Relevant bibliographies by topics / Spanish Sea poetry

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Academic literature on the topic 'Spanish Sea poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Spanish Sea poetry"

1

Persin, Margaret. "Mermaids, Pirates, Women and the Sea in Recent Spanish Poetry by Women." Bulletin of Spanish Studies 84, no. 2 (2007): 239–54. http://dx.doi.org/10.1080/14753820701237480.

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Mezquita Fernández, María Antonia. "Simbolismo y ecocrítica: análisis de las aves en la poesía de los románticos ingleses y el grupo poético español de los Cincuenta." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 23 (January 26, 2015): 357. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.201523737.

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Para los poetas románticos ingleses, la naturaleza constituye uno de los temas principales y el tratamiento de las aves ocupa un lugar relevante en sus obras. El Grupo Poético Español de los 50 afirmó tener cierta afinidad con los románticos y es por ello por lo que este estudio mostrará, a través de la Ecocrítica, el simbolismo de las aves en ambos grupos. Las connotaciones pueden ser varias, aunque en general los dos grupos coinciden en que estos pequeños seres son una fuente de conocimiento y el símbolo de un recuerdo lejano, ya sea positivo o negativo. In the poetry of the English Romantic
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3

Antsiferova, Polina Konstantinovna. ""Flowers" and "sea": Dutch flower still life of the first half of the 17th century in Middelburg." Культура и искусство, no. 8 (August 2024): 110–26. http://dx.doi.org/10.7256/2454-0625.2024.8.71522.

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The subject of the study is the flower still life of the Middelburg masters in the first half of the 17th century. The object of the study is the art of still life in the context of the Zeeland's capital economic and geograpical development. The author examines the geographical features of the city of Middelburg and introduces the reader to the environment in which the still lifes were created. Particular attention is paid to the influence of Flemish immigrants who raised the city's economy to a new level. Artists from the Spanish Netherlands significantly enriched the artistic environment of
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4

Mashenkova, Irina O. "“San Pablo del Bolcheviquismo”: On the Question of Perception of S.A. Esenin in the US Foreign-language Press in the 1920s." Literature of the Americas, no. 15 (2023): 164–78. http://dx.doi.org/10.22455/2541-7894-2023-15-164-178.

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The article provides an overview of publications dedicated to S.A. Esenin, in Spanish, Czech, Slovenian and Finnish, proving the interest in the poet by the audience of various diasporas that settled in America at different times. The materials identified by the author in the American newspapers La Prensa, La Opinión, El Imparcial (Puerto Rico), Toveritar, Svět, Telegraf and Glas svobode are introduced into scientific circulation. The changes made when borrowing publications from European publications are considered. The comparison of the work of E. Izvolskaya “Bolshevik poets-mystics” and the
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Fernández Reyes, Mónica. "Other ways of being through wordsThe poetry by Adriana del Carmen Lopez Santizin tseltal language and in Spanish." Política y Cultura, no. 51 (August 30, 2019): 125–44. http://dx.doi.org/10.24275/fdbm7546.

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Yılmaz. "Poetic Translation of Mathnawī by Fayḍullah Sājid". Eskiyeni, № 44 (20 вересня 2021): 611–28. https://doi.org/10.37697/eskiyeni.907930.

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<em>Mathnawī</em><em>,</em> one of the basic works of Islamic civilization, has received great attention since the day it was written. In addition to Eastern languages such as Arabic, Hindi, Sanskrit and Urdu, it has also been transleted to Western languages such as German, Dutch, French, English, Spanish and Italian. Feyḍullah Sājid (1892-1978) was one of the translators of the <em>Mathnawī</em>, many translations and commentaries of which were made into Turkish literature. Sājid translated the first book of <em>Mathnawī</em> in 4,118 couplets in syllabic meter and published the first thirty-
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7

Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2620.

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&#x0D; &#x0D; &#x0D; Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussi
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Books on the topic "Spanish Sea poetry"

1

R, José Guillermo Vargas. Bendito sea tu cuerpo. Ventana Andina, 2008.

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2

Linares, A. Martínez de. Un Diario de un mes junto al mar y otros apuntes. s.n., 1993.

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3

Corrales, Sonia Díaz. Diario del grumete. Ediciones Vigía, 1996.

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4

Padrón, Julio González. Cuentos, refranes y poemas de la mar. Marge Books, 2010.

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5

Casado, Marina. Este mar al final de los espejos. Ediciones Torremozas, 2020.

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6

Litvak, Lily, (1938- ) ed., ed. La Voz el mar: Antología. Fundación Cultural MAPFRE Vida, 2000.

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7

García, José Manuel Rico. Poeta y mar: Seis estudios sobre el mar en la poesía española. Universidad de Huelva, 2019.

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8

Camões, Luís de. Sulcando o mar: Poemas de Os lusíadas = Ploughing the sea : poems from The lusiads. Caixa Geral de Depositos, 2001.

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9

Alonso, María Rosa. Las generaciones y cuatro estudios (El mar, Guillén Peraza, Las rosas y un Misterio). Viceconsejería de Cultura y Deportes, 1990.

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10

Velay, Rosamna Pardellas. Aparente guante que sea cepo: Nuevas aproximaciones a las poéticas anibalianas : homenaje a Aníbal Núñez en el XXV aniversario de su muerte. Peter Lang, 2013.

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Book chapters on the topic "Spanish Sea poetry"

1

Restrepo, Luis Fernando. "Land and Sea in Juan de Castellanos." In The Rise of Spanish American Poetry 1500-1700. Modern Humanities Research Association, 2019. http://dx.doi.org/10.2307/j.ctv16kkz3k.14.

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Rollyson, Carl. "5." In The Making of Sylvia Plath. University Press of Mississippi, 2024. https://doi.org/10.14325/mississippi/9781496846679.003.0005.

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This chapter describes Aurelia Plath’s resilience after Otto Plath’s death, as she began teaching German and Spanish while reorganizing her family’s life by selling their home in Winthrop and moving to her parents’ house in Wellesley, Massachusetts, in 1942. Although Sylvia Plath revisited Winthrop to play with childhood friends, her new environment in a suburban neighborhood lacked the sea, a significant element in her later poetry and prose. The chapter points out how Aurelia, who had longed to attend Wellesley College, envisioned this prestigious Seven Sisters school as a future destination
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Miola, Robert S. "Anthony Copley." In Early Modern Catholicism. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199259854.003.0072.

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Abstract A Catholic poet who responded to Spenser’s Faerie Queene in A Fig for Fortune (1596, see poetry), Anthony Copley (1567–1609?) also published a book of jests, Wits, Fits, and Fancies (1595). Largely translated from a Spanish work, La Xoretta spagnola, Copley published the book to ‘minister content and merriment ‘(sig. A3) to readers. Wits, Fits, and Fancies displays the kinds of humour evident in the drama of the period, rich in puns, wordplay, and character stereotypes. Including jokes about doctors, worldly clerics, and famous church Wgures, the selections below also touch upon serio
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"Between Two Thieves." In Divine Inspiration The Life of Jesus in World Poetry, edited by Robert Atwan, George Dardess, and Peggy Rosenthal. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195093513.003.0106.

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Abstract Then two bandits were crucified with him, one on his right and one on his left. Nicaragua, 1867-1916. See page 49 for biographical information on this poet. "Knight" is translated from the Spanish by Lysander Kemp.
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Keown, Michelle. "Europeans in the Pacific." In Pacific Islands Writing. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199229130.003.0002.

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Abstract ‘Simply by sailing in a new direction / You could enlarge the world’. So wrote New Zealand poet Allen Curnow in ‘Landfall in Unknown Seas’, a poetic meditation on the 1642 ‘discovery’ of New Zealand by Dutch explorer Abel Tasman (Bornholdt et al. (eds.) 1997: 401). Tasman’s abortive voyage (see section 2.3 below) was made at a time when relatively little was known about the Pacific region: the Spanish, who led the first European expedition to Oceania in 1521, had annexed Guam and the Northern Mariana Islands, but abandoned plans to expand further into the Pacific. Tasman’s endeavours
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"I Have Come To Cast Fire." In Divine Inspiration The Life of Jesus in World Poetry, edited by Robert Atwan, George Dardess, and Peggy Rosenthal. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195093513.003.0076.

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Abstract I came to bring fire to the earth, and how I wish it were already kindled! Spain, 1864-1936. See page 77 for biographical information on this poet. "Fire" is translated from the Spanish by Y. R. Perez.
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de Sousa, Sara Rodrigues. "Literary Tourism in a Contact Zone: The Spanish Translation of Lisbon – What the Tourist Should See, by Fernando Pessoa." In Iberian and Translation Studies. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800856905.003.0012.

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The chapter analyses the process of translation and the edition of Lisbon – What the Tourist Should See, a tourist guide written in English by the Portuguese poet Fernando Pessoa around 1920, and only recently published in Portuguese (2015) and Spanish (2017) translations. It contends that the Spanish translation brings to the tourist guide a new horizon of reference, adding functions to a text that was, at its inception, already building a Portuguese–English ‘contact zone’. Recalling the cultural specificities of the tourist guide as a discursive genre, the analysis explores how the published
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Kuffner, Emily. "‘Para retener la criatura’: Miscarriage in Early Modern Spain." In Early Modern Maternities in the Iberian Atlantic. Amsterdam University Press, 2024. https://doi.org/10.5117/9789463727297_ch07.

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Although it must have been a common experience of reproductive life, miscarriage is nearly absent from the historical and literary record of early modern Spain. This chapter examines sixteenth- and seventeenth-century Spanish sources on miscarriage, giving precedence to female-authored sources to uncover early modern women’s lived experience. Conduct manuals, theological texts and midwifery manuals tend to blame the pregnant woman for miscarriage, while female-authored sources such as domestic remedy manuals, letters, and poetry focus on external, often supernatural, forces. By combining liter
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9

Eldem, Edhem. "South: Visitors from the Maghreb." In The Alhambra at the Crossroads of History. Edinburgh University Press, 2024. http://dx.doi.org/10.3366/edinburgh/9781399524872.003.0003.

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The chapter is devoted to Maghrebi visitors of the Alhambra, mostly Moroccan, some early examples of whom were known through their rihla or travel accounts. In the nineteenth century, the visitors’ book documents about 150 such travellers, most of them members of Moroccan diplomatic missions. However, with little more than names and dates available, one has to resort to the local press to flesh out these visits. The Moroccan embassy of 1885 is a case in point, which was much publicised and commented in the local press, with ample descriptions of the emotion engendered by the sight of the ances
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10

Williams, Wes. "Monsters and the Question of Inheritance in Early Modern French Theatre." In Epic Performances from the Middle Ages into the Twenty-First Century. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198804215.003.0008.

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Following its ‘rebirth’ in the early sixteenth century, Heliodorus’ Aethiopika, itself a self-consciously theatrical, suspenseful narrative reworking of Homer, spent the next 150 years or so being edited, translated, and painted; it was also reimagined as dramatic poetry on the Italian, Spanish, French, and English stages. This chapter sketches out a few French aspects of this story, with occasional reference to other traditions, with its overriding obsession with the ‘faire’ Chariclea. Not least of the remarkable things about Heliodorus’ own reworking of epic tropes and themes is the very lon
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