Bibliographies thématiques / Elizabeth Poets

Littérature scientifique sur le sujet « Elizabeth Poets »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 7 février 2022

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Articles de revues sur le sujet "Elizabeth Poets":

Taylor, Ellen Maureen. « Personal Geographies : Poetic Lineage of American Poets Elizabeth Coatsworth and Kate Barnes ». ELOPE : English Language Overseas Perspectives and Enquiries 13, n^o 2 (16 décembre 2016) : 111–27. http://dx.doi.org/10.4312/elope.13.2.111-127.

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This paper examines the relationship between two 20th-century American poets, Elizabeth Coatsworth and her daughter, Kate Barnes. Both women mined their physical and personal geographies to create their work; both labored in the shadows of domineering literary husbands. Elizabeth’s early poetry is economical in language, following literary conventions shaped by Eastern poets and Imagists of her era. Kate’s work echoes her mother’s painterly eye, yet is informed by the feminist poetry of her generation. Their dynamic relationship as mother and daughter, both struggling with service to the prevailing Western patriarchy, duties of domestication and docility, also inform their writing. This paper draws from Coatsworth’s poems, essays, and memoir, and Barnes’ poems, interviews, and epistolary archives, which shed light on her relationship with her renowned mother.

Butler, Katherine. « “By Instruments her Powers Appeare” : Music and Authority in the Reign of Queen Elizabeth I ». Renaissance Quarterly 65, n^o 2 (2012) : 353–84. http://dx.doi.org/10.1086/667255.

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Queen Elizabeth I’s musical talents and the elaborate music of her courtly entertainments are widely acknowledged. However, while the effect of Elizabeth’s gender on her authority as a ruler has been the subject of much historical research, the impact of this musical activity on the creation and representation of her authority has not been recognized. Gender stereotypes were both exploited and subverted as music became a symbol and tool of Elizabeth’s queenship. Poets and courtiers drew inspiration from Elizabeth’s music-making, combining traditional notions of the erotic power of female music with the idea of a musical harmony that governed the heavens, the political world, and the human soul to legitimize female power. By blending the talents of Elizabeth’s natural body with those of her political body, and by merging practical musicianship with speculative harmony, Elizabeth and her courtiers used music as a source of political authority.

Louis, Margot K. « Enlarging the Heart : L. E. L.'s “The Improvisatrice,” Hemans's “Properzia Rossi,” and Barrett Browning's Aurora Leigh ». Victorian Literature and Culture 26, n^o 1 (1998) : 1–17. http://dx.doi.org/10.1017/s1060150300002242.

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Elizabeth barrett browning's relation to her female predecessors was complex, conflicted, and rewarding. In Aurora Leigh we see both the heroine and her creator grow from poets who attempt to prove themselves in traditionally masculine terms, into poets who engage with a feminine tradition of sentimental verse which they resist and criticize but nevertheless find of essential value. Only by viewing the poem against the backdrop of the sentimental tradition can we fully appreciate Barrett Browning's challenge to the cult of privacy and the doctrine of separate spheres, her dual emphasis on poetry as at once a job requiring doggedness and a vocation requiring wide social and religious vision, and, finally, her sense of the connection between herself and her female predecessors. Such poets as Felicia Hemans and L. E. L. (Letitia Elizabeth Landon) stand in a relation to Barrett Browning which resembles the unsentimental aunt's relation to Aurora in Book 1 of Aurora Leigh: there is more conflict than sympathy in the relationship; the older woman represents a version of femininity which the younger must at all costs resist; and yet the older woman leaves the younger a legacy which is both narrow and enabling, an essential basis for the young poet's future achievement.

Wakefield, Gordon S. « God and Some English Poets 15. Elizabeth Jennings ». Expository Times 109, n^o 1 (octobre 1997) : 10–14. http://dx.doi.org/10.1177/001452469710900104.

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Gashi, Syzana Kurtaj. « Browning’s and Serembe’s Love Poems ». SEEU Review 15, n^o 2 (1 décembre 2020) : 31–41. http://dx.doi.org/10.2478/seeur-2020-0015.

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Abstract Browning’s and Serembe’s love poems will be analyzed in this research paper in order to illustrate how they reflected their efforts to present the idea of love in their poetry. In the ‘By the Fire-Side’, one of the major poems of Robert Browning during the thesaurus of the British Victorian period and Zef Serembe’s ‘Song for Longing’, considered by many to rank among the best love poems of Rilindja (Renaissance) poets in the nineteenth century Albania. The two poets, do not consider the idea of love in the abstract term. They include love by referring to the specific details, Browning, to his love relationship with a famous poetess Elizabeth Barrett, their elopement and union in Italy, and Serembe to his love for a girl from his native village, who immigrated to Brazil and subsequently died. In these poems, both poets explore the intimate atmosphere they tried to establish for their beloved women, by describing the places that witnessed the birth and growth of their love. ‘By the Fire-Side’ and ‘Song for Longing’ comprise a common element; they are personal love poems that describe their ideal love, personal feelings, and passion of their love. While Robert Browning in his poem writes about a peaceful and satisfied married life, full of sweet memories and images of his wife, Zef Serembe’s poem is a picture of his sentiment, primarily of solitude and disillusionment. The comparative and descriptive research methods have been helpful while conducting this research paper.

Haft, Adele J. « The Poet As Map-Maker : The Cartographic Inspiration and Influence of Elizabeth Bishop’s “The Map” ». Cartographic Perspectives, n^o 38 (1 mars 2001) : 37–65. http://dx.doi.org/10.14714/cp38.794.

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New Year’s Eve of 1934 found Elizabeth Bishop recuperating from the flu. Out of her isolation, the recently orphaned 23-year-old created “The Map.” Inspired by a map’s depiction of the North Atlantic, Bishop’s exquisite poem alludes in part to the “seashore towns” and coastal waters of her childhood home, Nova Scotia. A seminal twentieth-century poem about maps, Bishop’s “The Map” has inspired a host of other mappoems since it opened her Pulitzer prize-winning collection, Poems: North & South—A Cold Spring, in 1955. My paper, the third in a series advocating the use of poetry in the teaching of geography, will attempt to elucidate Bishop’s masterpiece and introduce the map that, I believe, inspired her poem. The paper also will present two works influenced by “The Map”: Howard Nemerov’s “The Map-Maker on His Art” (1957) and Mark Strand’s “The Map” (1960). Linking these three acclaimed American poets even further is their recognition of an intimate and explicit connection between poets and cartographers.

Baldock, Sophie. « ‘Our Looks, Two Looks’ : Miniature Portraits in the Letters of Elizabeth Bishop and Robert Lowell ». Review of English Studies 71, n^o 300 (9 septembre 2019) : 528–53. http://dx.doi.org/10.1093/res/hgz097.

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Abstract This article examines parallels between the exchange of miniature portraits in late eighteenth-century letters and the exchange of photographs and keepsakes in the twentieth-century correspondence of American poets Elizabeth Bishop and Robert Lowell. Drawing on theories of the miniature in Susan Stewart’s work, alongside art-historical and literary-critical accounts of the practice of exchanging miniature portraits in letters, the article builds on arguments that portraits go hand-in-hand with the genre of letter writing. I argue that previous criticism of the Bishop-Lowell correspondence has not yet adequately explored their epistolary discussion and exchange of visual materials. As in the case of their eighteenth- and nineteenth-century predecessors, for Bishop and Lowell, letter writing frequently involved a literal and metaphorical exchange of portraits. The article places particular photographs in their original context alongside letters, demonstrating the symbiotic relationship between images and text and the key role played by the visual in letter writing. It provides a fresh reading of Bishop’s and Lowell’s linked poems, ‘The Armadillo’ and ‘Skunk Hour’, arguing that these poems are a means of portrait-painting in relation to the other. The poems are examined alongside descriptions of an antique miniature cameo, sent by Lowell to Bishop as a companion to his poem, which functions as an ambivalently gendered portrait of Bishop. Finally, the poets’ interlocking memoirs, ‘91 Revere Street’ and ‘Memories of Uncle Neddy’, are analysed to show their origin in letters, and their shared preoccupation with portraiture, scale and framing.

McIntosh, Hugh. « Conventions of Closeness : Realism and the Creative Friendship of Elizabeth Bishop and Robert Lowell ». PMLA/Publications of the Modern Language Association of America 127, n^o 2 (mars 2012) : 231–47. http://dx.doi.org/10.1632/pmla.2012.127.2.231.

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While it has been productive to consider the creative friendship of Elizabeth Bishop and Robert Lowell as grounded in a “shared experience of outsider-hood,” their correspondence and the poems they inspired each other to write reveal a shared attraction to conventional imagery of communal belonging—national allegiance, heterosexual domesticity, and nostalgia for the classical realism of nineteenth-century novels. Bishop and Lowell were a queer couple for many reasons, but I argue that their conflation of conventionality and social critique resonates strongly with recent theories of counterculture in reflecting the possibility—often taken to be a nightmare of lyric poets—that one's inner life is inhabited and shaped by another.

Wilson, Richard. « A BLOODY QUESTION : THE POLITICS OF VENUS AND ADONIS ». Religion and the Arts 5, n^o 3 (2001) : 297–316. http://dx.doi.org/10.1163/15685290152813671.

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AbstractIn 1588, Burghley drafted a "Bloody Question" for Catholics: "If the Pope were to send over an army, whose side would you be on: the Pope's or the Queen's?" What the iconography of Venus and Adonis suggests is that the poem is a critique of the martyr's course pursued by Southwell and also of the persecution brought on by Queen Elizabeth. Southwell was a cousin of Shakespeare and addressed his preface to St. Peter's Complaint to "Master W. S." (as only later appeared in the 1616 edition published on the continent). The preface clearly alludes to Venus and Adonis, The Rape of Lucrece and A Midsummer Night's Dream. By criticizing poets who make the "follies and fayninges of love" the subject of their poems, Southwell was urging Shakespeare to undertake some "graver labor" and a dangerous course of life which potentially might have led to martyrdom. As its elaborate phraseology shows, Venus and Adonis is an encoded reply in which Elizabeth is the predatory tyrannical Venus and Burghley is the boar who kills Adonis.

Wróbel, Elżbieta. « „Ta gorsza” – czyli o kilku wierszach Elżbiety Szemplińskiej ». Poznańskie Studia Polonistyczne. Seria Literacka, n^o 32 (2 octobre 2018) : 95–111. http://dx.doi.org/10.14746/pspsl.2018.32.5.

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In the article, the author brings back the forgotten poet of the interwar period Elizabeth Szemplińska. The starting point of the discussion is the political and social situation that occurred in Poland in the thirties. The economic crisis, from which the whole of Europe was struggling from, favored radicalization among the Polish intelligence. Szemplińska openly admitted to her communist sympathies. The article remembers young poets from the Quadriga group, one of whom was also Nina Rydzewska. The group suggested the slogan „poetry socialized” showing the misery and suffering of the lowest social class. The author focused on the analysis of several lines from Szemplińska’s poems, in which the poet shows a woman of the proletariat crippled by hard work.

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Thèses sur le sujet "Elizabeth Poets":

Marshall, Christine. « Elizabeth Bishop's revisionary eye / ». free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1420938.

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Dowd, Ann Karen. « Elizabeth Bishop : her Nova Scotian origins and the portable culture of home ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31238427.

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Swyderski, Ann. « Emily Dickinson and Elizabeth Barrett Browning : 'the outer - from the inner/derives its magnitude' ». Thesis, University of Exeter, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323984.

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Olsen, Elena Brit. « "Alone I climb the craggy steep" : literary ambition and metaphysical identity in eighteenth-century women's poetry / ». Thesis, Connect to this title online ; UW restricted, 2004. http://hdl.handle.net/1773/9337.

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Yegenoglu, Dilara. « Elizabeth Barrett Browning : Quest for the Father ». Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279212/.

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This dissertation explores Elizabeth Barrett's dependency on the archetypal Victorian patriarch. Chapter I focuses on the psychological effects of this father-daughter relationship on Elizabeth Barrett. Chapter II addresses Barrett's acceptance of the conventional female role, which is suggested by the nature and the situation of the women she chooses to depict. These women are placed in situations where they can reveal their devotion to family, their capacity for passive endurance, and their wish to resist. Almost always, they choose death as an alternative to life where a powerful father figure is present. Chapter III concentrates on the highly sentimental images of women and children whom Barrett places in a divine order, where they exist untouched by the concerns of the social order of which they are a part. Chapter IV shows that the conventional ideologies of the time, society's commitment to the "angel in the house," and the small number of female role models before her increase her difficulty to find herself a place within this order. Chapter V discusses Aurora Leigh's mission to find herself an identity and to maintain the connection with her father or father substitute. Despite Elizabeth Barrett's desire to break away from her paternal ties and to establish herself as an independent woman and poet, her unconditional loyalty and love towards her father and her tremendous need for his affection, and the security he provides restrain her resistance and surface the child in her.

Baldock, Sophie. « "A correspondence is a poetry enlarged" : Robert Duncan, Elizabeth Bishop, Amy Clampitt and post-War poets' letters ». Thesis, University of Sheffield, 2016. http://etheses.whiterose.ac.uk/16716/.

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This thesis explores the work of three post-war American poets—Robert Duncan, Elizabeth Bishop and Amy Clampitt—for whom the practice of letter writing was already a disappearing art. In placing these poets and their letters side-by-side, the thesis makes connections between poets who have previously been seen as inhabiting different and largely discrete poetic spheres. The thesis intervenes in the growing field of epistolary scholarship, extending and amending the findings of previous critics who have observed the close relationship between letters and poems. It challenges a recent critical emphasis on letters as sources that should be considered independent from poems, arguing instead that the two art forms are deeply interwoven. Through an examination of particular case studies and detailed close readings of published letter collections and unpublished archival material, the thesis demonstrates how Duncan, Bishop and Clampitt used letters as inspiration and material for their poems. The thesis uncovers a shared lineage with nineteenth-century and earlier letter writing conventions, showing how these poets replicated prior practices including the coterie circulation of poems in letters, an Emersonian concept of friendship, a “baroque prose style” and miniature portrait exchange. For three poets who existed on the margins of various literary movements, as well as often being geographically isolated, letters were a vital source of friendship and companionship. However, in each case, letters were not perfect models of harmonious friendship and community. In fact, the sense of connection created through letters proved to be nearly always, and necessarily, virtual and delicate.

Blackmore, Sabine. « In soft Complaints no longer ease I find ». Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2015. http://dx.doi.org/10.18452/17176.

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Diese Dissertation untersucht die verschiedenen Konstruktionen poetischer Selbstrepräsentationen durch Melancholie in Gedichten englischer Autorinnen des frühen 18. Jahrhunderts (ca. 1680-1750). Die vielfältigen Gedichte stammen von repräsentativen lyrischer Autorinnen dieser Epoche, z.B. Anne Wharton, Anne Finch, Elizabeth Singer Rowe, Henrietta Knight, Elizabeth Carter, Mary Leapor, Mary Chudleigh, Mehetabel Wright und Elizabeth Boyd. Vor einem ausführlichen medizinhistorischen Hintergrund, der die Ablösung der Humoralpathologie durch die Nerven und die daraus resultierende Neupositionierung von Frauen als Melancholikerinnen untersucht, rekurriert die Arbeit auf die Zusammenhänge von Medizin und Literatur im 18. Jahrhundert. Für die Gedichtanalysen werden gezielt Analysekategorien und zwei Typen poetisch-melancholischer Selbstrepräsentationen entwickelt und dann für die Close Readings der Texte eingesetzt. Die Auswahl der Gedicht umfasst sowohl Texte, die auf generisch standardisierte Marker der Melancholie verweisen, als auch Texte, die eine hauptsächlich die melancholische Erfahrung inszenieren, ohne dabei zwangsläufig explizit auf die genretypischen Marker zurück zu greifen. Die detaillierten Close Readings der Gedichte zeigen die oftmals ambivalenten Strategien der poetisch-melancholischen Selbstkonstruktionen der Sprecherinnen in den Gedichttexten und demonstrieren deutlich, dass – entgegen der vorherrschenden kritischen Meinung – auch Autorinnen dieser Epoche zum literarischen Melancholiediskurs beigetragen haben. Die Arbeit legt ein besonderes Augenmerk auf die sog. weibliche Elegie und ihrem Verhältnis zur Melancholie. Dabei wird deutlich, dass gerade Trauer, die oftmals als weiblich konnotierte Gegendiskurs zur männlich konnotierten genialischen Melancholie wahrgenommen wird, und die daraus folgende Elegie von Frauen als wichtiger literarischer Raum für melancholische Dichtung genutzt wurde und somit als Teil des literarischen Melancholiediskurses dient.
This thesis analyses different constructions of poetic self-representations through melancholy in poems written by early eighteenth-century women writers (ca. 1680-1750). The selection of poems includes texts written by representative poets such as Anne Wharton, Anne Finch, Elizabeth Singer Rowe, Henrietta Knight, Elizabeth Carter, Mary Leapor, Mary Chudleigh, Mehetabel Wright und Elizabeth Boyd. Against the background of a detailed analysis of the medical-historical paradigmatic change from humoral pathology to the nerves and the subsequent re-positioning of women as melancholics, the thesis refers to the close relationship of medicine and literature during the eighteenth century. Specifical categories of analysis and two different types of melancholic-poetic self-representations are developed, in order to support the close readings of the literary texts. These poems comprise both texts, which explicitly refer to generically standardized melancholy markers, as well as texts, which negotiate and aestheticize the melancholic experience without necessarily mentioning melancholy. The detailed close readings of the poems discuss the often ambivalent strategies of the poetic speakers to construct and represent their melancholic selves and clearly demonstrate that women writers of that time did – despite the common critical opinion – contribute to the literary discourse of melancholy. The thesis pays special attention to the so-called female elegy and its relationship to melancholy. It becomes clear that mourning and grief, which have often been considered a feminine counter-discourse to the discourse of melancholy as sign of the male intellectual and/or artistic genius, and the resulting female elegy offer an important literary space for women writers and their melancholy poetry, which should thus be recognized as a distinctive part of the literary discourse of melancholy.

Soalt, Jennifer. « A New Topography : Elizabeth Bishop's Late Poems ». Oberlin College Honors Theses / OhioLINK, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1396537622.

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Londry, Michael. « The poems of Elizabeth Tollet : a critical edition ». Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.417609.

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Woodworth, Elizabeth Deloris. « Poems before Congress by Elizabeth Barrett Browning a critical edition / ». Fort Worth, Tex. : Texas Christian University, 2007. http://etd.tcu.edu/etdfiles/available/etd-04272007-155039/unrestricted/woodworth.pdf.

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Livres sur le sujet "Elizabeth Poets":

Swenson, May. Dear Elizabeth : Five poems & three letters to Elizabeth Bishop. Logan : Utah State University Press, 2000.

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Forster, Margaret. Elizabeth Barrett Browning : A biography. New York : Doubleday, 1989.

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Forster, Margaret. Elizabeth Barrett Browning : A biography. London : Flamingo, 1993.

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Bishop, Elizabeth. Conversations with Elizabeth Bishop. Jackson : University Press of Mississippi, 1996.

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L, L. E. Letters by Letitia Elizabeth Landon. Ann Arbor, MI : Scholars' Facsimiles & Reprints, 2001.

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Forster, Margaret. Elizabeth Barrett Browning : A biography. London [Eng.] : Chatto & Windus, 1988.

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Forster, Margaret. Elizabeth Barrett Browning : A biography. New York u.a : Doubleday, 1988.

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Fountain, Gary. Remembering Elizabeth Bishop : An oral biography. Amherst : University of Massachusetts Press, 1994.

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Fountain, Gary. Remembering Elizabeth Bishop : An oral biography. Amherst : University of Massachusetts Press, 1994.

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Barbara, Dennis. Elizabeth Barrett Browning : The Hope End years. Bridgend, Mid Glamorgan : Seren, 1996.

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Chapitres de livres sur le sujet "Elizabeth Poets":

Strauss, Paul. « The Virgin Queen as Nurse of the Church : Manipulating an Image of Elizabeth I in Court Sermons ». Dans Scholars and Poets Talk about Queens, 185–202. New York : Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137534903_19.

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Furr, Derek. « Poets and Critics Live at the Forum : The Occasional Recording and Elizabeth Bishop ». Dans Recorded Poetry and Poetic Reception from Edna Millay to the Circle of Robert Lowell, 53–79. New York : Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230109919_3.

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Browning, Robert. « The Poet’s History ». Dans Elizabeth Barrett Browning and Robert Browning, 30–31. London : Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1007/978-1-349-62894-0_18.

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Stone, Marjorie. « Fighting on Her Stumps : The Woman, the Poet, the Myths ». Dans Elizabeth Barrett Browning, 1–48. London : Macmillan Education UK, 1995. http://dx.doi.org/10.1007/978-1-349-23803-3_1.

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Roman, Camille. « From a Poet’s Window : Washington, 1949–1950 ». Dans Elizabeth Bishop’s World War II-Cold War View, 115–40. New York : Palgrave Macmillan US, 2001. http://dx.doi.org/10.1007/978-1-4039-7921-6_6.

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Aldrich, Lilian. « ‘The pretty nothings, the subtle flatteries of the poet’s talk’ ». Dans Elizabeth Barrett Browning and Robert Browning, 123. London : Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1007/978-1-349-62894-0_87.

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Rossetti, William Michael. « A face ‘corresponding with delicate exactness to the tone of her poems’ ». Dans Elizabeth Barrett Browning and Robert Browning, 70–71. London : Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1007/978-1-349-62894-0_45.

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Bajetta, Carlo M. « ‘Most peereles Poëtresse’ : the Manuscript Circulation of Elizabeth’s Poems ». Dans Representations of Elizabeth I in Early Modern Culture, 105–21. London : Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230307261_6.

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Vallaro, Cristina. « Elizabeth I as Poet : Some Notes on “On Monsieur’s Departure” and John Dowland’s “Now O Now I Needs Must Part” ». Dans Elizabeth I in Writing, 109–26. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71952-8_6.

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Hyland, Peter. « Shakespeare and the Elizabethan Sonnet ». Dans An Introduction to Shakespeare’s Poems, 125–47. London : Macmillan Education UK, 2002. http://dx.doi.org/10.1057/978-0-230-80240-7_8.

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Actes de conférences sur le sujet "Elizabeth Poets":

Lawrence, Christopher A., David J. Nisula, Christopher A. Dorang, Crystal Pecora, Leroy Luft et Don Olesky. « Reconstruction of Maher Terminals, Elizabeth, New Jersey ». Dans 11th Triennial International Conference on Ports. Reston, VA : American Society of Civil Engineers, 2007. http://dx.doi.org/10.1061/40834(238)63.

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