Journal articles: '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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Frost, Christine Mangala, and A. Mariaselvam. "The Song of Songs and Tamil Love Poems, Poetry and Symbolism." Vetus Testamentum 41, no. 2 (1991): 255. http://dx.doi.org/10.2307/1518919.

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D’Avella, Victor B. "Recreating Daṇḍin’s Styles in Tamil". Cracow Indological Studies 22, № 2 (2020): 17–41. http://dx.doi.org/10.12797/cis.22.2020.02.02.

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In Sanskrit poetics, the defining characteristics of poetry, its very life breath, are the guṇas, ‘qualities’. They make up the phonetic and syntactic fabric of poetic language without which there would be nothing to further to ornament. Many of these intimate features are by necessity specific to the Sanskrit language and defined in terms of its peculiar grammar including phonology and morphology. In the present article, I will describe what happens to four of these guṇas when they are transferred to the Tamil language in the Taṇṭiyalaṅkāram, a close adaptation of Daṇḍin’s Kāvyādarśa. I wish to demonstrate that the Tamil Taṇṭi did not thoughtlessly accept the Sanskrit model but sought, in some cases, to redefine the qualities so that they are meaningful in the context of Tamil grammar and its poetological tradition. A partial translation of the Tamil text is included.

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R, Rajeshwari. "The linguistic personality of the poet Vali through Krishna Vijayam." International Research Journal of Tamil 3, S-2 (2021): 46–49. http://dx.doi.org/10.34256/irjt21s29.

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Epics and Puranas are the most prominent elements of the language that show case the importance and importance of a language. These are the mirrors of time, and there are numerous epic stories. The legends of these legends, which have been written and written from time to time, are known to the stories and philosophies of literary taste. The purpose of this article is to explain the linguistic character of the poet Theerata viḷaiyattup pillai in the first part of the book Krishna Vijayam, written by the poet Vaali, with Krishna, the head of Villiparatham, the epic hero. Vaali, who has written over ten thousand film music albums, has made several achievements in the field of cinema but has also contributed to tamil films. His poetry, which had its own place in the history of Tamil poetry, has its own significance.

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Hellmann-Rajanayagam, Dagmar. "And heroes die: Poetry of the Tamil Liberation Movement in Northern Sri Lanka†." South Asia: Journal of South Asian Studies 28, no. 1 (2005): 112–53. http://dx.doi.org/10.1080/00856400500056236.

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Hendren, T. George. "Catullus’s Ameana Cycle as Literary Criticism." Mnemosyne 69, no. 2 (2016): 262–75. http://dx.doi.org/10.1163/1568525x-12341769.

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This paper will reevaluate Catullus’s venom in poems 41 and 43 (the so-called ‘Ameana Cycle’) to show that his attacks on Ameana are in fact veiled criticisms of Mamurra’s loathsome poetry. Catullus’s descriptions of Ameana substantiate this reading: her physical features are disproportionate and ill suited to Roman conceptions of beauty, she is entirely without wit, and despite her patent imperfections, she has no idea how hideous she really is. The use of a poetic mistress in this manner has parallels within the Catullan corpus, and is also referenced in the work of Martial.

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Beaujour, Elizabeth Klosty, and Aleksey Gibson. "Russian Poetry and Criticism in Paris from 1920 to 1940." Russian Review 50, no. 3 (1991): 358. http://dx.doi.org/10.2307/131084.

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Bethea, David M., Aleksey Gibson, Anna Prismanova, et al. "Russian Poetry and Criticism in Paris from 1920 to 1940." Russian Review 54, no. 1 (1995): 128. http://dx.doi.org/10.2307/130789.

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Wolwacz, Andrea Ferras. "TOM PAULIN'S POETRY OF TROUBLES." Organon 34, no. 67 (2019): 1–23. http://dx.doi.org/10.22456/2238-8915.96943.

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This paper is part of my PhD thesis. It examines contemporary Northern Irish Literature written in English with the help of the theoretical approach of Irish Studies. It aims to introduce and make a critique of poetry written by Tom Paulin, a contemporary British poet who is regarded one of the major Protestant Irish writers to emerge from Ulster province. The thread pursued in this analysis relates to an investigation of how ideological discourses and the issues of identity are represented in the poet’s work. The author’s critical evaluation of existing ideologies and identities and his attempt to respond to them will also be analyzed. Four poems from three different collections are investigate. Paulin’s poems function as testimonies, denouncement and criticism of the Irish history.

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Elfenbein, Andrew. "Cognitive Science and the History of Reading." PMLA/Publications of the Modern Language Association of America 121, no. 2 (2006): 484–502. http://dx.doi.org/10.1632/003081206x129675.

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Cognitive psychologists studying the reading process have developed a detailed conceptual vocabulary for describing the microprocesses of reading. Modified for the purposes of literary criticism, this vocabulary provides a framework that has been missing from most literary-critical investigations of the history of literate practice. Such concepts as the production of a coherent memory representation, the limitations of working memory span, the relation between online and offline reading processes, the landscape model of comprehension, and the presence of standards of coherence allow for close attention to general patterns in reading and to the ways that individual readers modify them. The interpretation of Victorian responses to the poetry of Robert Browning provides a case study in the adaptation of cognitive models to the history of reading. Such an adaptation can reveal not only reading strategies used by historical readers but also those fostered by the discipline of literary criticism. (AE)

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Jayanth, Malarvizhi. "Literary criticism as a critique of caste: Ayothee Thass and the Tamil Buddhist past." Journal of Commonwealth Literature 54, no. 1 (2017): 84–95. http://dx.doi.org/10.1177/0021989417710066.

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While postcolonial studies has expanded Indian nationalist critique by considering how British literary forms reinforced imperial rule, little is known about how colonial-era Dalit writing demonstrated the bases of caste inequality. The literary criticism of Ayothee Thass (1845–1914) does so by locating the origins of untouchability in the vanquishing of Buddhism by Brahminical forces. This article draws upon issues of his Tamilan journal published between 1907 and 1914, to argue that Thass offered literary criticism as a means of destabilizing widely-accepted justifications of caste and as a basis of political action. Just as nationalists turned to the pre-colonial past to establish authority and critique colonial dominance, lower-caste intellectuals including Ayothee Thass turned to a pre-Brahminical past to assert their identity as indigenous inhabitants of the land. The little-known history of this mode of reading is crucial to understand the formation of a more inclusive public sphere in colonial India and the genealogies of twentieth-century Dalit assertion in the subcontinent.

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Wright, Matthew. "POETS AND POETRY IN LATER GREEK COMEDY." Classical Quarterly 63, no. 2 (2013): 603–22. http://dx.doi.org/10.1017/s000983881300013x.

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The comic dramatists of the fifth centuryb.c.were notable for their preoccupation with poetics – that is, their frequent references to their own poetry and that of others, their overt interest in the Athenian dramatic festivals and their adjudication, their penchant for parody and pastiche, and their habit of self-conscious reflection on the nature of good and bad poetry. I have already explored these matters at some length, in my study of the relationship between comedy and literary criticism in the period before Plato and Aristotle. This article continues the story into the fourth century and beyond, examining the presence and function of poetical and literary-critical discourse in what is normally called ‘middle’ and ‘new’ comedy.

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Vasilyeva, L. A. "“Mir Taqi Mir”. A fragment from the History of Urdu Poetry “Water of Life” of Muhammad Husayn Azad." Orientalistica 3, no. 5 (2020): 1437–49. http://dx.doi.org/10.31696/2618-7043-2020-3-5-1437-1449.

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The article is a translation into Russian of the chapter from the “Water of Life” by Muhammad Husain Azad (1830–1910). This is the chapter about the greatest Urdu poet Mir Taki Mir (1713/1723(?)–1810 AD). The critical work by Azad, the “Water of Life” is considered as the first history of Urdu poetry written in Urdu. Azad was the first to see in this phenomenon a continuous process. The periods in the development of literature are interlinked. Azad identifies five major periods of Urdu poetry and briefly describes each of them. His work comprises biographical facts, characteristics, vivid word-portraits of outstanding Urdu poets and colourful historical anecdotes associated with them. The “Water of Life” had a very significant impact on contemporaries of Azad, as well as on the further development of literary-critical thought in Urdu. It set the standard for literary criticism for many decades. “Water of Life” had a significant impact on contemporaries, as well as on the further development of literary-critical thought in Urdu. It set the standard for literary criticism for many decades to come. Regardless that some historical dates and literary facts, as well as some important generalizations of the author, seem today at least controversial, still many Urdu literati and critics even nowadays fully rely upon the evaluation and criticism of famous poets as given by Azad.

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Selby, Martha Ann. "The Ecology of Friendship: Early Tamil Landscapes of Irony and Voice." Studies in History 33, no. 1 (2017): 26–35. http://dx.doi.org/10.1177/0257643016677444.

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This article is a brief study of four female characters—a pair of daughters and a pair of mothers—who give voice to the majority of the poems in the Aiṅkuṟunūṟu, an Old Tamil anthology of love poetry from the early decades of the third century CE. Taking cues from recent ethnographies on friendship in South Asia and from Alan Bray’s compelling study of friendship in modern Britain, I will examine the ways in which bonds between female friends are expressed in the dense natural imagery so characteristic of Old Tamil convention, most often found within the poems in double entendre and in brief, almost allegorical statements. I focus primarily on the figure of the tōḻi, the ‘girlfriend’, who speaks with greatest frequency in these poems as she acts as the mediator between the talaivi (the ‘heroine’) and the talaivaṉ (the ‘hero’) through every stage of their romantic relationship, and also between the talaivi and her mothers—the cevili-t-ta −y or ‘foster mother’ and the naṟṟa −y, the ‘biological mother’ of the talaivi. In passing, I will briefly contrast this quartet with the voices of their corresponding male characters, which we hear especially within the context of the pa −caṟai, the ‘war camp’. I will analyze how the voices of the characters change—both in content and in register—according to shifts in poetic settings, and will discuss what these shifts can tell us about aesthetic representations of female friendship in early South India. Through a study of the conversational settings among these characters, I will illustrate how friendship, intimacy and love are conveyed in language and rhetorical gesture.

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Hardie, P. "The Criticism of Didactic Poetry: Essays on Lucretius, Virgil, and Ovid. A Dalzell." Classical Review 48, no. 2 (1998): 297–98. http://dx.doi.org/10.1093/cr/48.2.297.

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M. Himeidi, Assist Prof Dr Sundus. "Plagiarism in Arabic Criticism Heritage." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 223, no. 1 (2017): 33–56. http://dx.doi.org/10.36473/ujhss.v223i1.318.

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The phenomenon of plagiarism has been commonly dealt with in Arabic criticism heritage,and many traditional Arab critics have written a specific part in their books covering this phenomenon under the title of "literary thefts". Literary thefts have been condemned in Arabic heritage as one poet takes some expressions or phrases from his predecessors, and such a tendency leads to the underestimation of the poet’s status. This phenomenon is called "citation" in Arabic rhetorics when the cited materials are extracted from the Glorious Qur'an or the Prophetic Traditions. This phenomenon has been given different names in Arabic heritage depending on the source of taken materials like sayings, poetry, etc.The phenomenon of plagiarism can be found in the poetic antithesis. Accordingly, plagiarism is the focus of this study. This study is organized around an introduction and three sections. Section one presents the concept of plagiarism from linguistic and terminological perspectivesa long with its history. Section two is limited to the different types of plagiarism in Arabic criticism heritage. Section three deals with the construction patterns of Arabic criticism heritage. Finally, conclusions are drawn out.

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Bula, Andrew. "Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya." Journal of Practical Studies in Education 2, no. 5 (2021): 26–31. http://dx.doi.org/10.46809/jpse.v2i5.30.

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Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, which he completed in 1989, is a staggering 734-page document. Professor Akwanya has also taught many literature courses, namely: European Continental Literature, Studies in Drama, Modern Literary Theory, African Poetry, History of Theatre: Aeschylus to Shakespeare, European Theatre since Ibsen, English Literature Survey: the Beginnings, Semantics, History of the English Language, History of Criticism, Modern Discourse Analysis, Greek and Roman Literatures, Linguistics and the Teaching of Literature, Major Strands in Literary Criticism, Issues in Comparative Literature, Discourse Theory, English Poetry, English Drama, Modern British Literature, Comparative Studies in Poetry, Comparative Studies in Drama, Studies in African Drama, and Philosophy of Literature. A Fellow of Nigerian Academy of Letters, Akwanya’s open access works have been read over 109,478 times around the world. In this wide-ranging interview, he speaks to Andrew Bula, a young lecturer from Baze University, Abuja, shedding light on a variety of issues around which his life revolves.

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RAMASWAMY, SUMATHI. "Giving Becomes Him: The posthumous fortune(s) of Pachaiyappa Mudaliar." Modern Asian Studies 52, no. 1 (2018): 35–61. http://dx.doi.org/10.1017/s0026749x17000531.

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AbstractThis article explores the ways in which Pachaiyappa Mudaliar (1754?–1794) has been panegyrized as the quintessential benefactor of our times in Tamil prose, poetry, and pictures over the course of the past century and a half. In the bureaucratic and legal documents of the colonial state, he appears as a rapacious moneylender and behind-the-scenes wheeler-dealer, a member of that hated class of ‘Madrasdubashes’, a ‘most diabolical race of men’. In contrast, Tamil memory work since at least the 1840s has differently recalled this shadowy eighteenth-century man as a selfless philanthropist whose vast wealth financed some of the earliest educational institutions in the Madras Presidency. I track the posthumous fate of Pachaiyappa's bequest to argue that even as the founding of the public trust and its educational philanthropy departed radically from his willed intentions, a new complex of living, dying, and giving for the sake of native education was put in place in the Tamil country in the age of colonial capital and pedagogic modernity.

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Chapman, Michael. "The Potential and Limitations of Symptomatic Criticism: The Case of Ruth Miller’s Poetry." English Academy Review 37, no. 2 (2020): 49–66. http://dx.doi.org/10.1080/10131752.2020.1847485.

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Naaman, Erez. "Collaborative Composition of Classical Arabic Poetry." Arabica 65, no. 1-2 (2018): 163–206. http://dx.doi.org/10.1163/15700585-12341476.

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Abstract Evidence of collaborative composition of poetry goes back to the earliest documented phases in the history of Arabic literature. Already during pre-Islamic times, poets like Imruʾ al-Qays used to challenge others to complete their impromptu verse and create poetry collaboratively with them. This practice—commonly called iǧāza or tamlīṭ and essentially different from the better known poetic dueling of the naqāʾiḍ (flytings)—has shown remarkable stability and adherence to its form and dynamics in the pre-modern Arabophone world. In this article, I will discuss evidence of collaborative poetry from pre-Islamic times to the early seventh/thirteenth century, in order to present a picture of the typical situations in which it was practiced, its functions, its composition process, and formal aspects. Although usually not producing poetic masterpieces, this practice has the merit of revealing much about the processes of composing classical Arabic poetry in general. In this respect, its study and critical assessment are highly important, given the fact that medieval Arabic literary criticism does not always reflect praxis or focus on the actual practicalities of composing poetry. This practice and the contextualized way in which it was preserved allow us to see vividly the inextricable link between poetic form and the conditions in which poetry was created. It likewise sheds light on the intricate ways in which poets resisted, influenced, and manipulated others by poetic means. Based on the obvious fact that collaborative composition is imbued with the spirit of play, I offer at the end of the article criticism of Johan Huizinga’s famous play concept and his (much less famous) views of early Arabic culture and poetry in light of the evidence I studied.

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Giri, Bed Prasad. "The Literature of the Indian Diaspora: Between Theory and Archive." Diaspora: A Journal of Transnational Studies 16, no. 1-2 (2012): 243–53. http://dx.doi.org/10.3138/diaspora.16.1-2.243.

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The literature of the Indian diaspora constitutes an important part of the burgeoning field of anglophone postcolonial literature. Some of the better-known authors in this archive include V.S. Naipaul, Salman Rushdie, Rohinton Mistry, Bharati Mukherjee, Amitav Ghosh, Jhumpa Lahiri, Anita Desai, M.G. Vassanji, Shyam Selvadurai, and Kiran Desai. The growing international visibility of these authors has gone hand in hand with the popularity of postcolonial criticism and theory in academe. Vijay Mishra’s scholarly work on Bollywood cinema, Indian devotional poetry, Indian diasporic literature, and postcolonial theory and criticism has contributed greatly to our understanding of this important area of writing.

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Kalasaridou, Sotiria. "The history of C. P. Cavafy in Greek education: Landmarks and Gaps." Journal of Literary Education, no. 2 (December 6, 2019): 90. http://dx.doi.org/10.7203/jle.2.12049.

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Abstract  This article aims to highlight the crucial stages of C.P. Cavafy’s “history in education” through textbooks about literature from 1930 until today. More specifically, the research is constructed around two areas: a) the fundamental role of literary criticism and how it was related to the introduction of C.P. Cavafy in education in 1930, b) the degree of osmosis between History of Literature and History of Education. The methodological criteria of the research are drawn from different areas, such as: i) literary criticism, ii) history of education and educational policy, iii) history of textbook anthologies, and iv) poetry anthologies. a) During a course of eighty years, C. P. Cavafy is found in thirty-five anthologies, teachers’ textbooks and curricula, whereas the parallel reading recommendations reach a staggering eighty-seven; Ithaca is the most anthologised poem — twelve times. b) The positive opinions by the critics and the momentum of school anthologies that tried a holistic approach to poetry defined the inclusion of C. P. Cavafy in the school anthologies during the educational reform of 1929-1932. c) The position of Cavafy in the History of Modern Greek Literature by K. Th. Dimaras surpasses the efforts made by the critics of that time. Moreover, Linos Politis also holds a part of the restoration of C. P. Cavafy as far as the school textbooks are concerned, as his History of Modern Greek Literature, as well as his poetic anthology, determined the school literary canon from the days of the Restoration of Democracy until now.

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Huisman, Rosemary. "Facing the Eternal Desert: Sociotemporal Values in Old English Poetry." KronoScope 17, no. 2 (2017): 231–53. http://dx.doi.org/10.1163/15685241-12341385.

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Abstract Time is a singular noun, but includes a multiplicity of temporalities, including what J. T. Fraser has termed sociotemporality. In this paper, I discuss facing the urgency of time in a narrative dominated by sociotemporality, that of the Old English poem Beowulf, and suggest how criticism of the narrative structure of Beowulf has derived from a monovalent understanding of narrative time. Moreover, in recognizing sociotemporality as dominant in the organization of the poem, the modern reader can gain greater access to what was valued in the social context of its response to “the urgency of time.”

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Grobe, Christopher. "The Breath of the Poem: Confessional Print/Performance circa 1959." PMLA/Publications of the Modern Language Association of America 127, no. 2 (2012): 215–30. http://dx.doi.org/10.1632/pmla.2012.127.2.215.

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This essay offers an early chapter in the conjoined history of poetry and performance art, literary criticism and performance studies. Beginning in the mid-1950s and with increasing fervor through the 1960s, American poetry lived simultaneously in print, on vinyl, and in embodied performance. Amid this environment of multimedia publicity, an oddly private poetry emerged. The essay locates confessional poetry in the performance-rich context of its birth and interrogates not only its textual voice but also its embodied, performed breath. Focusing on early confessional work by Robert Lowell and Anne Sexton, this essay conducts side-by-side “readings” of printed poems and recorded performances and suggests that confessional refers to an intermedial, print-performance style—a particular logic for capturing personal performances in print form and for breathing performances back out of the printed page.

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Chan, Tim W. "Literary Criticism and the Ethics of Poetry: The “Four Elites of the Early Tang” and Pei Xingjian." Tang Studies 1997, no. 15-16 (1997): 157–82. http://dx.doi.org/10.1179/073750397787772704.

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Костригин, А. А. "HISTORICAL-PSYCHOLOGICAL IDEAS OF A.P. NECHAEV. PART 1: HISTORY OF LITERATURE, LITERARY CRITICISM, HISTORICAL PSYCHOLOGY." Институт психологии Российской академии наук. Социальная и экономическая психология, no. 1(21) (April 12, 2021): 252–70. http://dx.doi.org/10.38098/ipran.sep.2021.21.1.010.

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Статья посвящена Александру Петровичу Нечаеву (1870-1948), выдающемуся отечественному психологу и педагогу первой половины XX в. В данной работе А.П. Нечаев показан как историк психологии. Рассматриваются историко-психологические работы и взгляды ученого по трем направлениям: анализ историко-литературных работ, в которых освещаются идеи, связанные с исторической психологией; анализ работ, освещавших состояние психологии на рубеже XIX-XX вв. и об отдельных персоналиях современной Нечаеву психологии; анализ специальных историко-психологических и историко-философских работ. В первой части представляются историко-литературные и литературно-критические работы: «Об отношении Крылова к науке» (1895) и «Поэзия А.Н. Майкова. Критический очерк» (1898). Отечественный психолог анализирует взгляды И.А. Крылова на ученых и научную деятельность, выраженных в художественных метафорах и отражавших общественные и народные представления о науке. Рассматривая творчество Майкова, Нечаев показывает, что поэзия может выполнять психологические задачи: с одной стороны, она влияет на эмоциональное состояние читателя и на развитие его личности, с другой - выражает внутренние особенности самого поэта, и необходима ему для удовлетворения собственных потребностей и стремлений. Несмотря на то, что напрямую эти работы не касаются проблематики истории психологии, они показывают интерес Нечаева к историко-научным исследованиям, а также могут быть отнесены к области исторической психологии, поскольку в них представлено изучение образов ученого и поэта и их психологические качества, характерные для XIX в., через художественное творчество и литературу. The article is dedicated to Aleksander Petrovich Nechaev (1870-1948), an outstanding Russian psychologist and teacher of the first half of the 20th century. In this work, Nechaev is presented as a historian of psychology. The historical-psychological views and works of the scientist in three directions are considered: analysis of historical and literary works in which ideas related to historical psychology are presented; analysis of works covering the state of psychology at the turn of the 19th-20th centuries and dedicated to Nechaev’s contemporaries in psychology; analysis of special historical-psychological and historical-philosophical works. The first part presents the historical-literary and literary-critical works of Nechaev: «On Krylov's attitude to science» (1895) and «Poetry of A.N. Maikov. A critical sketch» (1898). The Russian psychologist analyzes the views of I.A. Krylov on scientists and scientific activities, expressed in artistic metaphors and reflecting public and popular ideas about science. Considering the work of Maikov, Nechaev shows that poetry can perform psychological tasks: on the one hand, it affects the emotional state of the reader and the development of his personality, on the other hand, it expresses the inner characteristics of the poet himself, poetry is necessary for him to satisfy his own needs and intentions. Even though these works do not directly relate to the problems of history of psychology, they show the interest of Nechaev to historical-scientific research, and can also be attributed to the field of historical psychology: through artistic creativity and literature, the author studies the images of a scientist and a poet and their psychological traits specific to the 19th century.

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CHAUDHURI, ROSINKA. "Cutlets or Fish Curry?: Debating Indian Authenticity in Late Nineteenth-Century Bengal." Modern Asian Studies 40, no. 2 (2006): 257–72. http://dx.doi.org/10.1017/s0026749x06001740.

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Current discussions on the development of modern literary genres and aesthetic conventions in nineteenth-century colonial Bengal have tended, perhaps because of its relative neglect in the modern day, to ignore the seminal role of poetry in formulating the nationalist imagination. In academic discourse, the coming together of the birth of the novel, the concept of history and the idea of the nation-state under the sign of the modern has led to a collective blindness toward the forceful intervention of poetry and song in imagining the nation. Thus Dipesh Chakrabarty, in a chapter devoted to poetry in Provincializing Europe, ironically elides any mention of it at the crucial instance of the formulation of national modernity, when he takes his argument about the division between the prosaic and the poetic in Tagore further to say, without mentioning the seminal role of poetry, that: ‘The new prose of fiction—novels and short stories—was thus seen as intimately connected to questions of political modernity’. Partha Chatterjee discusses, in the introduction to The Nation and Its Fragments, the shaping of critical discourse in colonial Bengal in relation to drama, the novel, and even art, but ignores completely the fiercely contested and controversial processes by which modern Bengali poetry and literary criticism were formulated. ‘The desire to construct an aesthetic form that was modern and national’, to use his words, ‘was shown in its most exaggerated shape’ not, it is my contention, in the Bengal school of art in the 1920s as he says, but long before that in the poetry of Rangalal Banerjee, Hemchandra Bandyopadhyay, Madhusudan Dutt, and Nabinchandra Sen, and in the literary criticism and controversy surrounding their work.

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Vardi, Amiel D. "Diiudicatio locorum: Gellius and the history of a mode in ancient comparative criticism." Classical Quarterly 46, no. 2 (1996): 492–514. http://dx.doi.org/10.1093/cq/46.2.492.

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Comparison of literary passages is a critical procedure much favoured by Gellius, and is the main theme in several chapters of his Noctes Atticae: ch. 2.23 is dedicated to a comparison of Menander's and Caecilius′ versions of the Plocium; 2.27 to a confrontation of passages from Demosthenes and Sallust; in 9.9 Vergilian verses are compared with their originals in Theocritus and Homer; parts of speeches by the elder Cato, C. Gracchus and Cicero are contrasted in 10.3; two of Vergil's verses are again compared with their supposed models in ch. 11.4; a segment of Ennius′ Hecuba is contrasted with its Euripidean original in 13.27; Cato's and Musonius′ formulations of a similar sententia are confronted in 16.1; in 17.10 Vergil's description of Etna is compared to Pindar's; the value of Latin erotic poetry is weighed against the Greek in ch. 19.9, in which an Anacreontean poem and four Latin epigrams are cited; and finally in 19.11 a ‘Platonic' distich is set side by side with its Latin adaptation, composed by an anonymous friend of Gellius, though in this case no comparison of the poems is attempted.

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Mumović, Ana. "Criticism as culture: Above the first History of Serbian Literature Pavel Josef Safarik." Bastina, no. 51 (2020): 63–76. http://dx.doi.org/10.5937/bastina30-26307.

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The first History of Serbian Literature (1865) was written from the PEN of P. J. Safarik (1796-1861), a foreigner, who lived and worked in Novi Sad and did not write in Serbian. The final form was given by Safarik's son-in-law, who made some changes. The first edition was printed in 1826. The monograph includes a review of 289 writers. In addition to Serbian, he also deals writers who have written in foreign languages. The book contain a list of printers, patrons, scribes, a Cyrillic print of Catholic Serbs and a Cyrillic print of Protestants. He deals with works in the field of language science, rhetoric and poetry, philosophy, history and geography, pedagogy and mathematics, science of nature and technology, medicine, law and politics, including works in the field of theology. It is, therefore, a project that, through its critique of literature, actually illuminates the history of the culture of the Serbian people. Methodologically History is realized as it is done by contemporary historians of literature. Safarik's critical method, is proof that literary criticism always has a social function, if it is scientifically based and objective.

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Mehl, Scott. "Early Twentieth-Century Terms for New Verse Forms (‘free verse’ and others) in Japanese and Arabic." Studia Metrica et Poetica 2, no. 1 (2015): 81–106. http://dx.doi.org/10.12697/smp.2015.2.1.04.

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In the first half of the twentieth century, when Japanese and Arabic poets began writing free-verse poetry, many terms were proposed as labels for the new form. In addition to the calques on “free verse,” neologisms were created to name the new poetry. What is striking is that, in these two quite different literary spheres, a number of the proposed neologisms were the same: for example, in both Japanese and Arabic the terms prose poetry, modern poetry, and colloquial poetry were proposed (among others) as alternatives to the label free poetry. This essay provides an annotated list of the neologisms in Japanese and Arabic, with a list of English terms for comparison; and by referring to the contemporary Japanese and Arabic criticism on the topic of poetic innovation, this essay attempts to explain the similarity between the Japanese and Arabic neologisms. In short, the Japanese and Arabophone arguments in favour of adapting the free-verse form were based on similar premises regarding modernity, freedom, and a vision of literary history that was rooted in an evolutionary theory of genre development.

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García, Miguel Ángel. "Crítica en simpatía." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 55, no. 1 (2019): 117–37. http://dx.doi.org/10.1075/rro.18015.gar.

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Abstract For the first time, we analyze in detail the reading that Pedro Salinas makes of a series of relevant anthologies for the history of contemporary Spanish poetry: the two anthologies of Gerardo Diego (1932–1934) and the anthologie of Federico de Onís (1934), among others. Also, we study his theoretical reflection about this genre, which is always supported in these “criticism with simpathy” that he claims.

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Đerić, Gordana. "Social memory and applied criticism: On turning poetry into an ideological beating stick." Issues in Ethnology and Anthropology 4, no. 1 (2009): 63–85. http://dx.doi.org/10.21301/eap.v4i1.3.

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The subject of this text is the social memory, which the author understands as the consequence of complex relationships of modern politics, history and cultural production in the broadest sense. As for the majority of authors who engage in social memory, for her this phenomenon is inseparable from the process of creating a nation, as well. In the context of creating a nation in Eastern Europe the conditionality of these phenomena is recognized through the specific part that the language and literature played in those processes. Therefore, in this region, the hierarchy of power reflected itself always, maybe more prominently than anywhere else, in the filed of controlling the social memory, and particularly in controlling the interpretation of old literary works. Further more, the power in that field visibly affirmed itself. By connecting her research to Yugoslavian nation, the period immediately after the World War Two and the function of literary criticism in establishing the Yugoslavian canon for the interpretation of the past, the author examines in this text on of the ways of shaping the social memory in the time of active creation of the Yugoslavian nation. The focus of research is on the social conditionality of constructing memory from the political anticipation of contemporary and future needs of the society. By re-examining the thesis of social memory as an expression of the state’s aspiration to explain to the nation its past and to adjust it to current needs, the author in her research follows the after-war reinterpretation of several classic authors who entered the Yugoslavian canon of interpreting the past.

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Stillman, Robert E. "The Truths of a Slippery World: Poetry and Tyranny in Sidney's Defence." Renaissance Quarterly 55, no. 4 (2002): 1287–319. http://dx.doi.org/10.2307/1262104.

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Against the “presentism “ of current criticism linking the Defence's universalizing epistemology to the absolutism of Soviet-style propaganda, this study historicizes Philip Sidney's poetics as a consciously constructed vehicle of political liberation. The Defence's epistemology is recontextualized as a governing body of assumptions about the nature of knowledge that Sidney derived from the revival of natural law theory among an intellectual elite closely associated with the late Philip Melanchthon — the so-called Philippists — and the proponents of tyrannomachist political philosophy. Poetry's preeminence, Sidney maintains, derives from its serviceability in freeing us from the sovereignty of self-love and self-loving sovereigns.

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CARDINAL, R. "Review. Rhetorical Landscapes: The Poetry and Art Criticism of Jacques Dupin. De Julio, Maryann." French Studies 49, no. 1 (1995): 104. http://dx.doi.org/10.1093/fs/49.1.104.

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Miller, Peter. "Prosody, Media, and the Poetry of Edgar Allan Poe." PMLA/Publications of the Modern Language Association of America 135, no. 2 (2020): 315–28. http://dx.doi.org/10.1632/pmla.2020.135.2.315.

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Edgar Allan Poe's poetry and poetic theory maintain an awkward standing in anglophone literary criticism but offer a valuable resource to scholars of historical poetics and, more specifically, historical prosody. In poems such as “The Raven” and “The Bells” and essays such as “The Rationale of Verse,” Poe pre sents prosodic structure as a kind of palimpsest of jostling sound media (e.g., phonetic script, meter, scansion, musical form, nonhuman voices), which obey different prosodic logics when engaged by different readers, both within and across periods. In this way, Poe's poetics challenges both historicist and formalist approaches to prosody, delyricizing poetic voice by demonstrating its embeddedness in media while insisting on the multiplicity of prosodic options available when individual readers verbalize the same poetical text. Rehabilitating Poe's prosodic project helps us see poems as products of both media history and real- time performance. (PM)

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Alexandrova-Osokina, О. N. "Theme “Man and Nature” in the Poetry of Peter Komarov." Nauchnyi dialog, no. 1 (January 27, 2021): 96–109. http://dx.doi.org/10.24224/2227-1295-2021-1-96-109.

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The author’s elaboration of the content and poetics of landscape and natural history lyrics of the Far Eastern poet, winner of the Stalin Prize of the third degree P. S. Komarov (1911—1949) is presented. The novelty of the research lies in the fact that the poet’s work has practically not been studied. The relevance of the study is due to the attention of modern literary criticism to the problems of the literary process of the Soviet period, as well as interest in literary and regional studies. The idea is substantiated that the theme “man and nature” was central in the poetry of P. S. Komarov. It is noted that the dominant principle in the disclosure of this topic were the ideas of all-unity and participation. The question is raised about the nature of the reflection of the ideas of the era in the lyrics: in particular, the points of intersection of the poetic perception of the world in the poems of the “Green Belt” cycle with the ideas of Russian cosmism are revealed. Observations on the specifics of the poetics of Komarov’s landscape lyrics were carried out: the form of the landscape-ecphrasis, the artistic functions of the landscape detail, color painting, toponymy, panoramic image were revealed; some images-motives (nature-garden, nature-book; motive of the brotherhood of the memory of the earth) is revealed. The unique materials of literary criticism of the second half of the 1940s, associated with the assessment of Komarov’s work are presented in the article.

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Lau, David. "Drastic Measures in Los Angeles." Boom 3, no. 2 (2013): 82–86. http://dx.doi.org/10.1525/boom.2013.3.2.82.

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This essay is a review of two recent books of criticism: Bill Mohr's account of the Los Angeles poetry scene and Ignacio Lopez-Calvo's account of recent film and fiction set in Latino L.A. The essay argues for a conception of L.A. rooted in understanding the political and economic history of the city, and concludes with some speculation on the future of cultural production in the southern California region.

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Trevisan, Sara. "The Impact of the Netherlandish Landscape Tradition on Poetry and Painting in Early Modern England*." Renaissance Quarterly 66, no. 3 (2013): 866–903. http://dx.doi.org/10.1086/673585.

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AbstractThe relationship between poetry and painting has been one of the most debated issues in the history of criticism. The present article explores this problematic relationship in the context of sixteenth- and seventeenth-century England, taking into account theories of rhetoric, visual perception, and art. It analyzes a rare case in which a specific school of painting directly inspired poetry: in particular, the ways in which the Netherlandish landscape tradition influenced natural descriptions in the poem Poly-Olbion (1612, 1622) by Michael Drayton (1563–1631). Drayton — under the influence of the artistic principles of landscape depiction as explained in Henry Peacham’s art manuals, as well as of direct observation of Dutch and Flemish landscape prints and paintings — successfully managed to render pictorial landscapes into poetry. Through practical examples, this essay will thoroughly demonstrate that rhetoric is capable of emulating pictorial styles in a way that presupposes specialized art-historical knowledge, and that pictorialism can be the complex product as much of poetry and rhetoric as of painting and art-theoretical vocabulary.

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Robbins, Bruce. "Paul A. Bové, Poetry against Torture: Criticism, History, and the HumanPoetry against Torture: Criticism, History, and the Human. Paul A. Bové. Aberdeen: Hong Kong University Press, 2008. Pp. viii+159." Modern Philology 110, no. 1 (2012): E5—E10. http://dx.doi.org/10.1086/666088.

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Girard, Melissa. "J. Saunders Redding and the “Surrender” of African American Women's Poetry." PMLA/Publications of the Modern Language Association of America 132, no. 2 (2017): 281–97. http://dx.doi.org/10.1632/pmla.2017.132.2.281.

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J. Saunders Redding's To Make a Poet Black (1939) changed the way African American poetry would be read and valued. In an effort to articulate an African American modernism, Redding rewrote the recent history of the New Negro Renaissance, validating and skewing its literary production. The standards and values that Redding used helped to advance the reputations of Langston Hughes, Claude McKay, and Jean Toomer but also led to discrimination against femininity and its associated poetic forms. By incorporating the gendered matrix of the New Criticism into African American literary studies, he helped to create a new formal consensus, which cut across the black and the white academies and united critics on the left and the right of the ideological spectrum, in opposition to women's poetry.

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Ribeiro S C Thomaz, Julia. ""Knowing you will understand”: The Usage of Poetry as a Historical Source about the Experience of the First World War." Revista Alicantina de Estudios Ingleses, no. 31 (December 15, 2018): 109. http://dx.doi.org/10.14198/raei.2018.31.07.

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For the last century, historians of the conflict have not systematically used the poetry of the First World War as a source. Whether reduced to a canon established a posteriori or excluded from literary periodisation altogether, this corpus needs to be considered from a transdisciplinary perspective and be used as a document about the experience of war itself, and not just about the conflict’s remembrance. The present article aims to present the French and British landscape of research about the poetry of the Great War and to establish a theoretical framework combining literary history, anthropology, literary criticism, and linguistics, which will allow for the usage of poetry as a historical source. Finally, the article will discuss two digital humanities projects which draw upon the Centenary to contribute to the establishment of a relation between History and Poetics in the context of the sources available to the cultural historian looking at how individuals internalised a culture shared by all those who experienced the war and at how the poetic gesture shaped the experience of war itself.

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

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