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Articles de revues sur le sujet « American Revolutionary poetry »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 27 juillet 2025

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1

Byerman. "Talking Back: Phillis Wheatley, Race and Religion." Religions 10, no. 6 (2019): 401. http://dx.doi.org/10.3390/rel10060401.

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This essay examines the means by which African American poet Phillis Wheatley uses her evangelical Christianity to engage issues of race in revolutionary America. In her poetry and other writings, she addresses and even instructs white men of privilege on the spiritual equality of people of African descent.

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Gaszyńska-Magiera, Małgorzata. "Literatura y política. Notas sobre la recepción de las traducciones de la poesía hispano-americana en Polonia en la segunda mitad del siglo XX." Estudios Hispánicos 24 (March 31, 2017): 49–62. http://dx.doi.org/10.19195/2084-2546.24.4.

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Literature and politics. Notes on the reception of translations of Hispano-American poetry in Poland in the second half of the 20th centuryThe main objective of the article is to describe the main trends in the reception of the Hispano-American poetry in Poland in the second half of the 20th century. The analysis carried out on the basis of the bibliographical data demonstrated that political factors were more important than artistic ones when the decisions concerning the choice of works to be published were made. Therefore, the most well-known Hispano-American poet in Poland was Pablo Neruda,

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Filreis, Alan. "Revolutionary Memory: Recovering the Poetry of the American Left (review)." Modernism/modernity 9, no. 3 (2002): 507–9. http://dx.doi.org/10.1353/mod.2002.0047.

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Pylynskyi, Mykhailo. "The Concept of Political Freedom in War Poetry: a comparison of Ukrainian poetry from the modern war and American poetry from the revolutionary wars." LITERARY PROCESS: methodology, names, trends, no. 24 (2024): 74–84. https://doi.org/10.28925/2412-2475.2024.24.7.

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This paper delves into the concept of political freedom as depicted in American and Ukrainian poetry, specifically during periods of conflict. By focusing on wartime literature, the study aims to uncover the nuanced meanings and representations of freedom in both American and Ukrainian contexts. The research is particularly relevant given the current Russian-Ukrainian war, which has brought the question of national and political freedom to the forefront of Ukrainian society. The comparative approach of this study allows for an examination of how two different cultures, separated by time and ge

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Cohen, Jonathan. "Evolving to Science Poetry: Three Poems by Ernesto Cardenal." American, British and Canadian Studies 41, no. 1 (2023): 239–46. http://dx.doi.org/10.2478/abcsj-2023-0028.

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Abstract Nicaraguan poet-priest Ernesto Cardenal (1925–2020) is one of the most important Latin American poets. He developed his “exteriorist” poetics in the 1950s, much influenced by Anglo-American poets, in particular Ezra Pound, to differentiate his poetry from the prevailing subjectivist verse in Latin America. The impact of Pound’s canto technique on his work is clear, as well. Cardenal’s epic poem Cántico cósmico (Cosmic Canticle), published in 1989, is his magnum opus. This work is distinguished by his avant-garde use of science and its language, as he contemplates the entire cosmos and

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Guedea, Rogelio. "Ética-Política en Salmos de Ernesto Cardenal." Recial 11, no. 17 (2020): 53–61. https://doi.org/10.53971/2718.658x.v11.n17.29414.

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From the middle of the last century onwards, poets began to publish in different Latin American countries that aimed, on the one hand, to promote democracy as an ideal system for the societies of the time and promote the overthrow of the dictatorships suffered by countries such as the Dominican Republic, El Salvador, Nicaragua, etc., and, on the other, inaugurate a new way of writing poetry, a poetry more committed to social causes and not only to language itself. Among those poets is Ernesto Cardenal (1925), an emblematic figure of the Sandinista revolution that ended in 1979 with more than f

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Romero Figueroa, Edgar. "Una retórica revolucionaria: el caso de las poéticas centroamericanas." Revista Trace, no. 77 (January 31, 2020): 59. http://dx.doi.org/10.22134/trace.77.2020.146.

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La lectura de cuatro poetas centroamericanos: Ernesto Cardenal, Roberto Sosa, Otto René Castillo y Roque Dalton permite esbozar la caracterización de una cierta poesía revolucionaria de la segunda mitad del siglo XX, desde una perspectiva retórico-discursiva. Para ello, se cuestiona la función que algunos dispositivos retóricos específicos (figuras como la metáfora o estrategias complejas, y por ende difícilmente clasificables, como el motivo o topos) cumplen en los proyectos poético-revolucionarios.Abstract: Through the work of four Central American poets: Ernesto Cardenal, Roberto Sosa, Otto

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Ennis, Daniel J. "Poetry and American Revolutionary Identity: The Case of Phillis Wheatley and John Paul Jones." Studies in Eighteenth Century Culture 31, no. 1 (2002): 85–98. http://dx.doi.org/10.1353/sec.2010.0005.

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Bukhina, Olga. "Why Are They So Afraid of Children’s Books? The Subversive Power of Imagination (Part 2)." Dzieciństwo. Literatura i Kultura 1, no. 2 (2019): 188–208. http://dx.doi.org/10.32798/dlk.164.

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The second part of the article explores particular examples of subversive books in American, Soviet, and Russian children’s literature as well as the revolutionary role of fantasy and innovative literary forms through different periods of the history of the USA, the Soviet Union, and Russia. To show how children’s literature was often at odds with particular governments and common opinions, the article uses the examples of the American Left writings for young readers, the 1920s Soviet children’s prose and poetry, and contemporary Russian children’s books. The article discusses the various at

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Alqaryouti, Marwan Harb, Met'eb Ali Alnwairan, Dania Meryan, Alaeddin Sadeq, Farah Alshehadat, and Nisreen Alnawrasi. "Redefining Resistance: Revolutionary Women in Audre Lorde's "Who Said It Was Simple"." Theory and Practice in Language Studies 15, no. 1 (2025): 148–54. https://doi.org/10.17507/tpls.1501.17.

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Audre Lorde's poetry, especially "Who Said It Was Simple", vividly illustrates her lived experiences as an African American lesbian woman navigating intersecting prejudices of racism, sexism, and homophobia. This study aims to analyze how Lorde's poem reflects and critiques societal norms that perpetuate inequality, particularly for Black women, and explores the poem's role in feminist discourse. The research employs a qualitative descriptive analysis with a focus on textual analysis. Using a qualitative content analysis approach, the study interprets the thematic elements of Lorde’s poem, exa

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Alzahrani, Sara. "Verses of Despair (Robert Bly’s Poetics between Idealism and Naturalism)." Academic Journal of Research and Scientific Publishing 6, no. 65 (2024): 05–20. http://dx.doi.org/10.52132/ajrsp.e.2024.65.1.

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The Vietnam War generated a major outpouring of American antiwar poetry that served as a powerful medium of expressing dissent and disillusionment with the war. One of many American poets who extensively contributed to the antiwar poetry movement during the war is Robert Bly. While Bly’s poetics are often appreciated for their revolutionary fervor, there exists a subtle and concealed naturalist streak in his poetry that deserves further exploration. The scholarly marginalization of such an aspect of his literary legacy undermines the richness and complexity of Bly’s poetic vision. This paper s

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Pring-Mill, Robert. "The roles of revolutionary song – a Nicaraguan assessment." Popular Music 6, no. 2 (1987): 179–89. http://dx.doi.org/10.1017/s0261143000005973.

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The term ‘protest song’, which became so familiar in the context of the anti-war movement in the United States during the 1960s, has been widely applied to the songs of socio-political commitment which have developed out of traditional folksong in most of the countries of Latin America over the past twenty years (see Pring-Mill 1983 and forthcoming). Yet it is misleading insofar as it might seem to imply that all such songs are ‘anti’ something: denouncing some negative abuse rather than promoting something positive to put in its place. A more helpful designation is that of ‘songs of hope and

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Saraswat, Varsha, and Gour Hari Mondal. "William Wordsworth and Ralph Waldo Emerson's Attitude to Nature: A Comparative Study." International Journal of Science and Social Science Research 2, no. 3 (2024): 54–58. https://doi.org/10.5281/zenodo.13955345.

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The article deals with the similarities between American Transcendentalism and British Romanticism, more precisely between William Wordsworth and Ralph Waldo Emerson’s influential engagement with Individualism and Nature. Wordsworth, one of the revolutionary thinkers of the Romantic period, has portrayed the life of the ordinary man in his poetry and Emerson, one of the founders of American Transcendentalism, has dealt with freethinking and the liberty of the people. The article focuses on the similar ideas delivered by both Wordsworth and Emerson in their respective writings in regard t

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Werbanowska, Marta. "Ecojustice Poetry in The BreakBeat Poets Anthologies." Ecozon@: European Journal of Literature, Culture and Environment 13, no. 1 (2022): 89–105. http://dx.doi.org/10.37536/ecozona.2022.13.1.4421.

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Ecological modes of thinking and an awareness of environmental (in)justice are becoming increasingly pronounced in the ethics and aesthetics of hip hop. One area in which the culture’s growing interest in ecology as practice and metaphor is particularly visible is hip hop poetry’s turn to ecojustice, or an intersectional concern with social and environmental justice, liberation, diversity, and sustainability. This article examines selected works from the first two volumes of anthologies published by Haymarket Books as part of their BreakBeat Poets series, focusing on three ecojustice-oriented

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Idowu, Samuel O. "Langston Hughes’s Insights into Communism." Journal of Critical Studies in Language and Literature 6, no. 4 (2025): 76–81. https://doi.org/10.46809/jcsll.v6i4.371.

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This paper examines Langston Hughes's involvement with communism by analyzing his poetry and political works. As a prominent African American literary personality of the twentieth century, Hughes grappled with the reality of racial and social oppression, perceiving communism as a possible remedy for the systematic imbalances inside American society. The paper analyzes how Hughes's early poems demonstrate significant affinities for communist principles, especially the commitment to social equality and racial justice. Significant writings like “Let America Be America Again,” “Goodbye, Christ!” a

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Mohammed, Shafeer K.P. "Themes of Alice Walker's Poetry." RESEARCH REVIEW International Journal of Multidisciplinary 03, no. 11 (2018): 552–54. https://doi.org/10.5281/zenodo.1495836.

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Alice walker, the prominent figure in African American literature, has the Midas touch in different genres of literature. Her versatility is evident as she shines as a novelist, short-story writer, poet, essayist, critic and editor. She knitted together art with activism and never wanted to keep aloof from the sour experiences of reality. Her protest through words and deeds were for the downtrodden and the marginalized. Walker"s poetry is a marvelous composition, which unveils personal meditations on depression, isolation, pregnancy and public calls for revolution for women and people of colou

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Saillant, John. "Social Media and the Unmediated in Early African Americanist Scholarship." American Literary History 36, no. 4 (2024): 1123–30. http://dx.doi.org/10.1093/alh/ajae084.

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Abstract The Odyssey of Phillis Wheatley: A Poet’s Journeys through American Slavery and Independence (2023), by David Waldstreicher, analyzes Wheatley in her context in Revolutionary America. Waldstreicher provides reasonable interpretation of her poetry, especially fine for his understanding of her classical allusions. An added bonus is an appendix of anonymous poems that he argues should be attributed to her. His book is guided by a conviction that Wheatley must have been—and must be recognized today as—important. By this, he means influential in her time. His definition of influence seems

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Golding, A. "Revolutionary Memory: Recovering the Poetry of the American Left; Women Poets on the Left: Lola Ridge, Genevieve Taggard, Margaret Walker." American Literature 75, no. 2 (2003): 442–44. http://dx.doi.org/10.1215/00029831-75-2-442.

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Conrad, Eric. "The Poet as Printer’s Fist: Walt Whitman’s Indicative Hand." Nineteenth-Century Literature 74, no. 1 (2019): 54–86. http://dx.doi.org/10.1525/ncl.2019.74.1.54.

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Eric Conrad, “The Poet as Printer’s Fist: Walt Whitman’s Indicative Hand” (pp. 54–86) At the intersection of the professional author’s ascent in the United States and the growing centralization and sophistication of the advertising trade, a new anxiety surfaces in the world of nineteenth-century American publishing: how best to sell the literary text and, in turn, market its author. While a number of vocal literary figures perceived the encroachment of advertising, tainted by its ties to patent medicine fraud, as anathema to the genteel world of letters, Walt Whitman eagerly embraced its promo

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Pavlov, Evgeny. "Destroying Vision, Destroying Hearing: Sergei Kuriokhin and Arkady Dragomoshchenko." Arts 13, no. 6 (2024): 181. https://doi.org/10.3390/arts13060181.

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The article explores the unique friendship and creative synergy between two towering figures of late Soviet underground culture, the avant-garde jazz musician Sergei Kuriokhin and the poet Arkady Dragomoshchenko. Both outsiders in Leningrad, they shaped its literary and musical landscapes without aligning with any movements. Dragomoshchenko, a seminal poet, defied categorization, while Kuriokhin, a polymath, challenged conventions across music, performance, and politics. Their collaboration epitomized innovation, blending Dragomoshchenko’s cerebral poetry with Kuriokhin’s avant-garde music. De

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Melgarejo, María Del Pilar. "A Poetic of Beauty: Nature, Memory and Resilience in El Botón de Nacar/The Pearl Button (2015)." Catedral Tomada. Revista de crítica literaria latinoamericana 8, no. 14 (2020): 143–63. http://dx.doi.org/10.5195/ct/2020.421.

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One of the pillars of the history of Latin American documentary filmmaking is undoubtedly the Chilean director Patricio Guzmán. During more than five decades of film production, he has given an account of Chile's political history, specifically dealing with the meaning of the Chilean dictatorship for the country's past, present and future, as well as its relevance in the Latin American context. His films undoubtedly represent one of the most relevant testimonies to the continent's history in the 20th century, with hundreds of hours of footage of the high points in the violent transition proces

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Brickhouse, Anna. "The Black Legend of Texas." PMLA/Publications of the Modern Language Association of America 131, no. 3 (2016): 735–42. http://dx.doi.org/10.1632/pmla.2016.131.3.735.

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Among The Many Significant Contributions of Raúl Coronado's A World Not to Come: A History Of Latino Writing and Print Culture is its vivid account of a lost Latino public sphere, a little-known milieu of hispanophone intellectual culture dating back to the early nineteenth century and formed in the historical interstices of Spanish American colonies, emergent Latin American nations, and the early imperial interests of the United States. In this respect, the book builds on the foundational work of Kirsten Silva Gruesz's Ambassadors of Culture: The Transamerican Origins of Latino Writing, which

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Wald, Alan. "On Rachel Rubin's Jewish Gangsters of Modern Literature, Caren Irr's The Suburb of Dissent: Cultural Politics in the United States and Canada During the 1930s, Cary Nelson's Revolutionary Memory: Recovering the Poetry of the American Left ..." Historical Materialism 11, no. 4 (2003): 395–404. http://dx.doi.org/10.1163/156920603322889385.

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Liu, Siyuan. "“The Brightest Sun, The Darkest Shadow”: Ideology and the Study of Chinese Theatre in the West during the Cold War." Theatre Survey 54, no. 1 (2013): 27–50. http://dx.doi.org/10.1017/s0040557412000403.

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This is the new Communist drama, and the picture is frequently artless and sterile, without depth, without truth, and without reality.—Walter and Ruth Meserve, 1970Peking opera now is a mixture of drama, music, dance, acrobatics, poetry, propaganda and revolutionary history, with indefatigable heroes (more adroit than James Bond, and with a purpose he never dreamed of) and fabulously wicked villains—the whole socking out a message of exemplary struggle and courage.—Lois Wheeler Snow, 1972The study of Asian theatre as an academic field independent of English and Asian Studies arose in the West,

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Hamessley, Lydia. "Within Sight: Three-Dimensional Perspectives on Women and Banjos in the Late Nineteenth Century." 19th-Century Music 31, no. 2 (2007): 131–63. http://dx.doi.org/10.1525/ncm.2007.31.2.131.

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During the last decades of the nineteenth century, women figured prominently in a marketing campaign by banjo manufacturers who sought to make the banjo a respectable instrument for ladies. Their overarching aim was to "elevate" the banjo's status from its African-American and minstrel-show associations, thereby making the instrument acceptable in white bourgeois society. At the same time, stereoview cards, three-dimensional photographs produced by the millions, were a popular parlor entertainment featuring a variety of contemporary images, including women playing the banjo. Yet, instead of de

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Pylynskyi, Mykhailo. "THOMAS PAINE’S “THE LIBERTY TREE”: A POETIC MANIFESTATION OF REVOLUTIONARY LIBERTY." Grail of Science, no. 50 (March 21, 2025): 624–32. https://doi.org/10.36074/grail-of-science.21.03.2025.077.

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This paper researched Thomas Paine’s poem “The Liberty Tree” as a poetic manifestation of revolutionary liberty during the American Revolution. The main themes were explored: themes of liberty, unity, and resistance, framed within the political philosophy of natural rights and governance, drawing on John Locke’s and Thomas Paine’s ideas. This paper analyzed the poem’s symbolic use of the Liberty Tree as a unifying emblem of freedom, reflecting the era’s revolutionary spirit. Its role was considered in mobilizing public sentiment, alongside its influence on democratic movements, highlighting it

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Bouallegue, Nadjiba. "Spirituality in the Black Arts Movement." Afrika Tanulmányok / Hungarian Journal of African Studies 17, no. 3 (2024): 45–65. http://dx.doi.org/10.15170/at.2023.17.3.3.

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The article investigates the significance of spirituality in the works of the Black Arts Movement poets. By examining the poetry of Amiri Baraka and Maya Angelou, the study uncovers the various facets of spirituality that African Americans embrace, including “Africanized” Christianity, jazz poetry, and Islam. The article aims to show if spirituality is merely a way to celebrate cultural diversity or a vehicle for social change. It draws on Gilles Deleuze and Félix Guattari’s theory of minor literature to demonstrate that the Black Arts Movement is a minor literature, whereby cultural markers s

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Teixeira, Faustino. "O itinerário místico de Ernesto Cardenal." Revista Eclesiástica Brasileira 73, no. 290 (2018): 381–408. http://dx.doi.org/10.29386/reb.v73i290.655.

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Conhecido na América Latina e no Caribe como um poeta revolucionário, Ernesto Cardenal (1925-) produziu, ao longo de sua vida, obras em prosa e em verso que estão marcadas igualmente por significativa densidade mística. Há que buscar captar ao longo desse singular itinerário os traços dessa presença espiritual que talvez esteja na base da riqueza e expressividade de sua vida e produção teórica. O poeta nicaraguense vem hoje reconhecido por vários autores como um dos mais fecundos e originais poetas do século XX, e revela-se de fundamental importância desocultar as coordenadas contemplativas pr

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Dzhusupov, Mahanbet. "Linguistic, poetic, historical and philosophical eminence of an outstanding personality and manysidedness of a talent." Neophilology, no. 22 (2020): 346–61. http://dx.doi.org/10.20310/2587-6953-2020-6-22-346-361.

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We consider the problem of mutual relationships between Rus and a Polovtsian Plain, poetry, science and politics in the aspect of universal comprehension and in the aspect of Soviet ideology in comparison with the features of well-developed capitalism, revolutionary (dogmatic) socialism and evolutionary socialism, based on the content of two books with the same title “Olzhas and I”, which were published in Moscow in 2016 and in 2018 in the publishing house “Khudozhetvennaya literatura”. The books are devoted to the investigation of multi aspect creative activity of a poet, linguist, historian,

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KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 66, no. 1-2 (1992): 101–61. http://dx.doi.org/10.1163/13822373-90002009.

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-Selwyn R. Cudjoe, John Thieme, The web of tradition: uses of allusion in V.S. Naipaul's fiction,-A. James Arnold, Josaphat B. Kubayanda, The poet's Africa: Africanness in the poetry of Nicolás Guillèn and Aimé Césaire. Westport CT: Greenwood, 1990. xiv + 176 pp.-Peter Mason, Robin F.A. Fabel, Shipwreck and adventures of Monsieur Pierre Viaud, translated by Robin F.A. Fabel. Pensacola: University of West Florida Press, 1990. viii + 141 pp.-Alma H. Young, Robert B. Potter, Urbanization, planning and development in the Caribbean, London: Mansell Publishing, 1989. vi + 327 pp.-Hymie Rubinstein, R

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Robayo Pedraza, Miryam Ibeth. "La canción social como expresión de inconformismo social y político en el siglo XX." CALLE14: revista de investigación en el campo del arte 10, no. 16 (2015): 55. http://dx.doi.org/10.14483/10.14483/udistrital.jour.c14.2015.2.a05.

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<p>Resumen</p><p>Este artículo, producto de la tesis de maestría “El imaginario social y político presente en la canción social o protesta en Colombia durante el periodo comprendido de 1960 – 1970”, muestra el papel preponderante que la canción protesta ha jugado en la historia de América Latina, al recoger las expresiones de inconformismo social que marcaron su época de apogeo entre los años 60 y 80 (cuando la izquierda ganaba terreno político como resultado del subdesarrollo, la creciente miseria, el descontento de la población y la falta de liderazgo de los mandatarios de

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Valdivia, Benjamín. "Latin American Revolutionary Poetry and Songs." Rupkatha Journal on Interdisciplinary Studies in Humanities 12, no. 5 (2020). http://dx.doi.org/10.21659/rupkatha.v12n5.rioc1s0n4.

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In Latin America, protest is almost a way of life, due to political conflicts, war, invasion, and submission, are continuous experiences from past centuries to present. Some philosophers, as we established before, think Latin America as a world region having a serious search for identity, since each stage of its past seems to be a destruction of any possibility of feel the life as a normal property of human beings; and seems, too, an expulsion from its proper self. Because of this historical feeling of not belonging, Latin America has only one stage for self-recovery or redemption: the future.

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Rujito, Eko. "DEMOKRASI ESTETIKA DALAM PUISI “SONG OF MYSELF” KARYA WALT WHITMAN." Diksi 28, no. 1 (2020). http://dx.doi.org/10.21831/diksi.v28i1.29977.

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(Title: Aesthetic Democracy in the Poetry of “Song Of Myself” by Walt Whitman). American poet Walt Whitman is widely considered the father of American modern poetry because of his revolutionary concept of poetry writing. Whitman is a (political) thinker as much as a poet, and most notably, a democratic prophet. Through his abundant essays and poems, he preaches what he refers as aesthetic democracy. Employing descriptive-qualitative method, this paper aims at investigating the application of this concept in Whitman’s most famous poem “Song of Myself”. The result of the analysis shows that Whit

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An, Jasmine. "“A Handful of Syllables Thrown Back across the Water”: Dictée’s Aesthetic Legacy and Thai American Poetics." American Literature, December 20, 2022. http://dx.doi.org/10.1215/00029831-10345365.

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Abstract This article draws on the formal and aesthetic qualities of Theresa Hak Kyung Cha’s Dictée as a critical model for theorizing the transnational legacies of colonialism and empire embedded in the acts of language learning and as an opening for Asian American literary studies to engage with the previously understudied genre of Thai American and Thai poetry. Foregrounding aesthetics and unique, translingual poetic practices, the readings in this article explore rich connections between Dictée and two experimental collections of Thai and Thai American poetry: Padcha Tuntha-obas’s trespass

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Toscano, Pasquale S. "Epic Regained: Phillis Wheatley’s Admonitory Poetics in the ‘Little Columbiad’." Classical Receptions Journal, September 23, 2020. http://dx.doi.org/10.1093/crj/claa010.

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Abstract Although many scholars have discussed Phillis Wheatley’s subversive appropriation of the classics, they have been reluctant to locate a similar strain of subtle repudiation in her Revolutionary War poems. The present article reexamines these verses — ‘To His Excellency General Washington’ (1775), ‘On the Capture of General Lee’ (1776), and ‘On the Death of General Wooster’ (1778) — in light of the tradition of (neo)classical heroic poetry. I read them as a formally innovative epic, dispersed across three apparently ‘patriotic lyrics’ (Levernier (1993: 175)) and dubbed the ‘Little Colu

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Grundy, David. "No more / burial remedies." ESLA English Studies in Latin America, no. 28 (2025). https://doi.org/10.7764/esla.88534.

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William Rowe’s poetry emerges from two principal strands. Best known as a translator and scholar of major South American poets such as César Vallejo and Raúl Zurita, Rowe’s own work shares their concern with political violence, atrocity, and the space of freedom that might emerge in spite of death’s seemingly absolute encroachment on life. During the past decade or more, Rowe’s work has taken on new force (and expanded considerably in output) in a mutually productive encounter with a younger generation of poets based largely in Britain. This essay examines Rowe’s poems written in the years sin

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"Walt Wittman: The Universal Poet and the American Ideal - A Socio-Cognitive Analysis." Anbar University Journal of Language and Literature, June 30, 2024, 43–50. http://dx.doi.org/10.37654/aujll.2024.147000.1072.

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Walt Whitman is one of America's most iconic poets. He is renowned for his innovative and linguistic style, which embodies the spirit of revolution. His poem "Song of Myself" from his collection "Leaves of Grass" captures the essence of this revolutionary spirit, as it challenges traditional norms and explores the possibilities of realizing the American ideal. The study delves into the process of power and its ability to regenerate a sense of life. This analysis not only sheds light on Whitman's unique use of language and form but also explores how his poetry captures the possibilities of real

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Hussam, Shamma. "Two Roads - Lighthouse Academy Syria - Hussam Shamma." June 28, 2018. https://doi.org/10.5281/zenodo.1300033.

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One of the most cherished American poets was born on march 26, 1874, in San Francisco, California, Robert Frost, contradictory called, the Newly England poet, who was ―[the] most eminent [and the] most distinguished . . . Anglo-American poet.‖—T.S. Eliot. He identified himself with the rustic scenes and rural farms of New England; the trees, cows, rivers, brooks, woods and birches of New England were the main themes and subject matters for his simple-complex poetry (Kimmelman 171). Frost‘s individuality and uniqueness partly stems from being not an advocate or follower of any of th

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Zapędowska, Magdalena. "James Monroe Whitfield, Poetry, and Martin Delany’s Revolutionary Worldmaking in Blake; or, The Huts of America." American Literature, December 16, 2024. https://doi.org/10.1215/00029831-11597487.

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Abstract Martin Delany’s Blake, serialized in the Weekly Anglo-African in 1861–62, includes five unattributed poems from James Monroe Whitfield’s volume America and Other Poems, which appear in the novel as compositions of the Cuban revolutionary poet Placido. Largely overlooked in scholarship on Blake, Whitfield/Placido’s poems are crucial to the impending revolt of the oppressed because they foster a collective emancipatory consciousness and model, through poetic form, the meticulous organization on which the revolution relies for success. Resonating with other poems and songs quoted in the

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Dowling, David. "Radical Designs: The Emergence of the Progressive Editorial in the Nineteenth-Century Press." Sur le journalisme, About journalism, Sobre jornalismo 5, no. 2 (2017). https://doi.org/10.25200/slj.v5.n2.2016.411.

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This article traces the transformation of the newspaper editorial in the nineteenth century from a partisan platform narrowly focused on contemporary politics into a broader more inclusive genre engaging progressive cultural reform with a literary bent. After 1814, the newspaper editorial spread its wings and soared with lofty poetic rhetoric and increasingly metaphorical language. Editors frequently broke into verse in their columns, inspired by the powerful presence of poetry and oratory in antebellum culture. A key figure at the heart of that oratorical and poetic culture was Ralph Waldo Em

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McDonald, Donna, and Liz Ferrier. "A Deaf Knowingness." M/C Journal 13, no. 3 (2010). http://dx.doi.org/10.5204/mcj.272.

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Introduction: How Do We Learn What We Know? “Deaf.” How do we learn what we know about being deaf and about deafness? What’s the difference between “being deaf” and “deafness” as a particular kind of (non) hearing? Which would you rather be, deaf or blind: children commonly ask this question as they make their early forays into imagining the lives of people different from them. Hearing people cannot know what it is like to be deaf, just as deaf people cannot know what it is like to hear ... or can they? Finally, how can we tell fresh and authentic stories of “being deaf” and the state of “deaf

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Allatson, Paul. "The Virtualization of Elián González." M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2449.

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For seven months in 1999/2000, six-year old Cuban Elián González was embroiled in a family feud plotted along rival national and ideological lines, and relayed televisually as soap opera across the planet. In Miami, apparitions of the Virgin Mary were reported after Elián’s arrival; adherents of Afro-Cuban santería similarly regarded Elián as divinely touched. In Cuba, Elián’s “kidnapping” briefly reinvigorated a torpid revolutionary project. He was hailed by Fidel Castro as the symbolic descendant of José Martí and Che Guevara, and of the patriotic rigour they embodied. Cubans massed to deman

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Beyer, Sue. "Metamodern Spell Casting." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.2999.

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There are spells in the world: incantations that can transform reality through the power of procedural utterances. The marriage vow, the courtroom sentence, the shaman’s curse: these words are codes that change reality. (Finn 90) Introduction As a child, stories on magic were “opportunities to escape from reality” (Brugué and Llompart 1), or what Rosengren and Hickling describe as being part of a set of “causal belief systems” (77). As an adult, magic is typically seen as being “pure fantasy” (Rosengren and Hickling 75), while Bever argues that magic is something lost to time and materialism,

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