Relevant bibliographies by topics / Welsh poets

Contents

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

Academic literature on the topic 'Welsh poets'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Welsh poets"

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Hopwood, Llewelyn. "Creative Bilingualism in Late-Medieval Welsh Poetry." Studia Celtica 55, no. 1 (December 1, 2021): 97–120. http://dx.doi.org/10.16922/sc.55.5.

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This article considers why bilingual poets from medieval Wales exploited their various languages as avenues of creativity. It discusses five poems from the fifteenth and sixteenth centuries that synthesize Welsh and either English or Latin to varying degrees. The article untangles the conscious and often complex linguistic integration, using the term 'extralinguistic bilingualism' to do so with two exclusively English poems that nonetheless use Welsh strict metre and 'orthography'. One of these is a series of once anonymous English englynion recently found to be the work of prolific poet Tudur Aled, who flourished in the last quarter of the fifteenth century and the first quarter of the sixteenth century. By examining the poems in tandem and contextualizing their apparent isolation within Wales's contemporary linguistic landscape and within the phenomena of multilingual poetry, Marian lyrics and 'aureate' diction, the impetus behind their curious hybridity is queried. It is argued that comedy, piety and literary craft are key considerations, and that all are connected by an overarching concern for relative linguistic prestige: the perceived divergence between the social and literary status of each language.
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Jones, John M., and Susan Butler. "Common Ground: Poets in a Welsh Landscape." World Literature Today 60, no. 4 (1986): 636. http://dx.doi.org/10.2307/40142848.

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Davies, Grahame. "Lineage and loss: Practising a traditional art in changing times." Book 2.0 13, no. 1 (July 1, 2023): 39–49. http://dx.doi.org/10.1386/btwo_00081_1.

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Born in a family of mixed linguistic heritage in a industrial village in north-east Wales, Grahame Davies found himself – thanks to a crucial meeting with a charismatic teacher – learning his poetic craft in the Welsh-speaking tradition. While working as a journalist in newspapers and later in broadcasting, he became one of his country’s most prominent poets and authors, later developing an international reputation as a librettist for classical composers. In this piece he reflects on the transmission mechanisms of individual and communal creativity, the varying status of poets in Welsh and English-language culture, the challenges and opportunities of working in joint artistic and professional enterprises, and on the delicate, but often hugely rewarding, process of working with audiences and with those who commission artistic works.
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Williams, Heather. "For a Welsh French Studies: Breton Poets ‘Writing to Wales’." French Studies Bulletin 44, no. 167-168 (August 1, 2023): 63–66. http://dx.doi.org/10.1093/frebul/ktad019.

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Moore, Donald. "The indexing of Welsh personal names." Indexer: The International Journal of Indexing: Volume 17, Issue 1 17, no. 1 (April 1, 1990): 12–20. http://dx.doi.org/10.3828/indexer.1990.17.1.6.

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Welsh personal names sometimes present the indexer with problems not encountered when dealing with English names. The Welsh patronymic system of identity is the most obvious; this was normal in the Middle Ages, and traces of its usage survived into the mid-nineteenth century. Patronymics have since been revived as alternative names in literary and bardic circles, while a few individuals, inspired by the precedents of history, are today attempting to use them regularly in daily life. Other sorts of alternative names, too, have been adopted by writers, poets, artists and musicians, to such effect that they are often better known to the Welsh public than the real names. A distinctive pseudonym has a special value in Wales, where a restricted selection of both first names and surnames has been the norm for the last few centuries. Apart from the names themselves, there is in Welsh a linguistic feature which can be disconcerting to those unfamiliar with the language: the ‘mutation’ or changing of the initial letter of a word in certain phonetic and syntactic contexts. This can also occur in place-names, which were discussed by the present writer in The Indexer 15 (1) April 1986. Some of the observations made there about the Welsh language will be relevant here also.
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Classen, Albrecht. "The Works of Gwerful Mechain, ed. and trans. Katie Gramich. Peterborough, Ont.: Broadview Press, 2018, pp. 157." Mediaevistik 31, no. 1 (January 1, 2018): 449. http://dx.doi.org/10.3726/med012018_449.

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Two desiderata in Medieval Studies continue to be rather troublesome because they have not been tackled effectively by many scholars. First, most of us are not familiar with medieval Welsh language and literature; second, we are still rather uncertain about the actual contribution by women to medieval poetry, for instance. But our Welsh colleagues have already determined for quite some time that the late medieval Gwerful Mechain was a powerful voice and offered many intriguing perspectives as a woman, addressing also sexuality in a rather shockingly open manner. She was the daughter of Hywel Fychan from Mechain in Powys in north-east Wales. She lived from ca. 1460 to ca. 1502 and was a contemporary of the major Welsh poets Dafydd Llwyd and Llywelyn ap Gutyn. She might have been Dafydd’s lover and she certainly exchanged poems with Llywelyn. Not untypically for her age, which the present editor and translator Katie Gramich observes with strange surprise, Gwerful combined strongly religious with equally strongly erotic—some would say, pornographic—poetry. Gramich refers, for instance, to the Ambraser Liederbuch, where we can encounter a similar situation, but it seems unlikely that she has any idea what this songbook was, in reality (there are no further explanations, comments, or references to the relevant scholarship). She also mentions Christine de Pizan, who was allegedly “forced to take up the pen” (10), which appears to be a wrong assessment altogether. There is no indication whatsoever that Gramich might be familiar with the rich research on late medieval continental and English women writers, but this does not diminish the value of her translation.
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O'Connor, Clémence. "Poetry as a Foreign Language in Heather Dohollau and André du Bouchet." Nottingham French Studies 56, no. 2 (July 2017): 188–200. http://dx.doi.org/10.3366/nfs.2017.0180.

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This essay focuses on André du Bouchet (1924–2001) and Heather Dohollau (1925–2013), a Welsh poet who lived most of her life in France and is only published in French. Poised as they are between French and English, these poets are uniquely placed to participate in current reassessments of language and bilingualism. Both poets were translators and relied on the experience of linguistic defamiliarization in their poetic practice. They view poetry as the translation of a language into, and out of, itself. By drawing attention to language in its materiality, and to the poem as a visual form, their poetics of ‘difficulty’ (Dohollau) or ‘surprise’ (du Bouchet) compels the Francophone reader to adopt a foreign perspective on his or her own language. Poetry is thus reinvented as the idiome dreamt of by Derrida: a defamiliarizing other language, potentially able to translate otherness in its own terms.
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Williams, Nerys. "Dylan Thomas's ‘Return Journey to Swansea’: A Collaborative Radio Poetic." Modernist Cultures 14, no. 1 (February 2019): 88–107. http://dx.doi.org/10.3366/mod.2019.0242.

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This article explores how Dylan Thomas's engagement with radio created an innovative collaborative radio poetic. Thomas contributed many broadcast essays and features to the Third Programme, the Home Service, the Welsh Home Service and the Eastern Service. Scholars have also long been aware of Thomas's important creative relationship with BBC producers such as Douglas Cleverdon (who produced Under Milk Wood). Yet there remains little analysis of his features for radio. Drawing on archival memos from the BBC's Literary Output Committee (held at the BBC's Written Archives in Caversham), this article initially considers the institutional relationship between poets and the BBC during the 1940s. Against this institutional backdrop, it then focuses on a specific 1947 BBC feature that Thomas wrote about post-blitz Swansea: ‘Return Journey to Swansea’. Examining the history and practicalities of the collaboration involved between Thomas and the producer P. H. Burton, the discussion links the feature's social commentary to the audio radio poetic collaboratively created between poet, broadcast institution, producer, and medium.
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Paslawska, Alla. "Bohdan Kravtsiv as a translator of Rainer Maria Rilke's poetry." SHS Web of Conferences 105 (2021): 01001. http://dx.doi.org/10.1051/shsconf/202110501001.

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The paper presents a modified three-level model of possible relations between different cultures proposed by W. Welsh. There have been outlined multicultural, intercultural and transcultural aspects of such relations. The model is exemplified by the translations of Bohdan Kravtsiv. Life circumstances forced Kravtsiv to leave Ukraine and spend his life abroad. He had to work on his translations in different countries and cultures. Just like other cultures influenced his way of thinking, life experience and poetic creativity, due to his political, social, poetic, and translation activities, he himself influenced the cultures he was immersed in and where he was involved in the creative activity. Remoteness from Ukraine did not make the poet and translator break off his relations with his home country. In the Diaspora he did his best to help Ukrainians, replenish the poetic translations of the Ukrainian literature, retain memories of the repressed poets, enrich Ukrainian cultural heritage (transcultural aspect). The language personality of Bohdan Kravtsiv as a translator is considered in terms of his translations of Rainer Maria Rilke's poetry. The structure of the language personality of the translator encompasses verbal, cognitive and pragmatic-motivational levels. The paper focuses on the analysis of Kravtsiv’s translations of Rilke's poems into Ukrainian. It has revealed Kravtsiv’s brilliant mastery of the poetic word. The translations of Rilke's poems performed by Kravtsiv testify to the translator's efforts to remain faithful to the form and content of the original. In spite of the different morphological and phonetic structures of German and Ukrainian, he succeeded in most cases. The translator’s individual style is marked by concise and euphonious translations, multiple new coinages and in-depth knowledge of the original works.
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Shipilova, Natalia Vitalyevna. "Returning to Wales: Lynette Roberts’s poetry in the 1940s." Philology. Issues of Theory and Practice 17, no. 1 (January 11, 2024): 6–11. http://dx.doi.org/10.30853/phil20240001.

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The paper examines the poetry of Lynette Roberts (1909-1995), one of the most significant but little-studied authors of the late modernism era. A native of Argentina and Welsh by birth, in the 1940s, Roberts carried out a creative experiment, trying to reconstruct the Welsh heritage in her lyrical poetry based not only on traditional myth, but also on direct personal experience. This project resulted in the 1944 collection “Poems” analyzed in the paper. The aim of the research is to determine the specifics of Roberts’s 1940s poetry in the context of the poet’s search for her national identity. The scientific novelty lies in the fact that the research is the first Russian work to provide a brief overview of the poet’s biography and writings. It is the first time that the key features of Roberts’s poetics have been identified by analysing the most significant texts from her 1944 collection “Poems”. The research findings showed that there is an unusual synthesis of the modernist and the traditional folk perception of reality in Roberts’s poems. The dual nature of the persona’s view is also explained by her contradictory position: she is inside the Welsh tradition as its heir, but at the same time, she observes it from the outside as a person belonging to a different culture.
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Dissertations / Theses on the topic "Welsh poets"

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Prothero, James. "The influence of Wordsworth on twentieth-century Anglo-Welsh poets." Thesis, University of Wales Trinity Saint David, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683327.

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Williams, Euriona Lucretia. "Lost in the shadows : Welsh women poets writing in English, c.1840 - 1970." Thesis, Bangor University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429646.

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Messem, Catherine. "'Angers, fantasies and ghostly fears' : nineteenth century women from Wales and English-language poetry." Thesis, Aberystwyth University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364769.

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Edwards, David Islwyn. "Beirdd gwlad Ffair-rhos a'u cefndir diwylliannol a diwydiannol." Thesis, University of South Wales, 1997. https://pure.southwales.ac.uk/en/studentthesis/beirdd-gwlad-ffairrhos-au-cefndir-diwylliannol-a-diwydiannol(ecbf4de2-b763-481d-af74-76daab3c4d97).html.

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Ganwyd yn ardal Ffair-rhos yn ystod yr ugeinfed ganrif bedwar o feirdd y gellid eu hystyried yn enghreifftiau nodweddiadol o draddodiad y bardd gwlad yng Nghymru ar ei orau. Daeth Dafydd Jones a W.J. Gruffydd yn brifeirdd cenedlaethol ac enillodd Evan Jenkins yntau lawryfon y Brifwyl. Er na bu i Jack Oliver gystadlu ar lefel genedlaethol, diau iddo ennill statws cenedlaethol fel prydydd poblogaidd, colofnydd papur newydd ac fel cymeriad lliwgar a gwreiddiol. Yn rhannu'r un agenda lenyddol ac yn cydoesi a hwy yn ardal Llangrannog, yr oedd brawdoliaeth farddol y daethpwyd i'w hadnabod yn ddiweddarach fel Bois y Cilie. Fel amaethwyr ymhyfrydai'r beirdd yn y cylch hwn yn y datblygiadau technolegol diweddaraf ym myd amaeth a hiraeth diddagrau, disentiment sydd ganddynt am y doe hamddenol a lliwgar a gollwyd. Ar y Haw arall, rhydd Beirdd Ffair-rhos bortread angerddol o dlodi eu pentref heddiw o'i gymharu a'i ffyniant diwydiannol a diwylliannol yn banner cyntaf yr ugeinfed ganrif. Yr oedd yn Ffair-rhos, adeg magwraeth y Beirdd, gymdeithas a goleddai safonau crefyddol ymneilltuol a safonau bucheddol pendant. Gellir dweud mai o blith y bobl feddwl-f laenllaw, asgwrn cefn y capel a'r diwylliant lleol, yr hanai Beirdd Ffair-rhos. Yn ogystal a'r beirdd gwlad, gellir sylwi i'r arlunwyr naif a'r arlunwyr gwlad yng Nghymru yn y ganrif ddiwethaf roddi mynegiant clodwiw i'r diwylliant Cymreig gwledig, yn arbennig yn eu portreadau o hoelion wyth y Methodistiaid a'r cymeriadau lleol a anfarwolwyd ganddynt ar gynfas. Cyflawnai rhai o'r arlunwyr hyn swyddogaeth debyg i un y bardd gwlad yn eu gwahanol ardaloedd, ac iddynt hwy 'roedd arlunio, fel barddoni, yn offrymu mawl i gymwynaswyr y ffydd ac i arwyr lleol. Swyddogaeth y canu mawl a marwnad yn y traddodiad llenyddol drwy'r canrifoedd fu delfrydu arwyr a diddori cynulleidfaoedd yn hytrach na beirniadu a cheryddu. Yn yr un modd/ rhoddi parhad i enw da' r gwrthrych oedd nod y beirdd a'r arlunwyr gwlad, a chyfetyb penillion y bardd gwlad i ddarlun yr arlunydd gwlad ar fur neu garreg goffa ym mur capel neu eglwys. Dylanwadwyd ar y beirdd gwlad, yn arbennig ar eu cerddi i fyd natur, gan y Mudiad Rhamantaidd. Ni chanfu'r mwyafrif ohonynt unrhyw brofiad cyfriniol ac ysbrydol yn y byd o'u cwmpas, ond yr oedd natur yn ffenomen weladwy iddynt. Ymatebai Beirdd Ffair-rhos i'w bro enedigol yn oddrychol ac yn deimladwy. Telynegol a hiraethus yw llawer o'r cerddi lie y dirmygir y presennol ar draul y gorffennol paradwysaidd. Nid oes yma chwerwder namyn galaru tawel ac wylo uwch adfeilion yr hen gymdeithas dduwiolfrydig. Ymwrthodir H realaeth heddiw a bodlonir ar ddarlun idyllic o'r pentref traddodiadol. Mae'r portreadu hwn yn wrthgyferbyniad llwyr i fformwla Caradoc Evans yn My People a Dylan Thomas yn Under Milk Wood, ac yn debycach i'r hyn a geir gan O.M. Edwards a D.J. Williams. Ffrwyth atgof dethol yw cynnyrch Beirdd Ffair-rhos. Bro wledig plentyndod fu Ffair-rhos i'w beirdd ac ymrithiodd yn rhyw Dir na n'Og o le, a ystyrid yn arwydd o'r gwerthoedd ysbrydol parhaol sydd yn drech na threigl amser. Disgrifir y pentref cyn iddo gael ei anrheithio gan chwyldro'r peiriant petrol a chyn iddo gael ei ddifwyno gan y pibellau a'r peilonau sydd heddiw'n cyfrodeddu'r lie. Pa faint bynnag o newidiadau a welir yn y dyfodol, erys Beirdd Ffair- rhos yn dyst i'r profiad dynol, crefyddol a chymdeithasol mewn bro neilltuol ar adeg arbennig yn ei hanes.
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Slaymaker-Jones, Lois. "Dylanwad gwaith Waldo Williams a'r ymateb iddo er 1971." Thesis, Swansea University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678532.

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Hale, David. "Death and commemoration in late medieval Wales." Thesis, University of South Wales, 2018. https://pure.southwales.ac.uk/en/studentthesis/death-and-commemoration-in-late-medieval-wales(7d14b42e-a69b-4968-9398-aad3b96748e0).html.

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This study examines the attitudes to, and commemoration of, death in Wales in the period between the end of the thirteenth century and the middle of the sixteenth century by analysis of the poetical work produced during this period. In so doing, this is placed in the wider context of death and commemoration in Europe. Although there are a number of memorial tombs and some evidence of religious visual art in Wales which has survived from the late medieval period, in comparison with that to be found in many other European countries, this is often neither so commonplace nor so imposing. However, the poetry produced during this period very much reflects the visual material that was produced in other parts of Europe. The poetry shows that the Welsh gentry at that time were familiar with many of the themes surrounding death and commemoration so obvious in European visual art such as the macabre and the fate of both the body and the soul after death. With war, famine and disease being so commonplace during the Middle Ages, and the late medieval period witnessing the effects of the Black Death, it is, perhaps, little wonder that macabre imagery and concerns about the fate of the soul were so often produced in European visual art of the time. These concerns are reflected in the Welsh poetry of the period with several poets composing quite vivid poetry describing the fate of the body as a decomposing corpse after death or allusions to the personification of Death appearing to claim its victims. The tension that many felt between the role of God on Judgement Day and God as Redeemer is also apparent in a number of the poems composed at this time. This study shows how important the role of the poet was amongst the gentry in Wales during the late medieval period, a role which ensured that the patrons of the poets were immortalised in words rather than by physical memorials. It also highlights the importance of poetical works of the period as an important primary source for historical research. Many of the poems give a contemporaneous account of important events of the period such as symptoms of plague victims which confirm that the Black Death was indeed the bubonic form of the plague.
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Cooley, Shevaun. "Homing : poetry ; &, An essay on the poetic leap in the late work of R.S. Thomas." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/850.

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Homing, as a collection, speaks to the capacity and yearning to navigate our way towards something we might call home. In animal behaviour, this seems like an instinct, hard-wired to the body. It is something I envy. By comparison, the instinct, in human behaviour, feels muffled and complicated. These poems move between two places in which I feel ‘at home’, whatever that means: the south-west of Western Australia, where I was born and raised, and the north-west of Wales, where I lived for a time, and find myself returning to, drawn not by blood, but by longing, and a deep affinity for the landscape. Without any real intention, in the writing of the poems I found I had a lot to say about rivers. In particular, I found myself repeating images of drifting and gripping, as if these two, opposing, compulsions also said something about how we try to find our way home. The poet Mark Doty speaks of a “fierce internal debate between staying moored and drifting away, between holdings and letting go.”1 It is as if the river, too, knows something of how to arrive, and yet its movement is much like that of these poems, pulled by new hungers, at times distracted, or slowed, or apparently lost. Drift. Grip. Perhaps it is, after all, another kind of instinct. In the critical essay that accompanies the poems, I look at the poetic leap in the work of the Welsh poet and priest R.S. Thomas. I was initially compelled by a strange parallel between an actual physical leap of escape, enacted by Thomas, who leapt a graveyard wall in order to avoid speaking to the mourners to whom he had just ministered a funeral service, and the leap found in Italo Calvino’s essay on lightness. This leap is also one of escape, in which the poet-philosopher Guido Calvcanti places a hand on a grave and leaps lightly over it, in order to elude the taunts of some local louts. Calvino calls this act, “an auspicious image for the new millennium.”2 In poetry we find the leap in the act of making metaphor, in enjambment, even in a kind of concentration. In Thomas’s work, the leap is focused in the form of the raptor; a presence repeated through his oeuvre, carrying with it many of his chief concerns, about God, love, and the inherent ferocity of the natural world. In a close reading of those poems, and with the aid of thinkers as disparate as Helene Cixous, Roland Barthes, Simone Weil and Edward Said, this essay is an attempt to trace the ways the leap works in Thomas’s poetry. It is also an attempt to analyse and understand the way poetry itself works to move the reader, in all senses of the word. 1Doty, M. (2001). Still life with oysters and lemon. Boston: Beacon Press, p.7 2Calvino, I. (2009). Six memos for the new millennium. (P. Creag, Trans.) London: Penguin Classics, p.12
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Huw, Maredudd ap. "A critical examination of Welsh poetry relating to the native saints of North Wales (c. 1350-1670)." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391018.

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Buuren, Martinus Johannes Joseph van. "Waiting : the religious poetry of Ronald Stuart Thomas, Welsh priest and poet /." [S.l. : s.n], 1993. http://catalogue.bnf.fr/ark:/12148/cb35619867z.

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Welsch, Cora [Verfasser], and Linus [Akademischer Betreuer] Kramer. "On coset posets, nerve complexes and subgroup graphs of finitely generated groups / Cora Welsch ; Betreuer: Linus Kramer." Münster : Universitäts- und Landesbibliothek Münster, 2018. http://d-nb.info/1162543213/34.

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Books on the topic "Welsh poets"

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Roberts, Emrys. Monallt: Portread o fardd-gwlad. (Caernarfon): Cyhoeddiadau Barddas, 1985.

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Llwyd, Alan. Glaw ar rosyn Awst. Caernarfon: Gwasg Gwynedd, 1994.

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1918-, Jones Margaret, ed. Stori Dafydd ap Gwilym. Talybont, Ceredigion: Y Lolfa, 2003.

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Llwyd, Alan. Gronwy ddiafael, Gronwy Ddu: Cofiant Goronwy Owen 1723-1769. [S.l.]: Cyhoeddiadau Barddas, 1997.

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Jones, Bedwyr Lewis. Yn Nhal-y-Sarn ystalwm: Cefndir cynnar R. Williams Parry. Caernarfon: Gwasanaeth Llyfrgell Cyngor Sir Gwynedd, 1990.

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Thomas, Gwyn. The story of Dafydd ap Gwilym. Talybont, Ceredigion: Y Lolfa, 2004.

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Jones, Iorwerth. Cerddi Iorwerth Jones. Llanrwst: Gwasg Carreg Gwalch, 2004.

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Thomas, Dylan. The broadcasts. London: Dent, 1991.

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Thomas, Gwyn. Eifion Wyn y bardd. Porthmadog: Clwb y Garreg Wen, 1996.

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Susan, Butler, ed. Common ground: Poets in a Welsh landscape. Bridgend, Mid Glamorgan: Poetry Wales Press, 1985.

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Book chapters on the topic "Welsh poets"

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Watt, R. J. C. "The Welsh Sonnets." In Selected Poems of Gerard Manley Hopkins, 42–55. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-18830-7_4.

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GUY, Ben. "11. Brut Ieuan Brechfa: A Welsh Poet Writes the Early Middle Ages." In Medieval Texts and Cultures of Northern Europe, 375–419. Turnhout, Belgium: Brepols Publishers, 2020. http://dx.doi.org/10.1484/m.tcne-eb.5.118542.

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Johnston, Dafydd. "Welsh Bardic Miscellanies." In Insular Books. British Academy, 2015. http://dx.doi.org/10.5871/bacad/9780197265833.003.0011.

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This chapter discusses miscellanies of Welsh-language poetry, focusing on six 15th-century manuscripts from the National Library of Wales, Peniarth collection, MSS 51, 54, 55, 57, 60, and 67, all of which contain material deriving directly from contemporary poets. The formation of these miscellanies was influenced by two key aspects of Welsh bardic practice: the fact that poets and reciters were itinerant meant that numerous contributors could have access to any single manuscript collection on separate occasions, and the prevalence of memorial transmission meant that large quantities of poetry were potentially available for transcription, despite the paucity of written exemplars. Socio-political networks are evident in patrons’ miscellanies, whilst the two manuscripts belonging to poets (51 and 67) are shown to reflect the ideal of the learned bard represented by the legendary Taliesin.
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Stevenson, Jane, and Peter Davidson. "Anne Fychan (fl. 1688)." In Early Modern Women Poets (1520-1700), 491. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198184263.003.0172.

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Abstract This poem is particularly interesting since it demonstrates a Welsh woman’s engagement with events of national significance. In The manuscript, it follows a series of twelve englynion on The Seven Bishops by Edward Morris, The drover poet of Perthi Llwydion. Both Morris and Fychan are reacting to The imprisonment of seven bishops in The Tower of London, charged with treason, after They refused to comply with James H’s demand that a second Declaration of Indulgence be read aloud in every parish church. One of The seven was Welsh, William Lloyd, Bishop of St Asaph in North Wales. The reaction of Morris and Fychan is characteristic of Welsh responses to this event.
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"CaTherin Llwyd, Née Owen (d. 1602)." In Early Modern Women Poets (1520-1700), edited by Jane Stevenson Peter Davidson, Meg Bateman, Kate Chedgzoy, and Julie Saunders, 80–82. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198184263.003.0032.

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Abstract Catherin owen was married to The poet Dafydd Lllwyd of Henblas, Anglesey, whose ‘Elegy for CaTherin Owen who died 11 June in The year of Christ 16o2’ gives The date of her death. Nothing else is known of her except that she evidently had a son called Sion (John). Like contemporary Scottish women, Welsh women evidently kept Their faThers’ names on marriage. Both this poem and her husband’s elegy are preserved in a seventeenth-century Welsh poetic miscellany.
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6

Stevenson, Jane, and Peter Davidson. "Angharad Pritchard, Née james (1677-1749)." In Early Modern Women Poets (1520-1700), 520–23. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198184263.003.0184.

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Abstract Angharad James was The ancestor of several of The most eminent Nonconformist preachers of The nineteenth century, and is Therefore less obscure than most Welsh-language women poets. Family traditions recorded in a book on her great-grandson John Jones Talsarn represent her as a forceful character, prominent in her neighbourhood, well-educated in classics and The law, a prolific poet, and a fine harpist (Owen Thomas, Cofiant John Jones Talsarn (Wrexham 1874), 24-5).
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7

Bishop, Jonathan, and Lisa Mannay. "Using the Internet to Make Local Music More Available to the South Wales Community." In Advances in Public Policy and Administration, 53–68. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-6038-0.ch005.

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Wales is the “land of the poets so soothing to me,” according to its national anthem. The political and economic landscape does not on the whole provide for the many creative people that are in Welsh communities. Social media Websites like MySpace and YouTube as well as Websites like MTV.com, eJay, and PeopleSound, whilst providing space for artists to share their works, but do not usually consider the needs of local markets, such as in relation to Welsh language provision through to acknowledgement of Welsh place names and Wales's status as a country. The chapter finds that there are distinct issues in relation to presenting information via the Web- or Tablet-based devises and suggests some of the considerations needed when designing multi-platform environments.
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8

Bishop, Jonathan, and Lisa Mannay. "Using the Internet to Make Local Music More Available to the South Wales Community." In Web Design and Development, 1157–72. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-4666-8619-9.ch052.

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Wales is the “land of the poets so soothing to me,” according to its national anthem. The political and economic landscape does not on the whole provide for the many creative people that are in Welsh communities. Social media Websites like MySpace and YouTube as well as Websites like MTV.com, eJay, and PeopleSound, whilst providing space for artists to share their works, but do not usually consider the needs of local markets, such as in relation to Welsh language provision through to acknowledgement of Welsh place names and Wales's status as a country. The chapter finds that there are distinct issues in relation to presenting information via the Web- or Tablet-based devises and suggests some of the considerations needed when designing multi-platform environments.
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9

"Catrin Ferch Gruffydd Ab Ieuan Ap Ll Ywelyn Fychan, Or Catrin Ferch Gruffydd Ap Hywel O Landdeiniolen (fl. 1555)." In Early Modern Women Poets (1520-1700), edited by Jane Stevenson Peter Davidson, Meg Bateman, Kate Chedgzoy, and Julie Saunders, 35–38. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198184263.003.0018.

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Abstract Gruffyd ab ieuan ap llywelyn fychan was a nobleman and poet from Llewenni Feehan near St Asaph, in north-east Wales. Surviving verses are associated with two of his daughters, Alis (see above, no. 10) and Catrin. There is some confusion in The manuscripts between Carrin The daughter of this Gruffyd and The daughter of anoTher bard, Gruffydd ap Hywel o Landdeiniolen, of Anglesey: for example, two poems, ‘Gwedd’io ac wylo i’m gwely’ and ‘Iesu Duw Iesu dewisaf ei garu’ are attributed in two manuscripts to both Catrin ferch Gruffydd ab Ieuan, and Catrin ferch Gruffydd ap Hywel. Sixteen poems apparently written by sixteenth-century Welsh women are attributed to one or more of Alis, The two Catrins, and an even more shadowy Gwen, allegedly sister to Alis and Carrin. Nothing is known of The lives of any of These women.
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10

Hunter Evans, Jasmine. "Cultural Dynamics." In David Jones and Rome, 338–64. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198868194.003.0013.

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Chapter 12 explores Jones’s visualisation of cultural heritage as a Bridge between past and present and his belief that Welsh culture held an integral position in British and Western tradition. This chapter traces the ways in which Jones embedded this concept of cultural inheritance into his artistic works—including The Lord of Venedotia (1948) and CARA WALLIA DERELICTA (1959)—and established it as a structural principle in his poetry, for example in The Sleeping Lord (1974). It interrogates Jones’s attempt to foreground the unique nature of the relationship between Rome and Wales so as to justify the continuance of Welsh culture in modernity before turning to a discussion of the crucial role he allotted to poets in a period of decline. In this construction, Jones felt it was his duty to preserve and rejuvenate Welsh heritage for the benefit of all the inhabitants of Britain and all who share in the Western cultural tradition.
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Conference papers on the topic "Welsh poets"

1

"Studies of Power Farming Systems of Welsh Onion Cultivation (Part 2) -Field test of new cropping type of Welsh onion using chain paper pots-." In 2015 ASABE International Meeting. American Society of Agricultural and Biological Engineers, 2015. http://dx.doi.org/10.13031/aim.20152188880.

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