Bibliographies thématiques / Aesthetics : Lyric poetry : History and criticism

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Littérature scientifique sur le sujet « Aesthetics : Lyric poetry : History and criticism »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 3 février 2022

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Articles de revues sur le sujet "Aesthetics : Lyric poetry : History and criticism"

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

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Raksamani, Kusuma. "The Validity of the Rasa Literary Concept: An Approach to the Didactic Tale of PHRA Chaisurjya." MANUSYA 9, no. 3 (2006): 67–72. http://dx.doi.org/10.1163/26659077-00903004.

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The rasa (emotive aesthetics), one of the major theories of Sanskrit literary criticism, has been expounded and evaluated in many scholarly studies by Indian and other Sanskritists. Some of them maintain that since the rasa deals with the universalized human emotions, it has validity not only for Indian but for other literatures as well. The rasa can be applied to any kind of emotive poetry such as lyric, epic, drama and satire. However, in Thai literature an emotive definition of poetry encompasses a great variety of works. A question is then raised in this paper about whether the rasa can be

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Szczeglacka-Pawłowska, Ewa. "Kartka ocalona z ognia. Liryki polozańskie Adama Mickiewicza: Drzewo i [Wsłuchać się w szum wód głuchy...]." Colloquia Litteraria 15, no. 2 (2013): 29. http://dx.doi.org/10.21697/cl.2013.2.02.

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A sheet saved from fire. Adam Mickiewicz’s post-Lausanne lyric poetry [liryki polozańskie] (Drzewo and [Wsłuchać się w szum wód głuchy...]) The article is an interpretation study of two lyric poems by Adam Mickiewicz (Drzewo and [Wsłuchać się w szum wód głuchy...], 1842). It grows out of an analysis of a lost manuscript and the history of the above-mentioned poems’ editions (including commentaries), as well as the notebook romanticism [romantyzm brulionowy] concept developed by the author. This concept encapsulates the inedita and creates a separate sphere in the epoch’s literary art and aesth

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Hadjimichael, Theodora A. "Aristophanes’ Bacchylides: Reading Birds 1373–1409." Greek and Roman Musical Studies 2, no. 1 (2014): 184–210. http://dx.doi.org/10.1163/22129758-12341258.

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AbstractThe significance of Aristophanes in the history of ancient literary criticism cannot be doubted. Equally undoubted is also the dismissive attitude that he appears to have towards the musical and poetic innovations of the late-fifth century BC. This position of his becomes essential when one considers the manner in which he treats the appraised canonical lyric poets and the contemned representatives of the New Dithyramb. This paper is concerned with the reading specifically of Bacchylides in Aristophanes. It argues in favour of the use of Bacchylides’ Ode 5 to Hieron inBirds1373-1409 as

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Burney, Fatima. "Strategies of Sound and Stringing in Ebenezer Pocock's West–East Verse." Comparative Critical Studies 17, no. 2 (2020): 319–36. http://dx.doi.org/10.3366/ccs.2020.0365.

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In an effort to capture how Orientalist translations, imitations and criticism of Asian poetry came to inform the idealization of lyric as a universal genre, this paper focuses on the practice of poetic metre in the nineteenth century. How did Victorian conceptions of recitational communities, bounded by shared ‘national’ metres, square against the wealth of translated works that were a major component of Victorian print culture? The amateur Orientalist Ebenezer Pocock explained various metres and musical practices associated with ‘Persian lyrics’ in his book Flowers of the East (1833) and off

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Halpern, Rob. "Baudelaire's “Dark Zone”: The Poème en Prose As Social Hieroglyph; or The Beginning and the End of Commodity Aesthetics." Modernist Cultures 4, no. 1-2 (2009): 1–23. http://dx.doi.org/10.3366/e2041102209000434.

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Lyric poetry collides with the prose of history in Baudelaire's Petits poèmes en prose (1869), one of modernité's inaugural aesthetic projects. While the “prose poem” persists today with its own canons, anthologies, and journals, Baudelaire's poème en prose remains irreducible to the genre it is typically said to have originated. This essay makes a case for the generic singularity of Baudelaire's poème en prose by way of Paul de Man and Theodor Adorno, whose oblique references to Baudelaire's innovation are rich in unexamined implications, implications which illuminate the work of both theoris

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Fry, Paul. "The New Metacriticisms and the Fate of Interpretation." Modern Language Quarterly 81, no. 3 (2020): 267–87. http://dx.doi.org/10.1215/00267929-8351507.

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Abstract Advanced schools of literary research today concur in their disapproval of unscaffolded interpretations of texts that “overhear” the presumed self-communing voices of authors in their solitude. Choosing from among the many antihermeneutic arguments, this essay responds in the main to the “historical poetics” of Virginia Jackson’s Dickinson’s Misery, with its reconsideration of the lyric poem and its place in the canon and reading practices of modern criticism. Neither direct interpretation of a text that lacks focus on its modes of circulation and transmission nor indeed any sort of i

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Rizzo, Gianluca. "What’s left of 1963: Mariano Bàino and the avant-garde with two “nei”." Forum Italicum: A Journal of Italian Studies 52, no. 1 (2017): 153–80. http://dx.doi.org/10.1177/0014585817746651.

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After Gruppo 63 disbanded and Quindici ceased publication, the Italian neo-avant-garde experienced a period of crisis. While a few poets continued undeterred on their path of experimentation, many of its protagonists turned to a plainer, more traditional style. In the 1980s a new generation of authors attempted to form a third wave of avant-garde: they called themselves Gruppo 93. Although their organizational efforts were mostly unsuccessful, they led to the creation of a large amount of poetry, prose, and essays on aesthetics and poetics. This literary and theoretical output is almost comple

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Christensen, Bent. "Totaldigteren Grundtvig En kommenteret forskningshistorisk oversigt som bidrag til bestemmelsen af Grundtvigs egenart som digter." Grundtvig-Studier 62, no. 1 (2011): 16–50. http://dx.doi.org/10.7146/grs.v62i1.16578.

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Totaldigteren Grundtvig: En kommenteret forskningshistorisk oversigt som bidrag til bestemmelsen af Grundtvigs egenart som digter[The Total Poet Grundtvig. A commented survey of the history of literary Grundtvig research as a contribution to the understanding of Grundtvig 's character as a poet]By Bent ChristensenIn his Omkring Grundtvigs Vidskab (About Grundtvig’s Vidskab: An Inquiry into N. F. S. Grundtvig’s View of the Knowledge Aspect of the Commitment to Life that Is a Necessary Part of Christianity), the author first and foremost sees Grundtvig as a “kirkelig og folkelig totaldigter” (to

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Bovsunivska, Tetyana. "DMITRY CHIZHEVSKY`S CONCEPT OF ROMANTICISM AND CANONS OF THE SOVIET LITERARY CRITICISM." Polish Studies of Kyiv, no. 35 (2019): 70–78. http://dx.doi.org/10.17721/psk.2019.35.70-78.

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The article talks about the role of D. Chyzhevsky in redefining the paradigm of Ukrainian romanticism, since Soviet canons are still being explored in his theory and history. In particular, emphasis was placed on confronting such ideological basis as: avoiding any mysticism; refusal of psycho-intimate immersion; the imposition of revolutionary and democratic tendencies; pan-realism; the militant nature of romanticism and the genesis of its origins from German idealism. Chizhevsky proposed instead: the recognition of the heart as the center of romantic aesthetics; peculiarity and singularity of

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Thèses sur le sujet "Aesthetics : Lyric poetry : History and criticism"

Brady, Bronwyn. "The idea of gaiety in Yeats's lyric poetry." Thesis, Rhodes University, 1990. http://hdl.handle.net/10962/d1015642.

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In June 1917 W.B. Yeats wrote to his father : Much of your thought resembles mine . . but mine is part of a religious system more or less logically worked out, a system which will I hope interest you as a form of poetry. I find the setting it all in order has helped my verse, has given me a new framework and new patterns. (Wade 1954, 627) The new framework and new patterns that he claimed to have found in his system generated a new, and for Yeats, radically different sort of poetry. Before 1919 (The Wild Swans at Coole), the poetry had as its subject various traditional themes: the pity of lov

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Allen, Edward Joseph Frank. "Lyric technologies : the sound media of American modernist poetry." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708318.

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Au, Chung-to, and 區仲桃. "Shifting ground: modernist aesthetics in Taiwanese poetry since the 1950s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2554939X.

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Haines, Robert M. "Inter." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849627/.

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This dissertation is has two parts: a critical essay on the lyric subject, and a collection of poems. In the essay, I suggest that, contrary to various anti-subjectivists who continue to define the lyric subject in Romantic terms, a strain of Post-Romantic lyric subjectivity allows us to think more in terms of space, process, and dialogue and less in terms of identity, (mere self-) expression, and dialectic. The view I propose understands the contemporary lyric subject as a confluence or parallax of imagined and felt subjectivities in which the subject who writes the poem, the subject personi

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Chen, Lan, та 陈岚. "Lyric poems of the Southern dynasties' literati = 南朝 (420-589) 文人樂府研究". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45351521.

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Greentree, Rosemary. "An annotated bibliography of the Middle English lyric /." Title page, contents and abstract only, 1999. http://web4.library.adelaide.edu.au/theses/09PH/09phg815.pdf.

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Robertson, George Ian Cantlie. "Evaluative language in Greek lyric and elegiac poetry and inscribed epigram to the end of the fifth century B.C.E." Thesis, University of Oxford, 1999. http://ora.ox.ac.uk/objects/uuid:3a03f8c6-5e38-4066-b313-5df6b5eedd19.

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This dissertation is a study of the rhetorical uses of evaluative language in Greek lyric and elegiac poetry and inscribed epigram of the period from the seventh to the fifth century B.C.E. The discussion focuses on the poets' evaluations of human worth in three areas, each of which forms a separate chapter: martial valour, the relationship between physical appearance and inner virtue, and political or social values. Within each chapter, particular aspects of the subject under discussion are treated under separate headings. Although the literary material has been treated in various ways in the

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Spelman, Henry Lawlor. "Pindar and his audiences." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:83184846-33cc-41bf-a7d0-8b1f1da5c57d.

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This thesis explores Pindar's relationship to his audiences. Part One demonstrates how his victory odes take into account an audience present at their premiere performance and also secondary audiences throughout space and time. It argues that getting the most out of the epinicians involves simultaneously assuming the perspectives of both their initial and subsequent audiences. Part Two describes how Pindar uses his audiences' knowledge of other lyric to situate his work both within an immanent poetic history and within a contemporary poetic culture. It sets out Pindar's vision of the literary

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Walker, Tammy. "The Human Body is Not Designed for Ambivalence: Odes." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc5112/.

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The critical analysis section of this dissertation seeks to define the ode using examples in translation from Greek and Latin odes and examples in English written from the 1500s to the 2000s. Although most definitions of the ode contend that this subgenre of the lyric is an occasional poem of praise that includes a meditative or mythological element, the ode is far more complex. An ode is an occasional poem, but it works to privilege rather than strictly praise its subject, allowing for the speaker's ambivalence toward the subject. Meditation is a key element of the ode, since the poet uses

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Samaras, Peter Panagiotis. ""Eros tyrannidos" : a study of the representations in Greek lyric poetry of the powerful emotional response that tyranny provoked in its audience at the time of tyranny's earliest appearance in the ancient world." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24104.

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Since its earliest appearance, the word $ tau upsilon rho alpha nu nu acute iota varsigma$ referred to absolute rule obtained in defiance of any constitution that existed previously. In early Greek lyric poetry, tyranny is represented as a divine blessing, but one that meets with opposition against the tyrant and puzzlement at the behaviour of the gods. In Archilochus and elsewhere tyrannical ambition is termed eros. The common property that makes both tyranny and beauty objects of eros is luminosity: As the 'radiance' $ rm( lambda alpha mu pi rho acute o tau eta varsigma)$ of beauty is to the

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Livres sur le sujet "Aesthetics : Lyric poetry : History and criticism"

Poetry at stake: Lyric aesthetics and the challenge of technology. Princeton University Press, 1999.

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The regenerate lyric: Theology and innovation in American poetry. Cambridge University Press, 1993.

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Aesthetics and revolution: Nicaraguan poetry, 1979-1990. University of Minnesota Press, 1993.

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Peter, Fuchs. " Lieber Herr Fuchs, lieber Herr Schmatz!": Eine Korrespondenz zwischen Dichtung und Systemtheorie. Westdeutscher Verlag, 1997.

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The aesthetics of power: The poetry of Adrienne Rich. University of Georgia Press, 1986.

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Shockley, Evie. Renegade Poetics: Black Aesthetics and Formal Innovation in African American Poetry. University of Iowa Press, 2011.

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Avangard i sot︠s︡realizŭm: Problemŭt za lirikata v Rusii︠a︡ prez perioda 1917-1934. Silueti, 2012.

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Feldt, Michael. Lyrik als Erlebnislyrik: Zur Geschichte eines Literatur- und Mentalitätstypus zwischen 1600 und 1900. Winter, 1990.

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Pott, Sandra. Poetiken: Poetologische Lyrik, Poetik und Ästhetik von Novalis bis Rilke. De Gruyter, 2004.

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Brooks, Cleanth. Historical evidence and the reading of seventeenth-century poetry. University of Missouri Press, 1991.

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Chapitres de livres sur le sujet "Aesthetics : Lyric poetry : History and criticism"

Jackson, Virginia. "The Cadence of Consent: Francis Barton Gummere, Lyric Rhythm, and White Poetics." In Critical Rhythm. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823282043.003.0005.

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In American poetics, lyric and rhythm share a history—and since this is America, it is a racialized history. This essay considers Francis Barton Gummere’s contributions to that history. Although most Anglo-American literary critics have never heard of Gummere, many of the assumptions of that criticism were first articulated by him between 1891 and 1911. By returning to Gummere’s now historically obscure logic, we might begin to trace the overdetermined origins of current critical versions of lyric rhythm as natural culture and to imagine an alternative history of American poetics, a history of the poetics of rhythm not modeled on naturalized (and thus racialized) concepts of culture, on English prosody, or on common sense; an alternative that acknowledges the contradictions of any notion of a shared Anglo-American rhythm or shared Anglo-American poetry, a history in which the idea of rhythm remains central, but central as symptom rather than central as solution.

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Tobin, Claudia. "‘Inactive contemplation’: Wallace Stevens and Charles Mauron." In Modernism and Still Life. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474455138.003.0005.

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The final chapter of Modernism and Still Life crosses the Atlantic to consider the American poet, Wallace Stevens. It argues that his creative project was underpinned by the desire for a transformative attentiveness to the everyday, an ‘illumination of the usual’, which coincides with the still life aesthetic. The chapter is structured around the poet’s annotated personal copy of Aesthetics and Psychology (1935), authored by the French aesthetician, Charles Mauron (1899–1966). Mauron’s text, which Stevens read and closely annotated during the 1930s, provides a unique paradigm through which to approach the poet’s still life meditations in his lyric poetry and criticism, with particular focus on Parts of a World (1942). This chapter reads Stevens’s ‘still life’ poems in the light of two traditions in the pictorial representation of the genre: one characterised by sensuous abundance and the other by ascetic abstinence. Such an approach illuminates the poems’ internal debates about aestheticism and asceticism, absorption and detachment, contemplation and activity and uncovers the ways in which Mauron’s theory of ‘inactive’ and ‘active’ contemplation shaped the poet’s ‘still life aesthetic’. The chapter ends by revealing the nexus between Bloomsbury, Mauron and Stevens.

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Roberts, Wendy Raphael. "Conclusion." In Awakening Verse. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197510278.003.0007.

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Through examples of both print and manuscript poems, the conclusion argues that evangelicalism was a shift in the emphasis on aesthetics and its correct uses more than a theological tenet, and that revival poetry became a central part of not only eighteenth-, but nineteenth-century verse practices and beyond. These legacies, which include the revivalist poet-minister, the print itinerant, espousal piety, the Calvinist couplet, and women poet-minister personae, have important implications for later abolitionist poetry, the sentimental poetess, histories of racialized and gendered aesthetic capacities, the development of lyric address, and the integration of religious experience and practice in American literary history. Though elite defenders of enthusiasm tried to empty enthusiasm of religious radicalism and attach it to literary poetry, the eighteenth century (and beyond) saw the explosion of an enthusiastic poetry explicitly tied to religious revivalism. Ultimately, Roberts argues, literary scholars must grapple with how to write modern literary histories that account for people living with the gods fully present.

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Desmond, Will D. "Art." In Hegel's Antiquity. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198839064.003.0003.

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Hegel’s Lectures on Fine Art offer a veritable ‘world history of art’, and have led to his being called the real ‘father of art history’, but at their heart is a close identification of beauty with ‘the ideal’ and of art with ‘the classical’—and hence with (Greek) antiquity. With reference to the legacies of Winckelmann and Kantian aesthetic theory, this chapter begins by explicating the main features of Hegel’s aesthetics: the notion of ‘the ideal’ and of art’s vocation to reveal ‘the truth’ sensuously; the classification of artistic styles into Symbolic, Classical, and Romantic; and the division of basic art forms into architecture, sculpture, painting, music, and poetry. The chapter tackles each of these art forms in turn, focusing on Hegel’s sources and understanding of their role in Greek and Roman civilizations. His discussions of the Greek temple, Greek sculpture, epic, lyric, and comedy are relatively neglected, but all contribute as much as tragedy to his Winckelmannian understanding of the Greeks as ‘the people of art’ and of the ‘sculptural’ nature of the Greek mind. Here his Romans play counterpoint, as a derivative and aesthetically uncreative people—except in the genre of satire, which also fills out Hegel’s portrait of Roman ‘prose’, alienation, and increasing self-awareness. Though each of the art-forms peaks in a certain historical period, Hegel tends to associate each peak with the ‘classical’ ideal—an association that may help to illuminate his controversial statements about the ‘end of art’ in the modern, Romantic style.

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