using multilocus sequence typing (MLST). Analyzed of nucleotide sequence fragments 7 of conservative «housekeeping» genes adk, fumC, icd, mdh, purA, recA, gyrB. Sequenced of DNA fragments compared with reference sequences from database of Escherichia coli MLST. Phylogenetic analysis was performed using UPGMA method and computer program START 2. Whole-genome sequencing performed on a genetic analyzer Ion Torrent Personal Genome Machine (PGM™) using fragment libraries (shot-gun). Aligning reads have been carried out with the program GS Reference Mapper. Results. Defined sequence - type of the studied strain - ST-152, one of the most common genotypes for S. sonnei. Demonstrated the high degree of similarity obtained contig to the sequences of the chromosome and plasmids А, В, С и E strains S. sonnei 53G and S. sonnei Ss046. Identified contigs with a high percentage similarity to the sequence of virulence plasmid p026-Vir of E. coli 026:H11 (H30). In the genomic S. sonnei-2013 revealed nucleotide sequence of 136 genes were found located on the p026-Vir strain of E. coli 026:Н11 (НЗО). Discovered genes controlling biosynthesis of type IV pili involved in adhesion to abiotic surfaces and biofilm formation. Conclusion. Identified structural peculiarities of strain induced by fragments of virulence plasmid p026-Vir strain E. coli 026:H 11 (H30).

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34

Chapman, Alison. "REVOLUTIONIZING ELIZABETH BARRETT BROWNING: A REVIEW OF THE COMPLETE WORKS OF ELIZABETH BARRETT BROWNING." Victorian Literature and Culture 39, no. 2 (May 18, 2011): 605–11. http://dx.doi.org/10.1017/s1060150311000180.

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Any attempt to edit EBB's works encounters immediate and overwhelming challenges. The manuscripts, together with letters, books, drawings, and works of art, were more or less blown to the four corners of the globe with the 1913 Sotheby's sale of her son “Pen” Browning's estate. As Philip Kelley and Betty A. Coley put it, this has been considered “a disaster” by scholars (ix). Kelley and Coley's magnificent reconstruction of the contents of Pen's estate, The Browning Collections, lists each item and whereabouts, if known (the reference aid is updated at The Brownings: A Research Guidehttp://www.browningguide.org/). It is a disheartening as well as essential reading for the researcher, for its catalogue includes academic and public libraries, private collection and associations, throughout North America and Europe. Although locating those Browning effects is now easier with The Browning Collections, should the scholar have funds for travel, the manuscripts themselves are in a perilous state. Not only are they often fragile (especially the important tiny notebooks) but also often extremely challenging to read because of the spidery, faint, and often illegible handwriting. Barrett Browning often revised her poems and had false starts, and sometimes one poem in manuscript is entwined into another. They are, as EBB herself declared, a “chaos of illegibility” (Works 1: xxxiv). The poetry manuscripts do not readily welcome the editor. In addition to the geographical and paleographical challenges, EBB's corpus was huge, including the ballad, verse novel, narrative, dramatic lyric, sonnet and sonnet sequence, translation, hymn, dream vision, lyrical drama, ode, tribute poem, and elegy. Finally, much of the information about her poetry comes from the ongoing Brownings’ Correspondence, which includes letters both sent and received, and is currently at volume 18 (up to March 1853) out of a projected 40. There is a wealth of material by the Brownings, and not all of it readily accessible. Editing the works of EBB is a daunting prospect.

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35

Handley, Agata G. "On (Not) Being Milton: Tony Harrison’s Liminal Voice." Text Matters, no. 6 (November 23, 2016): 276–90. http://dx.doi.org/10.1515/texmat-2016-0017.

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Tony Harrison’s poetry is rooted in the experience of a man who came out of the working class of Leeds and who, avowedly, became a poet and a stranger to his own community. As Harrison duly noted in one interview, from the moment he began his formal education at Leeds Grammar School, he has never felt fully at home in either the world of literature or the world of his working class background, preferring to continually transgress their boundaries and be subject to perpetual change. The paper examines the relation between poetic identity, whose ongoing construction remains one of the most persistently reoccurring themes of Harrison’s work, and the liminal position occupied by the speaker of Harrison’s verse. In the context of the sociological thought of such scholars as Zygmunt Bauman and Stuart Hall, the following paper discusses the way in which the idea of being in-between operates in “On Not Being Milton,” an initial poem from Harrison’s widely acclaimed sonnet sequence The School of Eloquence, whose unique character stems partly from the fact that it constitutes an ongoing poetic project which has continued from 1978 onwards, reflecting the social and cultural changes of contemporary Britain.

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Houston, Natalie M. "john holmes. Dante Gabriel Rossetti and the Late Victorian Sonnet Sequence: Sexuality, Belief and the Self. Pp. viii+190 (The Nineteenth Century). Aldershot: Ashgate, 2005. Cloth, £45.00." Review of English Studies 57, no. 231 (September 1, 2006): 553–54. http://dx.doi.org/10.1093/res/hgl077.

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Cotter, James Finn. "Sequences of Phrase and Feeling in “The Windhover”." Religion and the Arts 22, no. 4 (September 10, 2018): 488–500. http://dx.doi.org/10.1163/15685292-02204006.

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Abstract Gerard Manley Hopkins distinguished and approved “sequences of feeling and phrase” in his friend Robert Bridges’s sonnets. A close reading of “The Windhover” reveals Hopkins’s own use of these sequences with a remarkable shift between the octave, developed by a series of adverbial and adjectival participial and prepositional phrases, and the sestet which proceeds as a series of declarative-exclamatory statements. The first half of the sonnet follows the kestrel’s flight as it “hovers” (hence its name) into a fixed position either by beating its wings (“hurl”) or by sitting still (“gliding”). This act of hovering is then transferred from the bird “there” to the poet’s own heart “here” by the verb “Buckle,” with its meaning of joining, bending, putting on, and holding back. This shift in action occurs also in place and time, from past to present, outdoors to an indoor chapel where the poet attended Mass each May morning. The action itself incorporates inscape as catching sight of the pattern of the kestrel’s flight in the morning of Christ’s created light and instress as the heart’s response in thought and being to Christ’s uplifting grace in the fire of redemption. “As kingfishers catch fire” reverses the sequences of feeling and phrase in “The Windhover” as it too moves from the physical (“each mortal thing”) to the supernatural as the “just man” becomes an after-Christ.

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Kim, Sung-Hun, Jeong-Hyun Park, Bok-Kwon Lee, Hyuk-Joon Kwon, Ji-Hyun Shin, Jungmin Kim, and Shukho Kim. "Complete Genome Sequence of Salmonella Bacteriophage SS3e." Journal of Virology 86, no. 18 (August 23, 2012): 10253–54. http://dx.doi.org/10.1128/jvi.01550-12.

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ASalmonellalytic bacteriophage, SS3e, was isolated, and its genome was sequenced completely. This phage is able to lyse not only variousSalmonellaserovars but alsoEscherichia coli,Shigella sonnei,Enterobacter cloacae, andSerratia marcescens, indicating a broad host specificity. Genomic sequence analysis of SS3e revealed a linear double-stranded DNA sequence of 40,793 bp harboring 58 open reading frames, which is highly similar toSalmonellaphages SETP13 and MB78.

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CHEN, JINRU. "uspA of Shigella sonnei." Journal of Food Protection 70, no. 10 (October 1, 2007): 2392–95. http://dx.doi.org/10.4315/0362-028x-70.10.2392.

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One of the strategies that bacteria utilize to combat environmental stress is to synthesize stress-responding proteins. In Escherichia coli, adverse environmental factors, such as starvation, heat, and the presence of acid, oxidants, heavy metals, and antibiotics, trigger the expression of the universal stress protein (USP). The gene of the USP, uspA, in E. coli K-12 and E. coli O157:H7 has been identified and sequenced. In this study, the nucleotide sequence of uspA in a strain of Shigella sonnei implicated in the 1998 parsley-related outbreak of shigellosis was determined. Within an 800-bp region sequenced, there were 17 bp mismatches between the uspA of S. sonnei and that of E. coli K-12. Among the 17 mismatched nucleotides, 8 were within the structure gene of uspA. A total of 12 bp variations were identified between the uspA of S. sonnei and that of E. coli O157:H7, of which 5 bp were internal to the coding region of uspA. However, unlike the mismatches between the uspA of E. coli K-12 and the same gene of E. coli O157:H7 and S. sonnei that resulted in a single amino acid substitution and changed an alanine to an arginine at position 140, the mismatches between S. sonnei and E. coli O157:H7 were silent and did not result in any amino acid substitution.

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Evans, Robert C., and Thomas P. Roche. "Petrarch and the English Sonnet Sequences." Sixteenth Century Journal 21, no. 3 (1990): 520. http://dx.doi.org/10.2307/2540317.

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Evans, Robert C., and Thomas P. Roche. "Petrarch and the English Sonnet Sequences." Sixteenth Century Journal 21, no. 2 (1990): 290. http://dx.doi.org/10.2307/2541078.

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Walls, Kathryn. "The Christian Lark: Spenser’s Faerie Queene I. x.51 and Shakespeare’s Sonnet 29." Explorations in Renaissance Culture 46, no. 2 (December 18, 2020): 200–218. http://dx.doi.org/10.1163/23526963-46020005.

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Abstract The likening of the lark to the Christian worshipper as in Herbert’s “Easter Wings” was anticipated by both Spenser and Shakespeare in references that have been overlooked to date. These stand in a tradition most richly represented by the early fourteenth- century French allegorist Guillaume de Deguileville, in his Pèlerinage de l’Ame, in which the pilgrim soul, guided towards the gate of Heaven by his guardian angel, finds himself surrounded by larks whose cruciform shapes in flying match their singing of the name “Jhesu.” Having fallen for the second time when fighting the dragon, Spenser’s Red Cross Knight rises on the third morning to find himself victorious. In his rising he is compared with the lark at dawn. The Edenic setting (which underlines the theme of the redemption of “fallen” man by the risen Christ) is also illuminated by Deguileville’s Ame; Spenser’s two trees are reminiscent of the “green and the dry” in the French allegory, according to which Christ appears as the apple pinned to the dry tree in reparation for the apple stolen by Adam. When one examines Shakespeare’s reference to the lark in Sonnet 29 in the light of the tradition represented by Deguileville (whose work not only Spenser but also Shakespeare might have read in English translation) the question arises as to whether the beloved addressed in line 10 (“thee”) could be Christ, and the speaker a Christian worshipper moving from self reproach to Christian gratitude. Such an interpretation is challenged by the standard assumption that the sonnets reflect a narrative produced by a love triangle. But from Petrarch’s Canzoniere on, sequences of love sonnets had contained poems of religious adoration.

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Haywood, Mark. "Monk Trio: A Sequence of Sonnets." Journal of Jazz Studies 7, no. 1 (February 28, 2011): 73. http://dx.doi.org/10.14713/jjs.v7i1.5.

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<span style="font-size: 12pt; font-family: "Adobe Caslon Pro";">Poet Mark Haywood presents three sonnets that explore the life and music of Thelonious Monk, the great jazz pianist and composer.</span>

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Prescott, Anne Lake, and Christopher Warley. "Sonnet Sequences and Social Distinction in Renaissance England." Sixteenth Century Journal 38, no. 4 (December 1, 2007): 1115. http://dx.doi.org/10.2307/20478668.

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Hanson, Elizabeth. "Boredom and Whoredom: Reading Renaissance Women's Sonnet Sequences." Yale Journal of Criticism 10, no. 1 (1997): 165–91. http://dx.doi.org/10.1353/yale.1997.0004.

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Cheng, Tingting, Xiaochao Shi, Wei Yong, Jianping Wang, Guoxiang Xie, and Jie Ding. "Molecular typing of Shigella sonnei isolates circulating in Nanjing, China, 2007–2011." Journal of Infection in Developing Countries 8, no. 12 (December 15, 2014): 1525–32. http://dx.doi.org/10.3855/jidc.4933.

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Introduction: Shigellosis is a major public health concern worldwide. This study intended to assess the baseline genotyping data among local Shigella sonnei strains spanning over five years. Methodology: Fifty non-repeat clinical strains of S. sonnei isolated from stools of patients in different hospitals in Nanjing, China, were studied. Three subtyping tools, pulsed-field gel electrophoresis (PFGE), multi-locus sequence typing (MLST), and multi-locus variable-number tandem-repeat (VNTR) analysis (MLVA), were used for routinely subtyping local S. sonnei. Results: DNA sequencing only identified two sequence types (STs) among the 50 isolates in the MLST profiles, whereas PFGE and MLVA both showed suitable discriminatory power and yielded 19 and 30 different patterns, respectively. The major PFGE pattern comprised 21 strains isolated from different years. A total of four complexes were identified by MLVA, with the isolates differing by a single locus (single-locus variants). Conclusions: The S. sonnei strains circulating in Nanjing, China, in 2007–2011 originated from different clones with a degree of diversity. Most of the clones were closely related to each other. Overall, the strains were distinguishable by PFGE and MLVA. MLVA based on eight selected VNTR loci represented a more favorable degree of discrimination than did PFGE and may be a reliable complement for PFGE for routine subtyping of S. sonnei. The problems of MLST in subtyping regarding S. sonnei were also demonstrated.

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Logan, Naeemah Z., Beth E. Karp, Kaitlin A. Tagg, Claire Burns-Lynch, Jessica Chen, Amanda Garcia-Williams, Zachary A. Marsh, et al. "130. increase in Multidrug Resistance (2011–2018) and the Emergence of Extensive Drug Resistance (2020) in shigella Sonnei in the United States." Open Forum Infectious Diseases 7, Supplement_1 (October 1, 2020): S195. http://dx.doi.org/10.1093/ofid/ofaa439.440.

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Abstract Background Multidrug-resistant (MDR) Shigella sonnei infections are a serious public health threat, and outbreaks are common among men who have sex with men (MSM). In February 2020, Australia’s Department of Health notified CDC of extensively drug-resistant (XDR) S. sonnei in 2 Australian residents linked to a cruise that departed from Florida. We describe an international outbreak of XDR S. sonnei and report on trends in MDR among S. sonnei in the United States. Methods Health departments (HDs) submit every 20th Shigella isolate to CDC’s National Antimicrobial Resistance Monitoring System (NARMS) laboratory for susceptibility testing. We defined MDR as decreased susceptibility to azithromycin (MIC ≥32 µg/mL) with resistance to ampicillin, ciprofloxacin, and cotrimoxazole, and XDR as MDR with additional resistance to ceftriaxone. We used PulseNet, the national subtyping network for enteric disease surveillance, to identify US isolates related to the Australian XDR isolates by short-read whole genome sequencing. We screened these isolates for resistance determinants (ResFinder v3.0) and plasmid replicons (PlasmidFinder) and obtained patient histories from HDs. We used long-read sequencing to generate closed plasmid sequences for 2 XDR isolates. Results NARMS tested 2,781 S. sonnei surveillance isolates during 2011–2018; 80 (2.9%) were MDR, including 1 (0.04%) that was XDR. MDR isolates were from men (87%), women (9%), and children (4%). MDR increased from 0% in 2011 to 15.3% in 2018 (Figure). In 2020, we identified XDR isolates from 3 US residents on the same cruise as the Australians. The US residents were 41–42 year-old men; 2 with available information were MSM. The US and Australian isolates were highly related (0–1 alleles). Short-read sequence data from all 3 US isolates mapped to the blaCTX-M-27 harboring IncFII plasmids from the 2 Australian isolates with >99% nucleotide identity. blaCTX-M-27 genes confer ceftriaxone resistance. Increase in Percentage of Shigella sonnei Isolates with Multidrug Resistance* in the United States, 2011–2018† Conclusion MDR S. sonnei is increasing and is most often identified among men. XDR S. sonnei infections are emerging and are resistant to all recommended antibiotics, making them difficult to treat without IV antibiotics. This outbreak illustrates the alarming capacity for XDR S. sonnei to disseminate globally among at-risk populations, such as MSM. Disclosures All Authors: No reported disclosures

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Caro, Robert V. "William Alabaster: Rhetor, Meditator, Devotional Poet—II." Recusant History 19, no. 2 (October 1988): 155–70. http://dx.doi.org/10.1017/s0034193200020215.

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As we approach Alabaster's sonnets’ our expectation is enhanced not by the promise of poetic greatness but by the prospect of exploring pure instances of the kind of poetry born in the convergence of rhetoric and meditation. We will focus first on a sequence of sonnets remarkable for their rhetorical techniques; then we will consider a group of sonnets each of which has meditation as its subject. In all the poems, however, it will be apparent that Alabaster as poet is simultaneously rhetor and meditator.

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Wilkes, G. A. "Petrarch and the English sonnet sequences (review)." Parergon 8, no. 1 (1990): 174–75. http://dx.doi.org/10.1353/pgn.1990.0066.

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Hawkes, David. "Sonnet Sequences and Social Distinction in Renaissance England (review)." Shakespeare Quarterly 57, no. 2 (2006): 218–20. http://dx.doi.org/10.1353/shq.2006.0059.

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