Relevant bibliographies by topics / Writing poetry

Contents

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

Academic literature on the topic 'Writing poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Writing poetry"

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Livingstone, D. "Writing Poetry." English in Africa 40, no. 3 (May 1, 2014): 91. http://dx.doi.org/10.4314/eia.v40i3.17.

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송여주. "Study on Intertextual Poetry Writing in Poetry Writing Education." Journal of CheongRam Korean Language Education ll, no. 49 (March 2014): 413–38. http://dx.doi.org/10.26589/jockle..49.201403.413.

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Perloff, Marjorie. "Writing Poetry/Writing about Poetry: Some Problems of Affiliation." symploke 7, no. 1 (1999): 21–29. http://dx.doi.org/10.1353/sym.1999.0018.

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Puteri, Dinike Agustin. "PENERAPAN METODE QUANTUM WRITER UNTUK MENINGKATKAN KEMAMPUAN MENULIS PUISI PADA SISWA SMK TELEKOMUNIKASI DARUL’ULUM." sarasvati 1, no. 2 (December 9, 2019): 91. http://dx.doi.org/10.30742/sv.v1i2.744.

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Quantum Writer method is good way to help student more easy and attractive to write. Quantum Writer method is contains four steps teaching learning writing ang can be easy to with PAK ! namely: concentrate (P), arrange (A), composing (K), the best (!). This method used to finished that problem appear (1) How to proces learning poerty at begining with Quantum Writer method, (2) How to proces learning poerty when student is writing poerty with Quantum Writer method, (3) How to proces learning poerty at the finishing or after writer poerty with Quantum Writer method, in this case every statement of the problem given student score. This Action Research (PTK) used descriptive kealitatif method is doing two steps is that observation student SMK Telekomunikasi Darul’Ulum. The data take from pre writing is contain students ability to mention theam. Then the result take from when student is writing poerty. With Quantum Writer merhod. Second step is that finished to write the result contains are reading a poerty, give suggestion with friend’s poetry, and revisi again based on friend’s suggestion. The result of the observation is that appliying Quantum Writer writer method can be increase to writing poetry very good for student. Students ability to writing poetry more increase every steps. And the response of the student increase.
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Islam, Mohammad Shafiqul. "Bangladeshi Poets Writing in English." Journal of World Literature 6, no. 1 (October 22, 2020): 65–83. http://dx.doi.org/10.1163/24056480-20201003.

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Abstract This article observes that Kaiser Haq has made an immense contribution to Bangladeshi poetry in English, leading the school of English poetry of the country from the front. A relatively new field, Bangladeshi writing in English has started becoming a part of world literature, and its scope, no doubt, is expanding rapidly. The article also focuses on the legacy of Bangladeshi writing in English to demonstrate how Bangladeshi poetry in English has simultaneously progressed. The article argues that Haq’s enormous contributions justify his position as the best English-language poet in Bangladesh. For his poetry, the poet takes material from his motherland and its rich culture, and his style, technique, and diction resonate with those of prominent poetic voices of the world. The article also sheds light on how Haq presents Bangladesh, depicting numerous shades of reality, and how he still dominates in the contemporary scene of Bangladeshi poetry in English.
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Johnston, Fred, Pearse Hutchinson, Pat Boran, and Nigel McLoughlin. "Writing Poetry Seriously." Books Ireland, no. 249 (2002): 126. http://dx.doi.org/10.2307/20623996.

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Zack, Michael. "On Writing Poetry." Chest 133, no. 1 (January 2008): 294–95. http://dx.doi.org/10.1378/chest.07-1365.

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Mooney, Sharon Fish, and Ansley Little. "Students Writing Poetry." Journal of Christian Nursing 37, no. 2 (2020): 126. http://dx.doi.org/10.1097/cnj.0000000000000697.

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Lum, Wing Tek, Jennifer Hayashida, and Juliana Chang. "Creative Writing: Poetry." Journal of Asian American Studies 19, no. 3 (2016): 427–28. http://dx.doi.org/10.1353/jaas.2016.0043.

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Wang, Dorothy, Kazim Ali, and Cathy Linh Che. "Creative Writing: Poetry." Journal of Asian American Studies 20, no. 3 (2017): 465. http://dx.doi.org/10.1353/jaas.2017.0040.

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Dissertations / Theses on the topic "Writing poetry"

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Bonhomme, Desmond. "Creative Writing Thesis: Poetry." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/563.

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The title of this compilation of my own creative writings is Trees, Breathe, Paper. This unique collection of poetry, short stories and prose contains a range of work, composed from 2002-2012. The thematic goal of this undertaking is to ballast as many implicit and explicit meanings as are comprehensible, and to extrapolate a distinct spectrum of latent and straightforward explanations with discernible psycho-analytical accuracy. We all know poetry is truly formless and based on springs of natural inspiration. Thus, we derive our purest inspiration from the natural world and we prune it in its unfiltered, raw state. Poetry is an externality that materializes from thin air.
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Cookson, Jennifer Colleen. "Topographies (Original writing, Poetry)." Diss., Connect to online resource, 2005. http://wwwlib.umi.com/cr/colorado/fullcit?p1425798.

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King, Willow. "Yantra: A creative writing thesis (Original writing, Poetry, Creative fiction)." Diss., Connect to online resource, 2005. http://wwwlib.umi.com/cr/colorado/fullcit?p1425764.

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Nguyen, Alina. "Poetry as a Museum." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10262632.

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Poetry as a Museum is a two-part collection of poems that reveals different subject matter from the poet’s view of the world. The first part deals with family and the juxtapositions of life in the United States and Vietnam. The second part is focused on the poet, her voice, and lens outside of family. Both parts cohere as a collection around the idea of a poetry museum, one that curates the various stories, memories, experiences, and interests of family and poet, in Vietnam and the United States. Moreover, the poems rely on their strangeness in image as well as structure.

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Fisher, Matt 1966. "Animated writing." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28047.

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Accompanying materials housed with archival copy.
Using an animation program on a Macintosh computer, I have animated poems, song lyrics and expressions in an experimental way to investigate alternatives to the restrictive poetics of the static medium of paper. Animated Writing is thus the process of enacting, in a visually rich and compelling fashion, the various semantic possibilities of text presented on a screen. While a CD-ROM or Web site would flawlessly display the pristine digital content of the animations which comprise the Creative Writing Master's Thesis, for ease of distribution the thesis is presented on analog VHS videotape. An animated text offers many subtle nuances, doubling of meaning and delicate complexity which are wholly impossible to achieve on paper. This technique of animating words provides for an exciting and intriguing enrichment of both original poetry created specifically for the form, and prose, lyrics or other found text adapted for use.
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Halliday, Simon D. "Intersections : a collection of poetry." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8087.

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Griffiths, David. "Song writing : poetry, Webern, and musical modernism." Thesis, King's College London (University of London), 1993. https://kclpure.kcl.ac.uk/portal/en/theses/song-writing--poetry-webern-and-musical-modernism(eda44e12-79d4-423f-887f-4d0543a03bc9).html.

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Beckerling, Philippa Mary. "Wings into darkness & Poetry - An Essay." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/6938.

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Goodson, R. P. "Writing 'The See-Through Man' : poetry and commentary." Thesis, Nottingham Trent University, 2011. http://irep.ntu.ac.uk/id/eprint/160/.

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'Writing The See-Through Man: Poetry and Commentary' is a Creative Writing thesis in two parts. The first part is a collection of poems called The See-Through Man, written specifically for this project. It comprises thirty short poems (of approximately one page in length) and one long poem, '1969' (approximately sixty pages in length). The second part of the thesis is a personal, critical commentary which reflects on the evolution of the themes in this collection, from an initial desire to write about the male nude in art, to a desire to write about masculinity, to, finally, a desire to write autobiographically on issues of male embodiment. It reflects, retrospectively, on the creative processes behind the writing of the poems, with specific reference to technical experiments undertaken during the writing of key poems. It uses my own contemporaneous journals to piece together their 'histories', from idea to final draft. It also reflects on the influence of other poets and poetic traditions, with particular reference to the long poem, the prose-poem and the sonnet (and how assigning a central place to the sonnet grew out of a translation of Michelangelo). The sonnet, for example, comes to be understood as a metaphor for the Apollonian male body (considered to be a negative construct) and the versions of sonnets in the collection as examples of that form undergoing Dionysian adjustments. The end of the commentary explains how this leads to the formulation of a Queer poetics, one in which texts signify not solely by their apparent themes but also by their 'open' and inter-penetrative forms. The single poem in the collection which best exemplifies this poetics is '1969', although the whole collection is structured in order to demonstrate it. The thesis contributes to the field of Creative Writing and to Queer literary studies.
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Beaulieu, Derek. "Text without text : concrete poetry and conceptual writing." Thesis, University of Roehampton, 2015. https://pure.roehampton.ac.uk/portal/en/studentthesis/text-without-text(9881aca7-f74a-4f6e-b8d2-58d83c01d7ae).html.

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Concrete poetry has been posited as the only truly international poetic movement of the 20th Century, with Conceptual writing receiving the same cultural location for the 21st-Century. Both forms are dedicated to a materiality of textual production, a poetic investigation into how language occupies space. My dissertation, Text Without Text: Concrete Poetry and Conceptual Writing consists of three chapters: “Dirty”, “Clean” and Conceptual.” Chapter One outlines how degenerated text features in Canadian avant-garde poetics and how my own work builds upon traditions formulated by Canadian poets bpNichol, bill bissett and Steve McCaffery, and can be formulated as an “inarticulate mark,” embodying what American theorist Sianna Ngai refers to as a “poetics of disgust.” Chapter Two, “Clean,” situates my later work around the theories of Eugen Gomringer, the Noigandres Group and Mary Ellen Solt; the clean affectless use of the particles of language in a means which echoes modern advertising and graphic design to create universally understood poetry embracing logos, trademarks and way-finding signage. Chapter Three, “Conceptual,” bridges my concrete poetry with my work in Conceptual writing—especially my novels Local Colour and Flatland. Conceptual writing, as theorized by Kenneth Goldsmith, Vanessa Place and others, works to interrogate a poetics of “uncreativity,” plagiarism, digitally aleatory writing and procedurality. Text Without Text: Concrete Poetry and Conceptual Writing also includes three appendices that outline my poetic oeuvre to date.
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Books on the topic "Writing poetry"

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Writing poetry. Glenview, Ill: GoodYearBooks, 1992.

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Writing poetry. London: A. & C. Black, 2001.

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Writing poetry. New York: Routledge, 2009.

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Herbert, W. N. Writing poetry. New York: Routledge, 2009.

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Davidson, Chad, and Gregory Fraser. Writing Poetry. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-12070-0.

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Writing poetry. 2nd ed. London: A & C Black, 2006.

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Writing poetry. 2nd ed. Fort Worth: Harcourt Brace College Publishers, 1994.

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Writings on writing. London: Women's Press, 1995.

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Margaret, Ryan. Extraordinary poetry writing. New York: F. Watts, 2006.

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Writing dangerous poetry. Lincolnwood, Ill: NTC/Contemporary Pub. Group, 1999.

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Book chapters on the topic "Writing poetry"

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Monroe, Jonathan. ")Writing Writing(." In Poetry & Pedagogy, 63–79. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-11449-5_5.

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Mark, Alison. "Writing About Writing About Writing (About Writing)." In Contemporary Women’s Poetry, 64–75. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1007/978-1-137-15406-4_11.

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Casterton, Julia. "Writing Poetry." In Creative Writing, 97–122. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-1-137-11496-9_10.

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Saldaña, Johnny. "Writing Poetry." In Writing Qualitatively, 176–85. London ; New York : Routledge, [2018]: Routledge, 2018. http://dx.doi.org/10.4324/9781351046039-15.

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Casterton, Julia. "Writing Poetry." In Creative Writing, 95–123. London: Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-14679-6_9.

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McLoughlin, Nigel. "Writing Poetry." In A Companion to Creative Writing, 40–55. Chichester, UK: John Wiley & Sons, Ltd, 2013. http://dx.doi.org/10.1002/9781118325759.ch3.

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Davidson, Chad, and Gregory Fraser. "Introduction." In Writing Poetry, 1–5. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-12070-0_1.

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Davidson, Chad, and Gregory Fraser. "Voice." In Writing Poetry, 146–55. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-12070-0_10.

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Davidson, Chad, and Gregory Fraser. "Style." In Writing Poetry, 156–69. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-12070-0_11.

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Davidson, Chad, and Gregory Fraser. "Subject." In Writing Poetry, 170–85. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-12070-0_12.

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Conference papers on the topic "Writing poetry"

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Booten, Kyle, and Katy Ilonka Gero. "Poetry Machines: Eliciting Designs for Interactive Writing Tools from Poets." In C&C '21: Creativity and Cognition. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3450741.3466813.

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Amalia, Farida, Dudung Gumilar, and Riswanda Setiadi. "Poetry in Teaching French Descriptive Texts Writing." In 4th International Conference on Language, Literature, Culture, and Education (ICOLLITE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.039.

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Saputro, Agung, Sahid Widodo, Joko Nurkamto, and Kundharu Saddhono. "Synectic Multiliteration: Latest Findings in Poetry Writing Learning." In Proceedings of the First International Conference of Science, Engineering and Technology, ICSET 2019, November 23 2019, Jakarta, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.23-11-2019.2301612.

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Carriere, Patrizia, Carla Giazzi, Simona Quadrelli, and Marco Maiocchi. "WRITING POETRY IN PRIMARY SCHOOLS: A TEACHING EXPERIENCE." In International Technology, Education and Development Conference. IATED, 2016. http://dx.doi.org/10.21125/inted.2016.0683.

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Thompson, Jayne, and Julie Wollman. "LISTENING FOR POETRY: READING AND WRITING POETRY BEHIND THE WALLS OF THE U.S. PRISON." In 12th annual International Conference of Education, Research and Innovation. IATED, 2019. http://dx.doi.org/10.21125/iceri.2019.1020.

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"Training strategies of reverse thinking in poetry writing teaching." In 2017 3rd International Conference on Economy, Management and Education Technology. Francis Academic Press, 2017. http://dx.doi.org/10.25236/icemet.2017.026.

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Andonovska-Trajkovska, Daniela, Dean Iliev, and Tatjana Atanasoska. "METHODOLOGY OF TEACHING POETRY WRITING IN THE ELEMENTARY CLASSROOM." In International Technology, Education and Development Conference. IATED, 2017. http://dx.doi.org/10.21125/inted.2017.1165.

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Oktaviani, Cahyaning, St Slamet, and Hartono Hartono. "Outdoor Learning Model in Improving the Quality of Poetry Writing." In Proceedings of the 1st Seminar and Workshop on Research Design, for Education, Social Science, Arts, and Humanities, SEWORD FRESSH 2019, April 27 2019, Surakarta, Central Java, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.27-4-2019.2286820.

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Rachmadhani, Wijil, and Maman Suryaman. "Analysis of Necessity of Writing Poetry in Senior High School." In 1st International Conference on Language, Literature, and Arts Education (ICLLAE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200804.088.

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Yang, Xiaopeng, Xiaowen Lin, Shunda Suo, and Ming Li. "Generating Thematic Chinese Poetry using Conditional Variational Autoencoders with Hybrid Decoders." In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/631.

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Computer poetry generation is our first step towards computer writing. Writing must have a theme. The current approaches of using sequence-to-sequence models with attention often produce non-thematic poems. We present a novel conditional variational autoencoder with a hybrid decoder adding the deconvolutional neural networks to the general recurrent neural networks to fully learn topic information via latent variables. This approach significantly improves the relevance of the generated poems by representing each line of the poem not only in a context-sensitive manner but also in a holistic way that is highly related to the given keyword and the learned topic. A proposed augmented word2vec model further improves the rhythm and symmetry. Tests show that the generated poems by our approach are mostly satisfying with regulated rules and consistent themes, and 73.42% of them receive an Overall score no less than 3 (the highest score is 5).
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Reports on the topic "Writing poetry"

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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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