To see the other types of publications on this topic, follow the link: Sonnets.
Journal articles on the topic 'Sonnets'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Sonnets.'
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.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Lotman, Rebekka. "The patterns of the Estonian sonnet: periodization, incidence, meter and rhyme." Studia Metrica et Poetica 4, no. 2 (January 4, 2018): 67–124. http://dx.doi.org/10.12697/smp.2017.4.2.04.
Full textAbstract:
The first sonnets in Estonian language were published almost 650 years after this verse form was invented by Federico da Lentini in Sicily, in the late of 19th century. Sonnet form became instantly very popular in Estonia and has since remained the most important fixed form in Estonian poetry. Despite its widespread presence over time the last comprehensive research on Estonian sonnet was written in 1938.This article has a twofold aim. First, it will give an overview of the incidence of Estonian sonnets from its emergence in 1881 until 2015. The data will be studied from the diachronic perspective; in calculating the popularity of the sonnet form in Estonian poetry through the years, the number of the sonnets published each year has been considered in relation to the amount of published poetry books. The second aim is to outline through the statistical analyses Estonian sonnets formal patterns: rhyme schemes and meter. The sonnet’s original meter, hendecasyllable, is tradionally translated into Estonian as iambic pentameter. However, over the time various meters from various verse systems (accentual, syllabic, syllabic-accentual, free verse) have been used. The data of various meters used in Estonian sonnets will also be examined on the diachronic axis. I have divided the history of Estonian sonnets into eight parts: the division is not based only on time, but also space: post Second World War Estonian sonnet (as the whole culture) was divided into two, Estonian sonnet abroad, i. e in the free world, and sonnet in Soviet Estonia.The material for this study includes all the published sonnets in Estonian language, i.e almost 4400 texts.
2
Guty, Zuzanna. "Wielopostaciowość sonetu w poezji Rafała Wojaczka." Colloquia Litteraria 21, no. 2 (January 13, 2018): 81. http://dx.doi.org/10.21697/cl.2016.2.6.
Full textAbstract:
This paper attempts to present four different variations of the sonnet form in the poetry of Rafał Wojaczek. Through the analysis of Wojaczek’s sonnets it identifies the following variations of the sonnet’s form: a graphic sonnet, a classic sonnet, a sonnet with a final couplet (dystych), a free sonnet. It uses archival sources. This paper argues for the vitality of some of the forms of Polish poetry after 1989, and particularly of free verse, making a classical sonnet alive again in multiple ways.
3
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 textAbstract:
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.
4
Gadzhilova, Shanisat Magomedovna. "Sonnets by Magomed Akhmedov and the development of sonnet genre in modern Avar poetry." Филология: научные исследования, no. 11 (November 2020): 19–31. http://dx.doi.org/10.7256/2454-0749.2020.11.34056.
Full textAbstract:
The subject of this research the artistic distinctness of the sonnets by M. Akhmedov in the context of evolution of sonnet genre in modern Avar poetry. The sonnets of M. Akhmedov represent a significant part of his poetic path, and are viewed as a new phenomenon in modern Avar poetry, the origin of which is associated with the works Of R. Gamzatov and M. Abasil. The object of this research is the sonnet genre in Avar literature. The goal consists in determination of the sonnet in multigenre poetry Of Magomed Akhmedov, as well as comprehension of their artistic content and form in conjunction with development of the genre in modern Avar poetry. Special attention is turned to the stages of evolution of the indicated genre in Dagestan, and namely Avar, literature. Emphasis is placed on the artistic distinctness of M. Akhmedov's sonnets, their comparative analysis, imagery structure, and ideological- thematic peculiarities. The scientific novelty lies in the fact that this is first to review M. Akhmedov’s sonnets, which hold a special place in development of the sonnet genre in modern Avar poetry. The acquired results demonstrate that the examination of M. Akhmedov's sonnets allow revealing not only the range of his poetic pursuits, but also richness of the genre system of modern Avar poetry. The sonnets by M. Akhmedov draw attention by synthesizing the old and new traditions of the poet's precursors and contemporaries. The authors’s special contribution is defined by carrying out a comprehensive analysis of the sonnets M. Akhmedov that fill the gap in studying the evolution and development of this genre in particular, and poetry of M. Akhmedov overall.
5
Hao, Tianhu. "The Reading, Translation, and Rewriting of Shakespeare’s Sonnets in China." Style 56, no. 4 (November 2022): 461–82. http://dx.doi.org/10.5325/style.56.4.0461.
Full textAbstract:
ABSTRACT Shakespeare’s sonnets are widely loved and very popular in China, and major poet-translators such as Tu An and Liang Zongdai devoted a lifetime to their task of translation. The translation of the Bard’s sonnets involves cross-cultural understanding. In terms of poetic style, Shakespeare’s sonnets may be rendered in two styles, either modern or classical. Both styles have their pros and cons, but the general tendency leans toward the modern. In the course of over a century, the sonnet form has successfully been indigenized, and the Chinese sonnet has largely been developed from the reading and transplantation of Western sonneteers including Shakespeare and Milton. Among others, Shakespeare has exerted a significant impact on modern Chinese poetry by contributing new content and new form. This article aims to survey the reading, translation, and rewriting of Shakespeare’s sonnets in China and demonstrate how the Bard’s sonnets influenced the scene of modern Chinese poetry.
6
Blair, Kirstie. "Reforming the Religious Sonnet: Poetry, Doubt and the Church in the Nineteenth and Twentieth Centuries." Studies in Church History 52 (June 2016): 413–36. http://dx.doi.org/10.1017/stc.2015.24.
Full textAbstract:
This essay examines the tradition of ‘doubting’ poetics through an assessment of selected nineteenth- and twentieth-century sonnets. Through considering recent work on Victorian literature and culture, it argues for the importance of the poetics of faith in this period, and assesses the presence of nineteenth-century Christian, and particularly Anglican, forms and concepts in the genre of the sonnet. Analysing later twentieth-century sonnets by Geoffrey Hill and Carol Ann Duffy, it suggests that the sonnet remains vitally linked to the literature of faith and that these sonnets have vital links to their Victorian predecessors.
7
Lappo-Danilevskii, Konstantin Yu. "The Polemics of V.K. Trediakovsky and A.P. Sumarokov About the Sonnet." Studia Litterarum 9, no. 2 (2024): 172–99. http://dx.doi.org/10.22455/2500-4247-2024-9-2-172-199.
Full textAbstract:
The article investigates the early period of the sonnet form in Russia, covering the period from 1732 to 1759. It examines the ideas of two prominent poets of the time, Vasily Trediakovsky and Aleksandr Sumarokov, regarding the sonnet. Trediakovsky appears as the true unventor of the sonnet form in Russia: in 1732, he translated the famous “penitential”-sonnet of Jacques Vallée, Sieur Des Barreaux, “Grand Dieu, tes jugements sont remplis d’équité…” into 13-syllable lines. Trediakovsky translated this poem again in 1735 and 1752 with various variants of trochaic verses. In his “Epistle on Poetry” of 1747, Sumarokov displayed a different conception of the sonnet as a salon and playful poetry. In 1755, he published in the “Monthly Review” six sonnets in alexandrines, demonstrating his understanding of this form. Younger poets followed Sumarokov’s recommendations and imitated his sonnets. Trediakovsky had to accept defeat, and in 1759, wrote a sonnet in alexandrines. Apparently, Trediakovsky’s conception of the sonnet as a genre for elevated subject matter nonetheless influenced Sumarokov. In his late sonnets, written in 1769 and 1774, Sumarokov treated religious and philosophical subjects.
8
Leerintveld, Ad, and Jeroen Vandommele. "Instruments of Community." Early Modern Low Countries 6, no. 1 (June 29, 2022): 71–102. http://dx.doi.org/10.51750/emlc12172.
Full textAbstract:
This article analyses the emergence and development of Dutch sonnets through Netherlandish alba amicorum from the period 1560 to 1660. It discusses the advent of the sonnet in the Renaissance literature of the Low Countries in the 1560s, showing how artists, scholars, and poets with connections to the Dutch refugee community in London became early adapters of this genre through their alba amicorum. We argue that this group used the sonnet as a form of exile literature, which communicated attachment to the fatherland and the righteous causes of the Dutch Revolt. Next, the essay explores the Dutch sonnets in the alba amicorum of Janus Dousa and Jan van Hout. Instrumental in establishing Leiden University in 1575 and expanding its reputation, both Dousa and van Hout encouraged the writing of sonnets in their alba as a means to advocate the use of Dutch as a literary language. Tracing the Dutch sonnet within the alba amicorum of the Low Countries, it is clear that the Dutch sonnet should be considered as the outcome of an emancipatory effort. At a moment in time where traditional non-personal inscriptions in alba amicorum were the mode, these poets used the sonnet to distinguish themselves from other contributors in the album, while at the same time conveying a clear message. First, Dutch sonnets in alba were written to claim a specific group identity connected to a Dutch migrant community. Second, these sonnets were adopted within the friendship books of the intellectual elite in Holland in order to assert a forefront position for the vernacular language equal to that of Latin, and which supported political and linguistic emancipation. After the establishment of the Dutch Republic and the emancipation of the Dutch language were completed in the first quarter of the seventeenth century, the sonnet seemed to have achieved currency in Netherlandish culture. Around the same time the number of sonnets in alba drastically dropped. The lack of exclusivity might have been the main cause of this decline.
9
Blackman, Shane. ""Listen to Irene Cara", "Octavio Paz and the Nobel", "The Goals of Diego Maradona"." Latin American Literary Review 49, no. 99 (September 9, 2022): 83–84. http://dx.doi.org/10.26824/lalr.333.
Full textAbstract:
These 3 sonnets explore the lives of pop-star Irene Cara, author and Nobel Prize winner Octavio Paz, and soccer legend Diego Maradona. Though one major sonnet form from literary history has included iambic pentameter, the sonnets here drop the iambic part, but keep the pentameter. In the history of the sonnet, there traditionally have been rhyme schemes. There is no particular rhyme scheme in these 3 sonnets. They are written with a mixture of free verse and rhyming. The poems span across Latin America -- from Mexico to Argentina and from Cuba to Puerto Rico -- and they celebrate the rich musical, literary, and sporting worlds of three icons and legends. The 3 sonnets employ ordinary language to describe extraordinary people, so that everyone and all readers can be inspired to be creative and to enjoy, shape, and impact the world.
10
Rasouli Firoozabadi, Ameneh, and Habib Jadidoleslamy. "RHETORIC (PROSODY) IN THE LYRICS OF BIDDLE DEHLAVĪ." Malaysian Journal of Languages and Linguistics (MJLL) 6, no. 2 (November 20, 2017): 101–6. http://dx.doi.org/10.24200/mjll.vol6iss2pp101-106.
Full textAbstract:
In the Persian poem, the elements constituting the music are: metrical prosody, the rhymes, and homophony of words in the poem that is the result of the artistic repetition of the various phonetic units of the language. Harmony between these elements and poem content can be considered as a footnote of this phonetic phenomenon and Complementary of the musical quality of the lyrics. In the form of “sonnet”, with regard to the structural characteristics, the mentioned musical elements can be divided into two groups: one is related to the sonnet structure (which is constantly in a sonnet) and other is related to the couplet (which in the different couplet of a sonnet may be changed). The Biddle Dehlavī lyrics is described by “roam” adjective, but his sonnet meter is to a large extent “ordinary”, because high frequency meters of the sonnet, which four fifth of sonnets were versified in that format, are according to the lyric tradition of that time period. However, in low frequency meters of his sonnets, there are uncommon meters that distinguishes it from other poets. Most of the readers of Biddle poems and experts in the Biddle poems believe that his sonnets are the most valuable of his poems. In the other hand, because of its history and lyric nature, the sonnet form has a stronger link to the musics and the meter role is more highlighted in his sonnets.
11
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 textAbstract:
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).
12
Staniforth, Mark. "Anti-sonnets." Journal of Writing in Creative Practice 13, no. 1 (January 1, 2020): 47–53. http://dx.doi.org/10.1386/jwcp.13.1.47_3.
Full textAbstract:
The following article selects twelve works from Mark Staniforth’s year-long ‘Anti-sonnets’ series, for which Staniforth created an experimental sonnet for each day of the year. The project forms part of a broader investigation into the potential exploitation of subjectivity in modern, multi-media-inspired praxis. The sonnets recognize the inevitable failure of the pursuit of absolute objectivity: that authorial influence can never entirely be purged. Therefore it was appropriate that the sonnets were created for and shared on a blog – one of the earliest examples of Web 2.0 user-generated content-driven web design (<uri href="https://antisonnets.wordpress.com/">https://antisonnets.wordpress.com/</uri>).
13
Ullyot, Michael. "Fieldwork in the Sonnet: Milton, Donne, and Critical Orthodoxy." Renaissance and Reformation 44, no. 3 (January 24, 2022): 25–43. http://dx.doi.org/10.33137/rr.v44i3.37989.
Full textAbstract:
In this article, Michael Ullyot explores the possible implications for literary reading of a vast textual database of sonnets. Ullyot argues that a growing library of texts and tools will help us to read the sonnet in less linear and more “scalable” ways. Although not fully developed yet, Ullyot’s prototype already has produced useful results by focusing on Milton’s admittedly small corpus of English sonnets. Ullyot suggests that if textual analysis techniques can confirm critical insights about Milton’s sonnets, then more confidence can be placed in these tools and techniques when, later, they are scaled up to larger bodies of texts. While displaying a healthy pragmatic realism about the challenges ahead, Ullyot’s article tantalizingly suggests the scholarly advantages of building the world’s largest sonnet anthology.
14
Mago, Ivy, Nor Ain Ampaso, Remy Jean Pedores, Xyrish Alexandrea Tabon, Andrea Nery, Jade Tolentino, Kate Camille Dumlao, and Crisheille Naol. "Analysis of Sound Devices among Selected Shakespearean, Spenserian, and Petrarchan Sonnets." International Journal of Integrative Sciences 3, no. 5 (May 28, 2024): 415–38. http://dx.doi.org/10.55927/ijis.v3i5.9398.
Full textAbstract:
This study explored the use of sound devices in selected Shakespearean, Spenserian, and Petrarchan sonnets. A qualitative comparative analysis was conducted on three selected sonnets about love and death. The analysis revealed that all three sonnets utilize accent, rhythm, meter, and rhyme to create a structured musical quality. Additionally, all three forms employ alliteration, consonance, assonance, and repetition to various degrees, influencing the poem's rhythm, memorability, and emotional impact. All three forms of sonnets employed both euphony and cacophony with some lines overlapping each other to create a contrast that will build tension and anticipation. Finally, none of the sonnets employed onomatopoeia. This research highlights the diverse uses of sound devices within different sonnet forms enriching the understanding of how these poems achieve their artistic effects. The research suggests that investigating the correlation between sound devices with other sonnets under the three forms would be beneficial for future studies as it will provide a general pattern of what sound devices the three forms prefer using
15
Mirzaev, Hamid. "Artistic Features Of The Sonnet-Epic." CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 02, no. 06 (June 28, 2021): 51–54. http://dx.doi.org/10.37547/philological-crjps-02-06-11.
Full textAbstract:
The article discusses the experience of creating sonnets and epics in Uzbek poetry, the peculiarities of this genre, the artistic features of sonnets and epics. The author B.Boykobilov's contribution to the creation of works in the genre of sonnet-epic, tried to scientifically describe the experiences and traditions gained in this genre.
16
Mann, Ada Jo. "A Crown of Appreciative Sonnets." AI Practitioner 25, no. 4 (November 1, 2023): 33–36. http://dx.doi.org/10.12781/978-1-907549-57-1-4.
Full textAbstract:
After retirement, Ada Jo Mann explored poetry through classes at a local bookstore. The sonnet form intrigued her, the crown of sonnets, a ring of fifteen related sonnets that begin and end with the same line. She decided to explore this complicated structure through the lens of a topic close to her heart, Appreciative Inquiry.
17
Bernal, Gaspar Garrote. "Elusión de palabras viles y sonetos retrógrados en las Rimas humanas de Tomé de Burguillos." Calíope 27, no. 1 (April 2022): 22–45. http://dx.doi.org/10.5325/caliope.27.1.0022.
Full textAbstract:
Analysis of some sonnets from the Rimas humanas de Tomé de Burguillos that use the closed or subtle sexual code. In his “retrograde sonnets” and “compound acuities” (Gracián), Lope avoived “vile words” by means of switches such as those that the heteronym and parodic Burguillos, “Segundo Gatilaso”, could have appreciated in Garcilaso’s sonnet XI.
18
Weiland, Gudrun. "Verfahren der argutia in Sonetten von Sibylla Schwarz." Daphnis 44, no. 1-02 (July 21, 2016): 90–121. http://dx.doi.org/10.1163/18796583-04401004.
Full textAbstract:
In Martin Opitz’s Buch von der deutschen Poeterey, the sonnet is defined by verse and rhyme scheme (elocutio), not by arguments (inventio) or the arrangement of arguments (dispositio); nevertheless, Sibylla Schwarz’s Petrarchan sonnets are also distinguished by their logico-rhetorical structuring. Transcending logical structuring, their subtle style is characterized by surprising relationships between disparate topoi and perceptive differentiations between aspects of a particular topos. The article analyses Sibylla Schwarz’s contribution to the poetic form of the sonnet, taking the two sonnets, “Die Lieb ist blind” and “Ist Lieb ein Feur”, as examples.
19
Hasan, Mariwan, Lara Abdulkareem, and Lara Star. "William Shakespeare’s Sonnet 130: A Reconsideration." Acuity: Journal of English Language Pedagogy, Literature and Culture 5, no. 2 (October 15, 2020): 148–69. http://dx.doi.org/10.35974/acuity.v5i2.2370.
Full textAbstract:
How to know that a person is in love with someone else? It is usually through expressing one’s love towards the beloved. It will be considered a strong love towards a beloved but if not expressing it or exaggerating it. Shakespeare’s sonnet, in the beginning, is misleading its readers but the ending is a happy one as it is true love between the lovers but not announced everywhere and not exaggerated. This paper aims to analyze one of Shakespeare’s great sonnets “sonnet 130”, which is a satire of Petrarchan sonnets. The paper also looks at the form, and content of the sonnet 130 and analyses it to gain a broader insight into the sonnet. Finally, the study focuses on the literary devices used within the sonnet to comprehend Shakespeare’s portrayal of the image of women in the sonnet.
20
Wącior, Sławomir. "Sonnet in Stitches: – Patchwork Variations of Modern Religious Sonnets in English." Roczniki Humanistyczne 71, no. 11 (December 29, 2023): 107–22. http://dx.doi.org/10.18290/rh237111.8.
Full textAbstract:
Across time and geography, the sonnet has served as a vehicle for poets to explore a diverse range of subjects, from personal love and loss, to political and social issues, and to meditate on the human condition itself. This paper will explore the patchwork variations of some modern religious sonnets in English, examining how contemporary poets are using the sonnet form to explore faith, doubt, and spirituality in new and innovative ways. Through an analysis of several representative works, we will demonstrate how these poets are breathing new life into this versatile form, creating works that are both timeless and timely. While many contemporary sonnets depart from the traditional structure of rhyme and meter, they still adhere to a set of self-imposed rules and limitations. This allows poets to experiment with new forms of expression and to explore religious themes in a more relatable and accessible way. Humour, colloquialism, and self-irony are all common features of contemporary religious sonnets, which often depict the sacred in the context of everyday life. Contemporary sonnets attempt to convey the ineffable mystery of religious experience through language, but they are more self-aware of their own structure and the ways in which they depart from tradition. This systematic deconstruction is a significant element of the contemporary sonnet, reflecting the fragmented and chaotic nature of modern existence.
21
Adhikari, Bam Dev. "Idealization of Gandhian Myths in Bapu Sonnets: Devkota’s Romantic Perspective." JODEM: Journal of Language and Literature 11, no. 1 (December 31, 2020): 33–43. http://dx.doi.org/10.3126/jodem.v11i1.34802.
Full textAbstract:
Bapu sonnets were composed by great Nepali poet Laxmi Prasad Devkota just after the assassination of Mahatma Gandhi in India. Mahatma Gandhi used to be called ‘Bapu’ by the commoners of India and these 38 sonnets written on him are supreme examples in terms of the form of the sonnet; but in terms of the content, the sonnets romanticize Gandhi and his contribution to India and Indian people. Written in the heydays of Mahatma Gandhi’s popularity, the sonnets admire Mahatma Gandhi and deify him as a hero of Indian people. Mahatma Gandhi did play a great role in liberating India from British Raj but his role was controversial even in the Independence Movement of India and he became a more controversial figure in the subsequent years of his death. When these sonnets are read at the touchstone of how Gandhi is regarded today, they oversell Gandhi’s contribution, for he was blamed as caste-biased, religion-biased, gender-biased and class-biased person. In this article, I am making an argument that the sonnets make overstatement about Gandhi and praise him excessively.
22
Mokadem, Fatima. "Zu Bertolt Brechts Sonett „Über Kleists ´Prinz von Homburg´." Traduction et Langues 9, no. 2 (December 31, 2010): 31–40. http://dx.doi.org/10.52919/translang.v9i2.472.
Full textAbstract:
On Bertolt Brecht's sonnet "About Kleist's 'Prinz von Homburg'
In addition to his plays, socio-critical, war and love poems, Bertolt Brecht (b. 1898, died 1956) wrote eight art-critical sonnets. which he called "Studies" and published in 1951 in the 11th issue of "Versuche". These sonnets were written during the exile in the years 1934-1940. Brecht is referring here to classic, mostly literary (both lyrical and dramatic) works whose authors are considered classics in the sense of Brecht. Without exception, the sonnets in question deal with works of the past, more than half of the analyzes in the “Studies” refer to works of the German classics, three of them to those of the Weimar Classic. The "Studies" published in 1951 are not about an overall assessment of a classic work, positive or negative, but about conveying reservations about traditional literary material, which Brecht considers worthy of being examined and looked at again. These include the sonnet "About Kleist's play 'Der Prinz von Homburg'", which refers to the play "Prinz Friedrich von Homburg", which stands at the end of German classicism and which Heinrich von Kleist wrote between 1809 and 1811 as the last work before his suicide Has. In this contribution, which I presented as a lecture at the Humboldt University in Berlin in June 2010, I attempt to carry out a linguistic analysis of this sonnet in three points. First I give a brief overview of the development of Heinrich von Kleist's drama "Der Prinz Friedrich von Homburg", then about the critical sonnets "Studies" by Bertolt Brecht, then historical and socio-critical aspects are explained using examples from B. Brecht's sonnet "Über Kleists' Prince of Homburg'” highlighted.
23
Rahmeh, Hassan. "Digital Verses Versus Inked Poetry: Exploring Readers’ Response to AI-Generated and Human-Authored Sonnets." Scholars International Journal of Linguistics and Literature 6, no. 09 (September 9, 2023): 372–82. http://dx.doi.org/10.36348/sijll.2023.v06i09.002.
Full textAbstract:
This research contrasts the reactions of postgraduate English Literature students from the Lebanese University to a pair of sonnets. It particularly examines Shakespeare's "Sonnet 18" alongside a sonnet crafted by ChatGPT, both echoing the theme of timeless beauty. This research uses quantitative methods to assess participants' appreciation of these two sonnets, the felt emotional depth, and the perceived language complexity. Additionally, the study explores students' viewpoints on AI-generated poetry and identifies any perceived limitations in the AI sonnet compared to the human-authored one. The findings revealed that students favored Shakespeare's “Sonnet 18” over the AI-generated version due to its complex language and greater emotional resonance. Seeking to offer meaningful insights, this study delves into how the academic literary community perceives and interprets AI-generated literature. It further adds to the current discussion and debate about the role of AI in augmenting creative writing and underscores areas of potential improvement in upcoming AI literary projects.
24
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
25
Hickman, Alan F. "In a Minor Key: Visual Effects in Shake-Speare’s Sonnets." Sederi, no. 21 (2011): 147–61. http://dx.doi.org/10.34136/sederi.2011.8.
Full textAbstract:
Students of the sonnets are no doubt aware that they abound in wordplay that rewards multiple readings. They may be less aware, especially if they are unfamiliar with the original 1609 Quarto edition, that the poems may have been arranged to have a visual impact as well. The sonnet form itself is emblematic of a number of familiar referents, including an escutcheon, a “glass” (mirror), a leaf, and a seal. One might even see in the poems, as did Lady Mary Worth and John Donne in their “crowns” of sonnets, the links in a chain, or necklace. The sonnet form is roughly the poetic equivalent to the portrait miniature (a fad of the day) in art. I shall be pursuing these analogies in my paper. The most striking visual effect occurs in Sonnet 126, the last of the “fair youth” sonnets, which consists of six rhymed couplets followed by two empty sets of brackets. Katherine Duncan-Jones and others have, in recent years, argued authorial intent for this alleged “printer’s error.” Duncan-Jones suggests that the open parentheses may signify the poet and the fair youth’s “failure to couple,” while John Lennard sees in them “the silence of the grave.” I hope to demonstrate that, by thinking in visual terms, we might one day be able to unlock the story behind the most enigmatic verse sequence in English poetry.
26
Jacobs, Adriana X. "?הַאִם אַתָּה דּוֹמֶה לְיוֹם אָבִיב." European Judaism 51, no. 2 (September 1, 2018): 97–105. http://dx.doi.org/10.3167/ej.2018.510215.
Full textAbstract:
Abstract In this article, I address contemporary Hebrew translations of Shakespeare’s Sonnets, specifically those by the Israeli poet Anna Herman. My reading of Herman’s translation of Sonnet 18 contextualizes this translation in the Hebrew translation history of the Sonnets. I discuss how Hebrew retranslations of the Sonnets illuminate and complicate our understanding of shifts in the development of modern Hebrew writing and translation from the nineteenth to twenty-first centuries. How do Herman’s translations ‘compare’, as it were, with the translations that have come before, particularly those by male translators? As part of a neoformalist turn in contemporary Hebrew poetry, I call attention to the ways in which Herman’s translations, which were published in 2006, revitalize our reading of the original Shakespearean English and the Hebrew translations that followed, thereby constituting an altogether contemporary text.
27
Jacobs, Adriana X. "?הַאִם אַתָּה דּוֹמֶה לְיוֹם אָבִיב." European Judaism 51, no. 2 (September 1, 2018): 97–105. http://dx.doi.org/10.3167/ej.2017.510215.
Full textAbstract:
In this article, I address contemporary Hebrew translations of Shakespeare’s Sonnets, specifically those by the Israeli poet Anna Herman. My reading of Herman’s translation of Sonnet 18 contextualizes this translation in the Hebrew translation history of the Sonnets. I discuss how Hebrew retranslations of the Sonnets illuminate and complicate our understanding of shifts in the development of modern Hebrew writing and translation from the nineteenth to twenty-first centuries. How do Herman’s translations ‘compare’, as it were, with the translations that have come before, particularly those by male translators? As part of a neoformalist turn in contemporary Hebrew poetry, I call attention to the ways in which Herman’s translations, which were published in 2006, revitalize our reading of the original Shakespearean English and the Hebrew translations that followed, thereby constituting an altogether contemporary text.
28
Yu. V. Linnik, Yu V. "Wreath of sonnets “Movement” by Yu. V. Linnik." Science and School, no. 2 (April 30, 2024): 22–30. http://dx.doi.org/10.31862/1819-463x-2024-2-22-30.
Full textAbstract:
Yuri Linnik is an outstanding poet, scientist, philosopher, literary critic, culturologist, art critic, writer, creator of many museums, teacher and member of the Writers’ Union of Russia, whose work has left a deep mark on the world of modern poetry. The focus of our attention is the wreath of sonnets “Movement”, which helps to consider some thematic, stylistic and versification features of sonnets of Yu. V. Linnik of recent years. An analysis of the artistic and expressive means, structure and main ideas embodied in these poems, as well as comments, allow a deeper understanding and appreciation of the sonnet work of the poet in 2015–2018. The wreath of sonnets “Movement” is a vivid example of Yuri Linnik’s skill in using artistic techniques and creating a special style. He masterfully plays with language and rhythm, achieving deep emotional richness and expressiveness. In general, the wreath of sonnets “Movement” by Yuri Linnik is imbued with philosophy, deep images and harmony of nature and space, which makes his works real works of art inspiring for readers.
29
Volkovynskyi, Oleksandr, and Serhiy Hnatenko. "Use of “Erase” Technique in Young American Poetry of the Early 21st Century: Architectonic and Structural Transformation of the Sonnet Canon." Pitannâ lìteraturoznavstva, no. 107 (June 30, 2023): 30–42. http://dx.doi.org/10.31861/pytlit2023.107.030.
Full textAbstract:
“Erasure” technique has gained particular popularity in young American poetry of the early 21st century. Its use entails partial deletion or discoloration of the earlier text by a famous writer. Only fragments of the precedent text remain, used to subsequently shape a different architectonic and semantic structure. Shakespeare’s sonnets are an attractive object for “erasure”. They are the primary source for “innovations” by the poet and artist Jen Bervin in her book “Nets” (2003), the title of which is “erased” from the very word “sonnets” – “nets”. From partially discolored but readable Shakespeare’s text Bervin handpicks the words, extremely important to generate her new meaning. Architectonically, these words remain in the same places as in Shakespeare’s sonnets. Thus, the canonical sonnet form serves only as a background for laconic modernized expression. By means of “erasure” Bervin bares the Shakespeare’s sonnets’ deep semantic “grid”, actualizing various intertextual nuances. The poetic invariant opens up for new interpretations. Moreover, “erasure” technique has a purely technical component, hence the canonical form of the sonnet is subjected to certain filtering. The author of the new text produces numerous contemporary meanings. Therefore, “erasure” technique becomes an effective means of actualizing precedent texts. Modern reader oftentimes has already lost interest in them, but thanks to the postmodern experiment, expressive and sometimes brilliant new creations appear in the form of text fragments. Gamification, inherent to “erasure”, renews communicative processes, involving the classical author, their text, the experimental author, and their new work, as well as the recipient, also able to find new options for constructing utterances.
30
Zhang, Yuting. "A Comparative Study of the Translation of Shakespeare’s Sonnets from the Perspective of “Three Beauties”." Journal of Education and Educational Research 8, no. 1 (April 12, 2024): 244–51. http://dx.doi.org/10.54097/59xdrg81.
Full textAbstract:
The sonnet is a relatively old form of poetry that originated in Italy and was later introduced to England. Shakespeare’s sonnets are a type of sonnet composed of rhyme, pentameter and iambic pentameter, which occupy an important place in the world’s poetry and literature and have been translated in various ways in China. Chinese translators have gone through various explorations on the way to translate Shakespeare’s sonnets and have tried many different translation methods. However, when we look back at previous translation studies, most of them analysed the translations from the perspectives of meter, style, and rhetoric, but few of them analysed the translations in perspective of contemporary Chinese poetry translation theory, for reveal the extent to which different translators reproduced the aesthetic characteristics of the sonnets. Xu Yuanchong’s translation theory system has inherited the essence of traditional Chinese translation thought, among which the principle of “three beauties” takes “beauty” as the principle of pursuit, which breaks the traditional “faithfulness-centered” translation idea and concentrates on the aesthetic requirements of contemporary poetry translation. The two Chinese translations of Shakespeare’s sonnets, namely Tu An and Dai Liuling’s translation, have different identities and reproduce the beauty of the original poem to different degrees. Under the guidance of the translation principle of “three beauties”, this thesis compares and analyses the two translations, and studies the aesthetic reproduction of “sense, sound and form” by the two translators, aiming to enlighten the translators in the process of poetry translation and to inspire the cause of Chinese poetry translation.
31
Khavzhokova, Lyudmila Borisovna. "Versification as a genre-forming factor in the sonnet sequence “Faithful to Love” by M. Bemurzov." Philology. Issues of Theory and Practice 17, no. 4 (April 22, 2024): 1217–22. http://dx.doi.org/10.30853/phil20240176.
Full textAbstract:
The paper addresses the problem of identifying the role of versification factors in shaping certain genres and genre forms of Adyghe poetry. The study is based on the sonnet sequence “Faithful to Love” by the Circassian poet Mukhadin Hamidovich Bemurzov (1948-2007). The study aims to determine the genre-forming functions of meter, rhyme, and stanzaic structure in a specific literary context. The study is original in that it represents the first attempt to consider the listed components of versification as dominant genre features of sonnets comprising the sonnet sequence “Faithful to Love”. As a result of the study, the determining role of versification in shaping a number of poetic genres and the genre form of the sonnet sequence is confirmed. The adoption of the “solid form” of the sonnet by Adyghe poets is largely explained by their desire to enhance the level of literary skills and fully unfold their creative potential. Sonnet sequences are created with the aim of expanding the genre boundaries of the sonnet and introducing its innovative forms into the national literary process. The paper analyzes the meter and rhyme system and stanzaic structure of the sonnets included in the sequence “Faithful to Love”, determining whether they comply with the genre’s canon.
32
Jacobs, Arthur M., Sarah Schuster, Shuwei Xue, and Jana Lüdtke. "What’s in the brain that ink may character …." Scientific Study of Literature 7, no. 1 (November 23, 2017): 4–51. http://dx.doi.org/10.1075/ssol.7.1.02jac.
Full textAbstract:
Abstract In this theoretical paper, we would like to pave the ground for future empirical studies in Neurocognitive Poetics by describing relevant properties of Shakespeare’s 154 sonnets extracted via Quantitative Narrative Analysis. In the first two parts, we quantify aspects of the sonnets’ cognitive and affective-aesthetic features, as well as indices of their thematic richness, symbolic imagery, and semantic association potential. In the final part, we first demonstrate how the results of these quantitative narrative analyses can be used for generating testable predictions for empirical studies of literature. Second, we feed the quantitative narrative analysis data into a machine learning algorithm which successfully classifies the 154 sonnets into two main categories, i.e. the young man and dark lady poems. This shows how quantitative narrative analysis data can be combined with computational modeling for identifying those of the many quantifiable sonnet features that may play a key role in their reception.
33
Nelles, William. "Sexing Shakespeare's Sonnets: Reading Beyond Sonnet 20." English Literary Renaissance 39, no. 1 (January 2009): 128–40. http://dx.doi.org/10.1111/j.1475-6757.2009.01042.x.
Full text
34
Martz, Louis L. "Sidney and Shakespeare at Sonnets." Moreana 35 (Number 135-, no. 3-4 (December 1998): 151–70. http://dx.doi.org/10.3366/more.1998.35.3-4.10.
Full textAbstract:
The contrast between the sonnet cycles of Sidney and Shakespeare may be seen as analogous to the movement from High Renaissance to Mannerist styles of painting in the late sixteenth century. Harmony and symmetry, both thematic and stylistic, characterize Sidney’s “Astrophil and Stella.” Shakespeare’s sonnets, as a whole and in each unit, reveal a darker mood and a Jess settled poetics: ideal forms have been corroded and dissolved.
35
Comcar, Milad, and Sina Movaghati. "A Comparative study of Shakespeare and Hafiz’s sonnets, based on the Horace’s motif of Carpe Diem." Journal of English Language and Literature 4, no. 2 (October 30, 2015): 381–85. http://dx.doi.org/10.17722/jell.v4i2.107.
Full textAbstract:
Carpe Diem which means “enjoy, seize, use, and make use of” is a term taken from ode I. XI of Horace and has become a very common motif in literature ever since. Many poets throughout history have used this motif. But what are the main tenets of the motif in Horace’s odes? This article tries to show the main tenets of Carpe Diem according to Horace. These tenets are: tomorrow, living in the present and drinking wine; we try to apply the discussed elements on two sonnets of the greatest sonneteers of all times in two different countries. That of England’s William Shakespeare’s sonnet 73 and that of Persia’s Hafiz’s sonnet 473; we strive to see to what extent time has affected the concept of Carpe Diem in the poems; and to what extent the sonnets of Shakespeare and Hafiz followed the pattern of Horace’s Carpe Diem.
36
Peng, Min. "On the Theme of Immortality Through Literature in Shakespeare’s Sonnets." Randwick International of Education and Linguistics Science Journal 1, no. 1 (June 23, 2020): 86–91. http://dx.doi.org/10.47175/rielsj.v1i1.33.
Full textAbstract:
William Shakespeare’s 154 Sonnets contribute a great deal to art and literature. As a world-class master, he lives in the English Renaissance period, which is marked by a cultural flowering. Humanism is the essence of the Renaissance. It dramatically affects Shakespeare’s works. In the sonnets, he reinforces his affirmation of human wisdom and knowledge of creating magnificent literature, thus bringing about the immortality of youth and beauty, which is an acute reflection of his humanistic thought of the Renaissance. This paper takes the humanism of the Renaissance as its concept. Then, this paper concentrates on investigating the theme of immortality through literature in these sonnets, including Sonnet 15, 17, 18, 19, 55, 60, and 81. After interpreting the themes with concrete examples, this paper summarizes that Shakespeare’s yearning for immortality through literature derives from his humanistic spirit. Additionally, this paper is of higher significance for valuing the principle of putting people first at the core, while pursuing a comprehensive, balanced, and sustainable development in modern society.
37
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.
Full textAbstract:
<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>
38
Voronevskaya, Natalia V. "ON ENGLISH TRANSLATIONS OF R. M. RILKE’S POETIC LANGUAGE." Вестник Пермского университета. Российская и зарубежная филология 13, no. 2 (2021): 89–96. http://dx.doi.org/10.17072/2073-6681-2021-2-89-96.
Full textAbstract:
This study aims to assess the adequacy of the form of German sonnets when reproduced in English translations. The focus is on interrogative sentences, which, together with the sonnet in the form of a macro-sentence, the shortened verse and enjambment, are the characteristics of the innovative features of Sonnets to Orpheus by R. M. Rilke. The lyrical cycle Sonnets to Orpheus is among the most translated into world languages of Rilke’s poetry works, as well as Duino Elegies. Both professional and amateur poets and translators have been competing to put the Austrian writer’s best poems into English. Here we examine more than twenty English translations of the Sonnets into English, made from 1936 to 2008. The importance of the comparative linguistic-stylistic study of the original and its translations is determined by the continuing interest in Rilke’s works in English-speaking countries and the necessity to understand the principles of reconstructing the features of Rilke’s poetics using the English language. The system of methods used in this work includes: historical and philological analysis, comparative linguistic and stylistic description, as well as comparative analysis of the original and translation in the form that was developed in the works of V. Bryusov (1905), N. Gumilev (1919), M. Lozinsky (1935), E. Etkind (1963), S. Goncharenko (1987). We have found that the innovative nature of German sonnets is not always reflected in English translations. In some translations, American and British translators significantly modified the form of the original: interrogative sentences dominating in XVII and XVIII sonnets of the second part of the lyric cycle were not reproduced in English translations made by G. Good, D. Young, C. Haseloff, N. Mardas Billias and others.
39
Asst. Prof. Baidaa Abbas Ghubin (Ph.D). "Use of the Theory of Conceptual Metaphor in Two Sonnets by Victorian Female Poets." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 62, no. 1 (March 15, 2023): 428–35. http://dx.doi.org/10.36473/ujhss.v62i1.2058.
Full textAbstract:
This paper has applied the theoretical framework of conceptual metaphor theory to the analysis of the source and target domains of metaphors that are used in two English nineteenth century sonnets, both written by contemporaneous female poets. The quantitative and qualitative results of the textual analysis have clearly revealed that Elizabeth Barrett Browning’s sonnet 23 centres around the conceptual mapping of the journey of love and life with that of possession. In contrast, Christina Rossetti’s sonnet Remember tackles the central conceptual mapping of death as a journey in relation to its further experiential connections. In addition, the application of conceptual metaphor theoryLakoff and Johnson, 1980) in identifying the frequencies and densities of metaphors’ conceptual domains has resulted in unravelling the thematic structures of both poems. Discovering such a textually attested relationship between the densities of metaphorical conceptual domains and textual thematic structure has neither been fully explored nor identified before in the genre of English female sonnets.
40
Moisiienko, Anatolii. "LESIA UKRAINKA’S SONNET POEM AS A DYNAMIC SYSTEM." Слово і Час, no. 4 (August 30, 2023): 3–13. http://dx.doi.org/10.33608/0236-1477.2023.04.3-13.
Full textAbstract:
A sonnet poem, typically consisting of a thesis, an antithesis, and a conclusion, is a dynamic entity by its very nature. In the sonnets by Lesia Ukrainka, various aspects of such dynamics can be observed at both the proper textual and intertextual levels. At the textual level, an important role in the dynamization of the text system is primarily played by numerous lexical and syntactic repetitions. While tradition has long prevented the use of lexical repetitions in sonnet texts, the experience of outstanding masters, such as Lesia Ukrainka, proves that disregarding this tradition occurs due to the author’s creative approach to the issue.
The figurative and semantic dynamics of Lesia Ukrainka’s sonnets are often initiated with the very first word, which is further actualized through anaphoric and other repeated elements. In the first version of the “Fa” sonnet, the highly expressive dynamics of gradation in rhetorical interrogative sentences, introduced in the second quatrain, reach their intense paradigmatic expression in the tercet endings. To a large extent, a different character of the figurative and intonation course, corresponding to the meaningful intra-dialogical unfolding of the literary canvas, can be traced in the compositional system of the sonnet “The Last Song of Maria Stewart”, where the initial interrogative construction finds a logical continuation in the final lines of the exclamatory sentence.
The sonnet “Breath of the Desert”, the figurative dynamics of which are realized mostly due to the intertextual situation, shows still another character of the compositional course. Based on the perception of Lesia Ukrainka’s poem “Khamsin”, written, by the way, on the same day as the sonnet (both poems belong to the “Spring in Egypt” cycle), the image of the free and capricious wind (‘khamsin’) acquires a deep meaning. Intertextual and apperceptive dynamics can also be observed in the Bakhchysarai triptych from the cycle “Crimean Memories”, which undoubtedly alludes to Adam Mickiewicz’s “Crimean Sonnets”. However, the perception of the literary heritage here is highly individual: unlike Mickiewicz’s generally romantic interpretation of events, Lesia Ukrainka discusses the affairs of long-gone days in her sonnet from the standpoint of a narrator ‒ a contemporary of the new age, who interprets historical processes in relation to present realities.
41
Вороневская, Н. В. "On the Typology of Translations of R. M. Rilke's Poetry into English." Иностранные языки в высшей школе, no. 4(55) (March 5, 2021): 23–30. http://dx.doi.org/10.37724/rsu.2020.55.4.003.
Full textAbstract:
В статье рассматриваются разновременные переводы XXI сонета первой части «Сонетов к Орфею» Р. М. Рильке, выполненные британскими и американскими переводчиками. Изучение типологии поэтического перевода на примере лирического цикла Рильке основывается на классификации поэтического перевода, разработанной Р. Р. Чайковским. Проанализированные в статье переводы XXI сонета первой части в интерпретациях американских переводчиков Р. Блая и Л. Норриса (в соавторстве с А. Килом) представлены прозаическим и адекватным переводами соответственно. Британский поэт и переводчик Д. Патерсон использует сонеты Рильке как основу для создания поэтической версии оригинала, навеянной мотивами переводимого произведения. Сравнение трех переводов XXI сонета позволяет сделать выбор в пользу адекватного перевода Л. Норриса и А. Кила, в котором воссозданы не только образы оригинала, но и его уникальная поэтическая форма. В прозаической интерпретации сонета Р. Блая не учтены ни жанровые характеристики сонета, ни индивидуально-авторский стиль Рильке. The article deals with the different-time translations of the XXI sonnet of the first part of “Sonnets to Orpheus” by R. M. Rilke made by British and American translators. The study of the typology of poetic translation with examples drawn fromRilke’s lyric cycle is based on the classification of poetic translation developed by R. R. Tchaikovsky. The analyzed translations of the XXI sonnet of the first part in the interpretations of the American translators R. Bly and L. Norris (co-authored with A. Keel) are presented by prosaic and adequate translations, respectively. Inspired by Rilke’s original, the British poet and translator D. Paterson uses Rilke’s sonnets as a basis for creating his poetic version (i. e. interpretation based on the original) of the German sonnets. Comparing three English translations of the XXI sonnet allows us to make a choice in favor of the adequate translation made by L. Norris and A. Keel, in which not only the images of the original but also its unique poetic form are thoroughly recreated. In the prosaic interpretation of R. Bly’s sonnet, neither the genre characteristics of the original sonnet nor Rilke’s individual style are taken into account.
42
Dylag Murtaugh, Xenia Sylvia. "The Sonnets: Including the Erotic Sonnets, the Crimean Sonnets, and Uncollected Sonnets [Sonety]." Polish Review 68, no. 1 (April 1, 2023): 129–31. http://dx.doi.org/10.5406/23300841.68.1.15.
Full text
43
Henderson, Diana E. "Where Had All the Flowers Gone? The Missing Space of Female Sonneteers in Seventeenth-Century England." Renaissance and Reformation 35, no. 1 (November 19, 2012): 139–65. http://dx.doi.org/10.33137/rr.v35i1.19078.
Full textAbstract:
Les petits lieux de la poésie lyrique — et en particulier le sonnet — offraient un espace dans lequel les femmes du XVIIe siècle se sont retrouvées. Mais ensuite, qu’est-il advenu en Angleterre de l’immense potentiel du sonnet féminin, en particulier après le premier quart du XVIe siècle ? Les chercheurs ont mis l’emphase sur les changements formels et de genre (essor de l’épigramme, l’hégémonie du couplet), et ont affirmé que le sonnet a décliné pour des raisons culturelles et artistiques (guerre civile, ombres de Shakespeare et de Milton). Toutefois, la poésie des XVIIe et XVIIIe siècles présente un défi aux récits de l’histoire de la littérature et à la présomption que les femmes ont perçu le pétrarquisme comme un territoire masculin. Au contraire, cette époque est celle où les femmes ont adapté les forms et les résonances du sonnet aux nouvelles réalités sociopolitiques, et avancé des revendications autoriales par la même occasion. Plusieurs de ces sonnets ont été mis de côté en raison de leur caractère paratextuel, ou viennent à peine d’être découverts grâce à des études de manuscrits récentes. Ces sonnets mettent en lumière néanmoins la conscience artistique de ces auteurs féminines, et comment le récit d’histoire peut obscurcir la poésie que l’on considère. Il est donc temps de revoir nos présomptions au sujet du sonnet anglais et de remettre en question les constructions du romantisme et de la dominance shakespearienne, afin de redécouvrir l’héritage du sonnet du XVIIe siècle.
44
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 textAbstract:
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.”
45
Pérez Jáuregui, Mª Jesús. "Henry Constable’s Sonnets to Arbella Stuart." Sederi, no. 19 (2009): 189–202. http://dx.doi.org/10.34136/sederi.2009.9.
Full textAbstract:
Although the Elizabethan poet and courtier Henry Constable is best known for his sonnet-sequence Diana (1592), he also wrote a series of sonnets addressed to noble personages that appear only in one manuscript (Victoria and Albert Museum, MS Dyce 44). Three of these lyrics are dedicated to Lady Arbella Stuart – cousin-german to James VI of Scotland–, who was considered a candidate to Elizabeth’s succession for a long time. Two of the sonnets were probably written on the occasion of Constable and Arbella’s meeting at court in 1588, and praise the thirteen-year old lady for her numerous virtues; the other one seems to have been written later on, as a conclusion to the whole book, implying that Constable at a certain moment presented it to Arbella in search for patronage and political protection. At a time when the succession seemed imminent, Constable’s allegiance to the Earl of Essex, who befriended Arbella and yet sent messages to James to assure him of his circle’s support, raises the question of the true motivation of these sonnets. This paper will analyze these particular works in a political context rife with courtly intrigue.
46
Markova, Mariana M. "AN INTIMATE DIALOGUE WITH GOD IN JOHN DONNE’S “HOLY SONNETS”: PETRARCHAN CONTEXT." Alfred Nobel University Journal of Philology 1, no. 27 (June 3, 2024): 34–52. http://dx.doi.org/10.32342/2523-4463-2024-1-27-3.
Full textAbstract:
The purpose of the paper is to study the images of the platonic and courtly in the protagonist’s personal relations with God in J. Donne’s “Holy Sonnets” in the context of the connection with the Petrarchan tradition. In order to accomplish this, a complex approach including elements of biographical, genealogical, typological, hermeneutic, comparative, and structural-semiotic methods of literary analysis has been used. The views of literary critics on the sources of the “Holy Sonnets” (Christian meditative practices, Bible books, traditions of English religious lyrics) have been reviewed, their connection with the Petrarchan poetic tradition has been pointed out and, in this context, one of the possible interpretations of J. Donne’s sonnet sequence has been proposed. It has been shown that three poems of the sequence – XIV, XVII and XIX – are especially important and conceptual for understanding the evolution of the protagonist’s relations with God in the “Holy Sonnets”. In the first of them, feeling his own weakness and impossibility to overcome the devil, J. Donne’s persona begs the Lord to win back his heart from the enemy, using a broad palette of military metaphors typical to the Petrarchan lyrics. However, the Lord, who in sonnets I – XIII is depicted in a Petrarchan manner as distant and completely deaf to the protagonist’s pleas, remains indifferent. In sonnet XVII, which looks similar to the lyrical texts of the “Canzoniere” dedicated to Laura’s death, a notable change in the relationship between the characters takes place. As in the Italian humanist’s poems, the life path of J. Donne’s persona finally turns to heaven after the death of his beloved, and he begins to feel that the loss of earthly love is compensated by the gaining of the Divine one. However, his further relations with God, once again, seem to be built according to the Petrarchan model, most fully described in the last text of the sequence. The sonnet XIX demonstrates all the complexity of the relationship between a human being and the Lord. J. Donne’s persona is constantly dominated by conflicting feelings and emotions, which generally correlates with Petrarchan understanding of the ambivalence of love, best shown by F. Petrarch in the sonnets CXXXII and CXXXIV. Moreover, the poetic vocabulary used by J. Donne in this poem indicates the specific character of his persona’s relations with God, which are supposed to have signs of courtly love, courtly bowing-service. It has been summed up that the protagonist’s relations with the Lord in the “Holy Sonnets” might be interpreted as generally built on the same principles that are immanent in the concept of love in the poetry of Petrarchism. The persona of the English poet, as well as the traditional hero of Petrarchan texts, also suffers from unrequited feelings, longs for reciprocity with all his heart, and, in addition, speaks in the specific metaphorical language. Even if the linguistic practice utilized by the author cannot be considered exclusively Petrarchan, since a similar rhetorical code, in which the experience of spiritual communication with the Lord was described with the help of erotic images, was widely used by the Christian mystics, the sonnet poetic structure is canonical for Petrarchan lyrical discourse and require following the established rules not only in terms of form, but also in terms of content.
47
Хавжокова, Л. Б. "Poetics of Ruslan Atskanov's sonnets: tradition and innovation." Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», no. 1(312) (June 26, 2023): 36–45. http://dx.doi.org/10.53598/2410-3489-2023-1-312-36-45.
Full textAbstract:
В статье исследуется сонетное творчество кабардинского поэта Руслана Ацканова. Основное внимание уделяется поэтике сонетов с целью установления их соответствия/несоответствия заявленному жанру. Выявляются главные мотивные линии, рассматривается образная система, исследуется метрико-рифмовочный комплекс. Детализированному анализу подвергаются отдельные сонеты, созданные по английской, итальянской и французской формам. Оценивается уровень художественного мастерства поэта, продемонстрированный при освоении этих жанровых форм. В целом в исследовании воссоздается индивидуально-авторский стиль Р. Ацканова, наиболее ярко проявившийся в сонетном творчестве поэта. The article examines the sonnets of the Kabardian poet Ruslan Atskanov. The main attention is paid to the poetics of sonnets in order to establish their accordance/discordance with the genre. The authors investigate the main motive lines as well as the figurative and metric-rhyming systems. Individual sonnets created according to English, Italian and French forms are subjected to a detailed analysis. The study assesses the level of artistic mastery of the poet, shown during the development of these genre forms. R. Atskanov’s extensive sonnetary, presented in four author’s poetry collections – “Ventilation” (2003), “Into the Circle” (2009), “After the Rain” (2014), “House in the Clouds” (2020) is presented as the material of the study. Based on the results obtained, the poet's contribution to the development of the "solid" form of the sonnet, the formation and evolution of the genre in Kabardian poetry is determined. The results of the study can be used in studying the history of Adyghe (Adyghe, Kabardian, Circassian) literature, recreating a complete picture of the evolution of the sonnet genre in national poetry, as well as in writing qualifying and other kinds of research papers.
48
Michel Modonessi, Alfredo. "‘Thy glass will show thee’. Re-locating voice in Shakespeare's Sonnets by performative speculation." Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no. 2 (March 12, 2012): 22–52. http://dx.doi.org/10.22201/ffyl.poligrafiasnuevaepoca.2012.2.1661.
Full textAbstract:
Upon the premise that Shakespeare’s sonnets display a variety of voices and therefore, among other things, they cannot be defined exclusively as “lyrical poems” in the modern sense, this paper approaches sonnets 129 and, more pointedly, 73, “re-locating” their poetic voices against the grain of more conventional interpretations, as examples of the inherent performativity of entire collection. The basic ideas are that 129 is far more ambiguous a piece than usually understood, ultimately resolved in ironic, comedic fashion; and that 73 is a reflection upon aging, indeed, but one that literally originates from a reflective surface, from an image in a mirror, and “plays out” as such. To be more precise, 73 is a sonnet in which the speaking voice proceeds as if from the poet’s reflection on the glass. This sonnet might even be said to perform the function of the explanation and motto of the emblem of a mirror reminding the seer of approaching death. In both cases, principles are discussed regarding their potential performance.
49
Antonyuk, A. Yu. "WINTER AS A SYMBOL OF THE DEATH OF THE SOUL IN THE CYCLE "WINTER SONNETS" BY V. IVANOV." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23, no. 80 (2021): 81–85. http://dx.doi.org/10.37313/2413-9645-2021-23-80-81-85.
Full textAbstract:
This article discusses the cycle of V.I. Ivanov's "Winter Sonnets", which the author wrote in a difficult time for him. From the first to the last (12th) sonnet, the lyric tries to preserve his soul. We examined the specifics of the poet's lyrics, the image of winter as a symbol of death and came to the conclusion that these sonnets represent a lyric cycle, since it has “author's contexts” (“graveyard of snowdrifts”, winter is a symbol of death, an orphan, a widow), a certain author's intention of combining poems, which is to show how the lyric hero overcomes difficulties, tries to save his soul when there is a blizzard, winter and snowdrifts around. All poems follow a certain order, showing the path of the lyric hero. The fifth sonnet stands out from this row, as it makes a reference to the past of the lyric hero. According to the typology of cyclical texts by M. Darwin, this cycle is connected, since it has a common title and has a certain sequence, which was set by the author himself.
50
Al-Dabbagh, Abdulla. "Race, Gender and Class in Shakespeare’s Sonnets." International Journal of Arabic-English Studies 13, no. 1 (January 1, 2012): 23–32. http://dx.doi.org/10.33806/ijaes2000.13.1.2.
Full textAbstract:
The most direct of the so-called “Dark Lady” sonnets, (127), (130), (131), and (132), contain such a powerful indictment of racism and sexism that they transcend their age and continue to retain their anti-racist, anti-sexist, impact and relevance until today. Shakespeare’s strong feminine figures of Rosalind, Portia, Cleopatra and Juliet, to name the most prominent, as well as his positive, sympathetic portrayal of the "weaker" feminine characters of Ophelia, Cordelia, and Desdemona, for example, should clear him of any charges of misogyny. The choice of the pair of lovers, whose seeming incompatibility enables them to overcome social and cultural prejudices, which establishes the framework for so many of Shakespeare’s plays, most prominently Romeo and Juliet, Antony and Cleopatra, Much Ado about Nothing, and The Taming of the Shrew, clearly also determines the poet’s relationship with the “Dark Lady” in The Sonnets.The group of sonnets, (25), (29), and (30), that achieve their strongest poetic impact in sonnet (29) (“When in disgrace with Fortune and men’s eyes”), and the group of sonnets, (55), (64), (65), and (66), that reach the height of their poetic force in sonnet (66) (“Tired with all these for restful death I cry”), express a dissatisfaction with the human condition and a rejection of contemporary society that are central to our understanding of Shakespeare. Significantly, what seems to begin as an expression of the poet’s personal grievance and as a case of individual protest against life’s unfairness, and what seems to be a succession of poetic attempts at explaining the common theme of universal mortality and the inevitable effects of time, become a distinct and powerful expression of political protest and a deep rejection of the society of his time..