Relevant bibliographies by topics / Tamil poetry – History and criticism

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Tamil poetry – History and criticism'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Tamil poetry – History and criticism"

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Reynolds, R. Clay, and R. S. Gwynn. "New Expansive Poetry: Theory, Criticism, History." South Central Review 17, no. 3 (2000): 141. http://dx.doi.org/10.2307/3190100.

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Houston, John Porter. "French Romantic Poetry, Literary History, and the Newer Criticism." Romance Quarterly 34, no. 4 (1987): 389–95. http://dx.doi.org/10.1080/08831157.1987.11000479.

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Zohar Weiman-Kelman. "Touching Time: Poetry, History, and the Erotics of Yiddish." Criticism 59, no. 1 (2017): 99. http://dx.doi.org/10.13110/criticism.59.1.0099.

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Muir, James. "Poetry and Philosophy: Plato’s Spirit and Literary Criticism." European Legacy 19, no. 3 (2014): 403–6. http://dx.doi.org/10.1080/10848770.2014.898954.

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Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.

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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.
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ABU-HAIDAR, J. A. "WHITHER THE CRITICISM OF CLASSICAL ARABIC POETRY?" Journal of Semitic Studies XL, no. 2 (1995): 259–81. http://dx.doi.org/10.1093/jss/xl.2.259.

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Odnoral, Valeria. "The New Lyric Studies of the 21th Century: The Aesthetic and the Social in Poetry Criticism." Ideas and Ideals 13, no. 1-2 (2021): 401–13. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-401-413.

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The article considers the problem of correlation of aesthetic form and social content in contemporary poetry through the prism of contemporary poetry criticism, in particular, the New Lyric Studies of 2008 (M. Perloff, Y. Prins, R. Terada, V. Jackson, etc.). A representation of the lyrics as a genre of poetry, in which historically structured subjectivism and identity of author are interrelated with poetic writing, is at the center of the New Lyric Studies. In this context the lyrics is relative and volatile but also is the closest genre to the poetic nature, that allows to merge an autonomous entity of poetry with ‘agendas’ in the poem, which were difficult to connect in either too formal or too contextual critical approaches to the poetry in the 20th century. This became possible in the conditions of New Lyric critics speaking up against a substitution of poetry and literary criticism for historical, anthropological and cultural criticism because of the high popularity of cultural studies in the 1990s and the ensuing incorporation of interdisciplinarity in literary studies. Despite the objective of New Lyric critics to revitalize a theoretical study of poetry in the spirit of academic criticism of the New Criticism, the modifications in the methods for producing, existence and broadcasting of poetry and therefore in poetry of the last 50 years, poetry itself prevented the New Lyric from becoming the regressive movement. Some representatives of the New Lyric Studies subsequently expressed the need to study poetry in terms of new historical poetics and to create different methods capable to analyze the relations between culture and poetic form – between the social and the aesthetic. Having considered advantages and limitations of the New Lyric studies in the context of contemporary poetry discourse, reflecting not only the nature of contemporary criticism, but also perhaps the history of poetry criticism of 20-21th centuries, which is the dynamical coexistence and the mutual succession of different movements, the author draws a conclusion that this movement defines the right vector for the reconciliation of the long-standing struggle of formalism and contextualism in the poetry criticism as well as social and aesthetic components which poetic work includes.
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Berthoud, Luiza Esper. "Art History and Other Stories." ARS (São Paulo) 18, no. 38 (2020): 197–217. http://dx.doi.org/10.11606/issn.2178-0447.ars.2020.162471.

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Through the analysis of one erroneous piece of art criticism, an essay by Goethe that re-imagines a lost ancient sculpture, I demonstrate the difficulty that the discipline of art history has with conceptualizing the experience of art making and how one ought to respond to it. I re-examine the relationship between art making and art appreciation informed by ideas such as the Aristotelian view of Poiesis, Iris Murdoch’s praise of art in an unreligious age, and Giorgio Agamben’s call for the unity between poetry and philosophy. I also argue that much of modern art criticism has forgotten Arts’ earlier conceptual vocation, and propose methods of appreciating art that are in themselves artistic.
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Armstrong, Isobel. "The First Post: Victorian Poetry and Post-War Criticism." Journal of Victorian Culture 8, no. 2 (2003): 292–304. http://dx.doi.org/10.3366/jvc.2003.8.2.292.

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DAVIES MITCHELL, M. "Review. Apollinaire, Visual Poetry, and Art Criticism. Bohn, Willard." French Studies 48, no. 3 (1994): 353. http://dx.doi.org/10.1093/fs/48.3.353.

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Dissertations / Theses on the topic "Tamil poetry – History and criticism"

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HSIAO, CHING-SONG GENE. "SEMIOTIC INTERPRETATION OF CHINESE POETRY: TU MU'S POETRY AS EXAMPLE (CRITICISM)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188120.

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To interpret a poem is to comprehend a complete act of written communication. And to comprehend such an act, the reader must break the codes in which the communication is framed. Thus, poetic interpretation becomes the study of codes--or semiotics. Poetic codes exist at pragmatic, semantic, syntactic, and phonic levels. The decoding requires the reader's linguistic skills, literary competence, and personal experience. It involves an initial reading and a retroactive reading. At the first step, the reader attempts to supply elements missing in the text. Yet trying to interpret the text literally, he encounters problems in pragmatics, semantics, syntactics, or phonics, and is unable to grasp a coherent sense of the poem. Those problems give rise to a retroactive reading. At this step, the reader looks for a higher level of understanding where a unity of meaning can be identified. And by explaining the clues in the text according to his linguistic and literary competence, and revising his understanding on the basis of his new findings, he finally discovers a kernel concept, on which the whole text can be seen as a single unit, and every element, which first appeared to be puzzling, has a significative purpose. This semiotic model of interpretation has proven to be very fruitful in the explication of Tu Mu's poetry. It also enables the reader to appreciate the poetic discourse more thoroughly. Some of the ideas advocated by the model may also serve as principles for the translation of poetry. For example, in reading a poem, the model requires a search for unified pragmatic, semantic, syntactic, and phonic patterns, which convey the kernel concept. Thus, in translating a poem, the translator should also try to re-produce in the target language such unified patterns so that the reader may grasp the same kernel concept as contained in the original discourse. The model stresses implicities of poetry. Hence the rendition of a poem should preserve the implicities of the original text in order to invoke from the reader a response similar to what would be induced by the original poem.
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周業珍 and Yip-chun Rita Chau. "A study of Zhu Ziqing's (1898-1948) poetry and prose." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31212153.

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Kokotailo, Philip 1955. "Appreciating the present : Smith, Sutherland, Frye, and Pacey as historians of English-Canadian poetry." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39772.

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This thesis argues that as historians of English-Canadian poetry, A. J. M. Smith, John Sutherland, Northrop Frye, and Desmond Pacey explicitly promote the value of past conflict reconciled into present harmony. They do so by claiming that such reconciliation marks the maturity of English-Canadian culture. This thesis also argues, however, that the interactive progression of their histories implicitly undermines this value. It does so because each critic appreciates a different group of poets for realizing their shared cultural ideal, thereby establishing contradictory representations of what they all claim to be the culmination of English-Canadian literary history. The thesis concludes that while their lingering sense of present cultural maturity should now be fully renounced, the value these critics place on reconciliation is well worth preserving and transforming.
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Meir, Amira. "Medieval Jewish interpretation of pentateuchal poetry." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28842.

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This dissertation studies parts of six medieval Jewish Torah commentaries in order to examine how they related to what we call Pentateuchal poetry. It examines their general approaches to Bible interpretation and their treatments of all Pentateuchal poems. It focusses on qualities we associate with poetry--parallelism, structure, metaphor, and syntax--and explores the extent to which they treated poems differently from prose.<br>The effort begins by defining Pentateuchal poetry and discussing a range of its presentations by various ancient writers. Subsequent chapters examine its treatment by Rabbi Saadia Gaon of Baghdad (882-942), Abraham Ibn Ezra of Spain (1089-1164), Samuel Ben Meir (1080-1160) and Joseph Bekhor Shor (12th century) of Northern France, David Kimhi of Provence (1160-1235), and Obadiah Sforno of Italy (1470-1550).<br>While all of these commentators wrote on the poetic passages, none differentiated systematically between Pentateuchal prose and poetry or treated them in substantially different ways. Samuel Ben Meir, Ibn Ezra, Bekhor Shor, and Kimhi did discuss some poetic features of these texts. The other two men were far less inclined to do so, but occasionally recognized some differences between prose and poetry and some phenomena unique to the latter.
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Mona, Godfrey Vulindlela. "Ideology, hegemony, and Xhosa written poetry, 1948-1990." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002172.

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This interdisciplinary study locates Xhosa written poetry (1948-1990) within the framework of the socio-politico-economic scenario in South Africa. It sets out to examine the impact of the above stated factors on literature, by supporting the hypothesis that Xhosa written poetry of the Apartheid epoch is a terrain of the struggle for hegemony between the dominant ideology and the alternative ideologies.
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Ming, Yau-yau, and 明柔佑. "Qing poetry on Ming." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44204723.

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Ellis, Toshiko 1956. "The modernist dilemma in Japanese poetry." Monash University, School of Asian Languages and Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/8720.

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Kaze, Douglas Eric. "The environmental imagination in Arthur Nortje’s poetry." Thesis, Rhodes University, 2018. http://hdl.handle.net/10962/58024.

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This thesis seeks to contribute to the conversations in the humanities about the treatment of the physical environment in the context of a global ecological fragility and increased scholarly interest in the poetry of Arthur Nortje, a South African poet who wrote in the 1960s. While previous studies on Nortje concentrate on the political, psychic and technical aspects of his poetry, this study particularly explores the representations of the environment in Nortj e’s poetic imagination. Writing in the dark period of apartheid in South Africa’s history, Nortje’s poetry articulates a strong interest in the physical environment against the backdrop of official racialization of space and his personal nomadic life and exile. The poetry abounds with constant intersections of nature and culture (industrialism, urbanity and the quotidian), a sense of place and a deep sense of dislocation. The poems, therefore, present a platform from which to reevaluate conventional ecocritical ideas about nature, place-attachment and environmental consciousness. Drawing mainly on Felix Guattari’s ideas of three ecologies and transversality along with other theories, I conduct the study through what I call a transversal postcolonial environmental criticism, which considers the ecological value of the kind of assemblages that Nortje’s works represent. The first chapter focuses on conceptualizing a postcolonial approach to the environment based on Guattari’s concept of transversality to lay the theoretical foundation for the whole work. The second chapter analyses Nortje’s poetic imagination of place and displacement through his treatment of the private-public tension and the motif of exile. While the third chapter examines Nortje’s depiction of nature as both an everyday and urban phenomenon, the fourth chapter turns to his direct treatment of environmental crises handled through his imagination of the Canadian urban spaces, exile memory of apartheid geography, war and ecocide and the human body as a subject of environmental degradation. The fifth chapter, which is the conclusion, takes a brief look at the implication of Nortje’s complex treatment of the environment on postcolonial environmentalism.
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Travis, Isabelle. "The poetry of pain : trauma, madness and suffering in post-World War II American poetry." Thesis, University of Reading, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.553108.

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Wan, Yu-pui, and 溫羽貝. "Time and space in Zheng Chouyu's Poetry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B3963405X.

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Books on the topic "Tamil poetry – History and criticism"

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Takahashi, Takanobu. Tamil love poetry and poetics. E.J. Brill, 1995.

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Central Institute of Classical Tamil (Chennai, India), ed. Ancient Tamil poetry and poetics: New perspectives. Central Institute of Classical Tamil, 2010.

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Literary conventions in Akam poetry. Institute of Asian Studies, 1986.

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Kāvya in South India: Old Tamil Caṅkam poetry. Forsten, 2001.

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Dubi͡anskiĭ, A. M. Ritual and mythological sources of the early Tamil poetry. E. Forsten, 2000.

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Wilden, Eva. Literary techniques in Old Tamil Caṅkam poetry: The Kuruntokai. Harrassowitz, 2006.

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The wisdom of poets: Studies in Tamil, Telugu, and Sanskrit. Oxford University Press, 2001.

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Kācirācan̲, Irā. Evolution and evaluation of epics in Tamil. Mathy Pathippakam, 1990.

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Vikramātityan̲. Vikramātityan̲in̲ kavitairacan̲ai. Marutā, 2001.

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Institute of Asian Studies (Madras, India), ed. On Tamil poems and poets: Essays and speeches. Institute of Asian Studies, 2006.

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Book chapters on the topic "Tamil poetry – History and criticism"

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Zhao, Yiheng. "Pure Poetry, Impure Criticism, and the Power of Academia: Some Paradoxes Concerning the History of New-Wave Poetry." In The River Fans Out. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7724-6_12.

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"Modernism and criticism." In A Linguistic History of English Poetry. Routledge, 2005. http://dx.doi.org/10.4324/9780203978702-14.

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Kerkering, John D. "Theories of poetry." In The Cambridge History of Literary Criticism. Cambridge University Press, 2013. http://dx.doi.org/10.1017/cho9781139018456.035.

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Keach, William. "Poetry, after 1740." In The Cambridge History of Literary Criticism. Cambridge University Press, 1997. http://dx.doi.org/10.1017/chol9780521300094.005.

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Sambrook, James. "Poetry, 1660-1740." In The Cambridge History of Literary Criticism. Cambridge University Press, 1997. http://dx.doi.org/10.1017/chol9780521300094.004.

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Ferrari, G. R. F. "Plato and poetry." In The Cambridge History of Literary Criticism. Cambridge University Press, 1990. http://dx.doi.org/10.1017/chol9780521300063.004.

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Wimsatt, William K., and Cleanth Brooks. "Aristotle’s Answer: Poetry as Structure." In Literary Criticism: A Short History. Routledge, 2021. http://dx.doi.org/10.4324/9781003140917-3.

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Moss, Ann. "Theories of poetry: Latin writers." In The Cambridge History of Literary Criticism. Cambridge University Press, 1999. http://dx.doi.org/10.1017/chol9780521300087.010.

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Trimpi, Wesley. "Sir Philip Sidney'sAn apology for poetry." In The Cambridge History of Literary Criticism. Cambridge University Press, 1999. http://dx.doi.org/10.1017/chol9780521300087.020.

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Murphy, J. J. "The arts of poetry and prose." In The Cambridge History of Literary Criticism. Cambridge University Press, 2005. http://dx.doi.org/10.1017/chol9780521300070.004.

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