Relevant bibliographies by topics / Surreal Poems

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Academic literature on the topic 'Surreal Poems'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Surreal Poems"

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Mønster, Louise. "Dream Poems. The Surreal Conditions of Modernism." Humanities 7, no. 4 (November 7, 2018): 112. http://dx.doi.org/10.3390/h7040112.

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The article discusses three Swedish dream poems: Artur Lundkvist’s “Om natten älskar jag någon…” from Nattens broar (1936), Gunnar Ekelöf’s “Monolog med dess hustru” from Strountes (1955), and Tomas Tranströmer’s “Drömseminarium” from Det vilda torget (1983). These authors and their poems all relate to European Surrealism. However, they do not only support the fundamental ideas of the Surrealist movement, they also represent reservations about, and corrections to, this movement. The article illuminates different aspects of dream poems and discusses the status of this poetic genre and its relation to Surrealism throughout the twentieth century.
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Užgiris, Rimas. "Unexpected Laureate: Louise Glück in Lithuania." Vertimo studijos, no. 13 (December 28, 2020): 89–109. http://dx.doi.org/10.15388/vertstud.2020.6.

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The aim of this paper is to give an overview of the work of the American poet, Louise Glück, winner of the 2020 Nobel Prize in Literature, with a discussion of what kinds of challenges her poetry might pose for translators. Very few people knew of her work in Lithuania prior to the Nobel Committee’s announcement. Her poems were only published in Lithuanian translation for the first time in July, 2020, and only a handful at that. This paper argues that her work has important similarities and differences to Lithuanian poetry of the twentieth century, and that despite her free-verse lyrics written in rather plain diction, there are still many challenges to rendering her work in another language. The Lithuanian translations reveal stumbling points over ambivalent word choices, surreal imagery caused by ambiguous syntax, and the need for careful attention to the tone of the narrative voice (the lyrical subject) of the poems.
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John, Stefanie. "‘Precision Instruments for Dreaming’: Anatomizing Keats in Pauline Stainer's The Wound-dresser's Dream." Romanticism 22, no. 2 (July 2016): 230–41. http://dx.doi.org/10.3366/rom.2016.0277.

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This essay examines allusions to Keats in the collection The Wound-dresser's Dream (1996) by the contemporary British poet Pauline Stainer. Drawing on the Keatsian notion of dreaming as a metaphor for poetic creativity and responding to Keats as both poet and physician, Stainer explores the interface between sense experience and imagination. As dreams seem to encode hidden meanings, so Stainer's writing evokes the impression that the textual riddles of her poems symbolize greater truths – while the nature of these truths is mostly left unclear. Through extensive use of allusion and surreal, sometimes opaque imagery she foregrounds the status of the poetic work as a linguistic construct. Yet she also maintains a Keatsian belief that poetry's ability to embrace uncertainties and mysteries affords it a unique grasp on actuality.
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Ostriker, Alicia. "Zafrira Lidovsky Cohen. Loosen the Fetters of thy Tongue, Woman: The Poetry and Poetics of Yona Wallach. Cincinnati: Hebrew Union College Press, 2003. x, 264 pp." AJS Review 28, no. 2 (November 2004): 410–11. http://dx.doi.org/10.1017/s0364009404440215.

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Think of the intensity and notoriety of Sylvia Plath in the English-speaking world, and multiply it several times: that is Yona Wallach for the Hebrew-speaking world today. The most passionate and flamboyant figure in postwar literary Israel, Wallach was born on a small farming village in 1944, lived there most of her life until her death of breast cancer in 1985, and after her death has become a cultural legend. In life Wallach experimented with sex, drugs, and madness (she checked herself into a mental hospital in 1964 and remained for three months, deliberately exploring what the subconscious yielded), was a compelling live performer of her poems, and was typically surrounded by worshipful younger writers. In her art she was yet more experimental. Her poetry combines mysticism, sexuality, an ecstatic love of nature and a correspondingly powerful mistrust of society and its conventions, a fascination with language and the breakdown of language, an insistence on the validity of freedom and will. Steeped in biblical allusions, mythology, fairy tales, and kabbalistic imagery, she often twists and turns her sources with playful or violent irony. Her lexicon swerves through extremes of exaltation and crudeness. Her verse sometimes is traditionally rhymed, more often unpredictably and jazzily ragged, her imagery is often surreal, her narratives elliptic, her syntax fractured—yet thrillingly readable.
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Martín Fumero, José Manuel. "Asedios a la poesía surrealista de José María de la Rosa. El caso de “Vértice de Sombra” = Norrowing down José María de la Rosa’s surrealist poetry. The example of “Vértice de Sombra”." Lectura y Signo, no. 13 (December 21, 2018): 121. http://dx.doi.org/10.18002/lys.v0i13.5671.

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<p class="Pa15">José María de la Rosa es uno de los más genuinos representantes de la estética surrealista que se abrió paso durante el periodo prebélico en Canarias. Junto a Agustín Espinosa, Pedro García Cabrera, Do­mingo López Torres y Emeterio Gutiérrez Albelo formó parte del núcleo surrealista de <em>Gaceta de Arte</em>, y fue autor de algunos de los poemarios que con mayor fervor abrazaron el credo bretoniano. <em>Vértice de sombra </em>es, sin duda, la mejor muestra de esta personalísima adhesión, y en este artículo intentaremos desentrañar las principales claves que, a partir de esta <em>plaquette</em>, lo sitúan como uno de los miembros más singulares dentro del grupo surrealista canario.</p><p class="Pa15">José María de la Rosa is one of the most genuine representatives of the surreal aesthetic that made its way during the pre—war period in the Canaries. Together with Agustín Espinosa, Pedro García Cabre­ra, Domingo López Torres and Emeterio Gutiérrez Albelo he was part of the <em>Gaceta de Arte</em>’s surrealist circle , and he was the author of some of the collection of poems that most eargly embraced the Breto­nian creed. <em>Vértice de sombra </em>is undoubtedly the best example of this his very personal adherence , and in this article we aim at unrevealing the main key elements from this plaquette which place him as one of the most unique members within the surrealistic Canarian group.</p>
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Zondi, N. "Three protagonists in B.W. Vilakazi’s “Ezinkomponi” (“On the mine compounds”)." Literator 32, no. 2 (June 22, 2011): 173–88. http://dx.doi.org/10.4102/lit.v32i2.17.

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In this poem the great Zulu poet B.W. Vilakazi is preoccupied with the surreal scene of a gold mine compound in the 1940s Johannesburg, and reflects on the three protagonists of the drama that plays out in front of him: the miners, mine magnates and the heavy machinery, all things that drive the entire enterprise of enslaving the workers. Feelings flood his imagination: about the terrible status of the miners (with whom he identifies); what they have left behind, their dreams and the reality they battle with; the unfeeling and overwhelming spectre of industrialisation, and distant capitalist interests; and the instruments of oppression: the deafening mine machines. These three protagonists(especially the first and the third,) assume human characteristics and fight to justify their respective roles in the conflict. Vilakazi’s famous protest poem becomes a cry for help in the face of destructive industrial advancement as everpresent human drama, which pits values of gold/ and money against what is more fully human and worth living for; possibly unachievable present prosperity against a vision of future happiness and fulfilment.
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Salmon, Andy. "George Barker: ‘The triumph of the incommunicable’." Book 2.0 10, no. 2 (December 1, 2020): 233–43. http://dx.doi.org/10.1386/btwo_00032_1.

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George Barker has always been a troubling poet. Lionized in the 1930s and 1940s along with fellow Apocalyptic Poets Dylan Thomas, David Gascoyne, Kathleen Raine, by the time of Margaret Drabble’s overview of his life’s work in the Oxford Companion to English Literature, Barker is summarily dismissed as ‘characteristically rhetorical, Dionysian, and surreal, though some critics have suggested that he achieves disorder more by accident than intent’. My purpose in the next few pages is to directly challenge these assertions of bombast, overexuberance and superficiality. Both W. B. Yeats and T. S. Eliot regarded him as a ‘genius’. Harold Pinter praised him as ‘a love poet of the highest order’. Yet Barker is forgotten now. I want to suggest that this is actually because of the troubling depth of what he has to say, and the clarity with which he says it, rather than the reverse.
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Kim, Yeonmin. "Paul Durcan's Ekphrasis: The Political Aesthetics of Hybridity." Irish University Review 44, no. 2 (November 2014): 381–97. http://dx.doi.org/10.3366/iur.2014.0130.

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An ekphrasis refers to a poem in which works of visual art serve as the basis for poetic creation. In discussing two collections of ekphrases, Crazy About Women and Give Me Your Hand, this essay illuminates the manner in which Durcan politically appropriates hybridity in terms of the temporal and the spatial, the public and the private, and the real and the surreal. By reinterpreting and rearranging the figures and events in a specific personal or Irish situation, Durcan undermines a chronologically recognized public history, which has long defined the politics of Irish identity. In addition, his attempt to find a way out of Irish identity politics culminates in Durcanesque metamorphosis. By becoming woman, animal, art, or the imperceptible, Durcan's speakers cast doubt on any single unified human identity and can be read as radical experiments to search for alternatives to the identities typically associated with both hypermasculine Irish culture and totalitarian politics.
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Duffell, Martin J. "The Italian line in English after Chaucer." Language and Literature: International Journal of Stylistics 11, no. 4 (November 2002): 291–305. http://dx.doi.org/10.1177/096394700201100401.

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This article argues that the English iambic pentameter (EIP) has other important features in addition to the five parameters identified by Hanson and Kiparsky’s (1996) parametric theory ( position number and size, orientation, prominence site and type). One of these features is that EIP contains a mixture of pausing (French) and running (Italian) lines, as determined by whether the syllable in position 4 is word-final. A study of the frequency with which the Italian line is used in the two centuries after Chaucer’s death reveals that Hoccleve and the Scots poets, Henryson, Dunbar and Douglas, adhered fairly closely to Chaucer’s EIP verse design. On the other hand, several generations of English poets, Lydgate, Wyatt, Surrey and Sidney, experimented with alternative types of line that might well have developed into the canonical English long-line metre. Ultimately, however, the examples of Spenser and Shakespeare proved decisive in ensuring the victory of Chaucer’s metre. Between the 17th and 19th centuries, Donne, Milton, Dryden, Pope, Wordsworth, Keats and Browning were among the major poets who consolidated that victory and exploited the Italian line in order to accommodate their own or their age’s choice of diction. The mixture of French and Italian lines in decasyllabic verse is one of the distinguishing features of EIP. Although other factors affect the proportions in this mixture to a small extent, they are primarily the result of individual poets’ aesthetic choice. Significantly, all the English poets after Spenser whose verse is analysed in this article have favoured a more evenly balanced mixture of French and Italian lines than the random deployment of their lexicon would have produced.
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Валова, О. М. "OSCAR WILDE’S VIEWS ON ROMANTICISM." Вестник Рязанского государственного университета имени С.А. Есенина, no. 1(66) (June 8, 2020): 98–106. http://dx.doi.org/10.37724/rsu.2020.66.1.012.

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Романтизм — направление, оказавшее существенное влияние на мировоззрение О. Уайльда, которому было близко устремление к ирреальному, воображаемому, фантастике. Писатель считал, что романтизм — это творчество поэтов с особым складом души, предтечами романтизма он считал Христа, Данте, Дюрера, Китса, соотносил с этим направлением многих предшественников и современников. В своих произведениях Уайльд симпатизирует героям, которые не имеют «практической» цели в жизни, временные и пространственные границы в его произведениях часто достаточно условны, поскольку писателю важнее представить сущность явления. Уайльда привлекала фигура Д. Китса, его отношение к искусству, творчеству. Оба поэта считали красоту истинной сущностью действительности, черпали вдохновение не в жизни, а в творчестве современников и предшественников. Уайльд разделял точку зрения П. Б. Шелли на драматургию; взгляды Шелли и сюжет его драмы «Ченчи» отчасти нашли отражение в уайльдовской трагедии «Герцогиня Падуанская». Очевиден интерес Уайльда к творчеству Г. Гейне, что прослеживается в отказе от изображения повседневности, отторжении мещанского, в увлечении странным, таинственным. Как и романтики, Уайльд проявлял интерес к переходным, неустойчивым, двойственным состояниям, большое значение придавая художественной форме. Oscar Wilde, an artist infatuated with surreal, imaginary, fantastic, and bizarre, is greatly influenced by the literary movement of romanticism. According to Wilde, adherents of romanticism are poets capable of uniquely transmuting the commonly perceived world. Wilde believes that Christ, Dante, Durer, and Keats are true forerunners of romanticism. He believes that many of his contemporaries adhere to romanticism, too. In his works, Oscar Wilde sympathizes with his characters that have no utilitarian goal. The temporal and spatial dimensions of his works are often vague and tentative, for Wilde is more interested in the essence of phenomena. Oscar Wilde admires D. Keats for the latter’s artistic perception and creativity. Both poets believe that beauty is the true essence of all beings. Both poets seek inspiration in their contemporaries’ and predecessors’ works rather than in the surrounding world. Oscar Wilde shares P. B. Shelley’s views on drama. P. B. Shelley’s views and the plot of his verse drama “The Cenci” are discernible in Wilde’s play “The Duchess of Padua”. Wilde is obviously interested in H. Heine’s works, hence, Wilde’s infatuation with everything mysterious and bizarre and his neglect of everyday routine. Like other romanticists, Wilde is interested in transient and ambivalent states and values artistic presentation above all.
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Dissertations / Theses on the topic "Surreal Poems"

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Corbin, Sean L. "Hat and Man." UKnowledge, 2016. http://uknowledge.uky.edu/english_etds/45.

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Rapid life changes can lead to a certain amount of cognitive confusion if not full dissonance. Events take on new meaning. Images stand for new ideas. Through prose poetry, surrealism, deadpan humor, and word play, this thesis gives the sudden advent of fatherhood, domestication, intellectual exhaustion, and shifts in mental and physical health new shapes.
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Buckley, Joseph. "Got Your Tongue." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2305.

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Books on the topic "Surreal Poems"

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Daniels, Keith Allen. Satan is a mathematician: Poems of the weird, surreal, and fantastic. San Francisco: Anamnesis Press, 1998.

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Night thoughts: The surreal life of the poet David Gascoyne. New York: Oxford University Press, 2012.

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Henry Howard, the poet Earl of Surrey: A life. Oxford: Oxford University Press, 1999.

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William, McGaw, ed. A critical edition of the complete poems of Henry Howard, Earl of Surrey. Lewiston, N.Y: Edwin Mellen Press, 2012.

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Henry VIII's last victim: The life and times of Henry Howard, Earl of Surrey. London: Jonathan Cape, 2006.

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Cattaneo, Arturo. L' ideale umanistico: Henry Howard, Earl of Surrey. Bari: Adriatica editrice, 1991.

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Moss, William. The Suicide Machine: Surreal Poems. 1st Books Library, 2002.

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Moss, William. The Suicide Machine: Surreal Poems. 1st Books Library, 2002.

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Moss, William. Brain Damage Plastic World: Surreal Poems. 1st Books Library, 2002.

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Moss, William. Brain Damage Plastic World: Surreal Poems. 1st Books Library, 2002.

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Book chapters on the topic "Surreal Poems"

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Keene, Dennis. "Poems." In Henry Howard, Earl of Surrey, 48–69. Routledge, 2020. http://dx.doi.org/10.4324/9781003058991-3.

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Keene, Dennis. "Last Poems." In Henry Howard, Earl of Surrey, 70–81. Routledge, 2020. http://dx.doi.org/10.4324/9781003058991-4.

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Stamatakis, Chris. "‘The Restful Place’." In The Places of Early Modern Criticism, 22–37. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198834687.003.0002.

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Addressing the apparent absence of vernacular literary criticism in early Tudor culture, this chapter argues that a nascent poetics lies within the period’s lyric poetry itself. The critical lexicon that laces this lyric poetry shows poets beginning to theorize literature in spatial, geometric, or formal terms. Recalling the place logic of Henrician pedagogy and the blurring of boundaries between poetic invention and critical judgement, the poetry of Wyatt, Surrey, and their early Tudor acolytes ventures a rudimentary theory of poetic composition as the constraining of memory into form. Responding to the Italian commentary tradition that locates Petrarch’s poems in allusive relation to other poems, early Tudor lyric gestures to an intertextual model of how to read texts in a network of remembered literary ‘places’. As imitation fuses into commentary, external places of criticism are constrained internally within Henrician poetry itself.
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Hetherington, Paul, and Cassandra Atherton. "Neo-Surrealism within the Prose Poetry Tradition." In Prose Poetry, 102–27. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691180656.003.0005.

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This chapter assesses the American neo-surreal as an influential strand of prose poetry, adapting ideas that originated with the surrealists to challenge assumptions about how the world should be understood, and prose-poetic narratives ought to be read. The term “neo-surrealism” does not have to be restrictive but may be used as a way of opening up an understanding of certain key features of prose poetry internationally. And while American prose poets are certainly not the first to experiment with surrealism, many contemporary American prose poets demonstrate a particular interest in absurdism and neo-surrealism. As a result, neo-surrealism is arguably best exemplified by American prose poets — in terms of the number of writers employing such techniques and the quality of neo-surrealistic works being written. Notwithstanding its contemporaneity, the neo-surrealistic strand of prose poetry maintains a clear — if sometimes lateral — connection to the strange and often dreamlike works produced by nineteenth-century French prose poets such as Charles Baudelaire and Arthur Rimbaud.
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