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This essay explores the notions of lyric, modernity, and America. I argue that the idea of America is inextricable tied to the emergence of modern lyric poetry. I question the understanding that the value of Latin American poetry is confined to the historiographic Hegelian spirit of "universal" history that marks the beginning of poetry in Latin America in the late 19th century, only after it first emerged in Europe and then in the United States. I analyze the image of America and the development of lyric poetry since the end of the so-called Middle Ages in relation to the heterogeneous constitution of modernity and modern subjectivity. I suggest that the Cartesian dualism would be completely meaningless without the parallel conceptualization and conquest of America. Finally, this essay proposes that the alleged poetic delay in Latin America must be abandoned in favor of a poetic approach that is written and verified without the teleological constraints of History. [ABSTRACT FROM AUTHOR]

This paper investigates the ambiguous process of Czesław Miłosz’s integration with America (both its nature and culture) in the context of his literary commitments and“private obligations” to American poetry. It was a long and painful process, a constant struggle with the condition of exile, feelings of homelessness and uprootedness that finally revealed to the poet a “new identity” of the modern man, bound to recognize his unstable, shaky position in space and time. According to Miłosz, America was the testing ground for all mankind, and the very core of American literature had always been the question: “Who am I?”. Thus, Miłosz’s serious involvement in American history and culture gave him a new perspective on global civilization; it helped to recreate his own identity and to achieve a balance between homelessness and belonging. [ABSTRACT FROM AUTHOR]

An essay is presented on the trends in the U.S. poetry during the past decade. The author presents concepts of lyric, and analogies between history of poetry and history of painting which lead to poetic conventions and idealization of sincerity and unselfconsciousness. She also reviews the works of several poets like Kenneth Goldsmith and the Flarfists which introduce the Language poetry, not as a killing of lyric but a way of dealing with a set of problems that establishes the history of lyric.

The 1920s saw the debut of a considerable number of female poets writing in Yiddish in Europe and the United States of America. This article briefly considers the emergence of modern Yiddish women's poetry, and the importance of Ezra Korman's Yidishe dikhterins, an anthology of their work published in Chicago in 1928, before turning to one of the poets represented there, Rokhl H. Korn. The article considers her unusual family background and upbringing on a farm in rural Poland, which fostered the development of her poetic talent. Through analysis of several significant poems, the character of her early work is revealed: a combination of deep empathy with the natural world, free expression of female sexuality, and a sensitive evocation of the lives and emotions of the people of her childhood village, both Poles and Jews. Her later poetry incorporates the Holocaust and the pain of exile, but the more controlled work of her maturity is rooted in the rich and passionate poetry of her youth. One of the leading female Yiddish lyric poets of the 20th century, Korn exemplifies the freedom to express individual creativity and female sensibility which women writers in Yiddish discovered in the inter-war years. [ABSTRACT FROM AUTHOR]

This article explores the English literature in the U.S. in the 1990s. It explains that the literature during this period is classifiable for the number of English works by including other languages and by writing pidgins or creoles that resulted from English-language colonialism. It highlights debates focusing on English language. Moreover, it examines the development of lyric and plain speech poetries following the September 11, 2001 terrorist attack.

This article cites the seven sonnets of Basil Lanneau Gildersleeve which are found at the archives of the University of the South in Sewanee, Tennessee. Gildersleeve is a classicist and happened to have a high authority on matters of grammar and philology. It was noted that Gildersleeve has a passion in poetry and specializes sonnets. All the sonnets were put together through the "Brief Mention," with the aid of Professor Ward Briggs.

The article focuses on the rhythm of music. Scottish music was and is known for its uneven rhythms, the forward lilting motion of many songs produced by a rhythm. The U.S. citizens are quite familiar with the special cultural charge of rhythm. If rhythm is now raced, and polyrhythms internationalized and made audible to people via the extension of the world-music commodity, rhythm in the eighteenth century was more often nationalized, as were, of course, such concepts and terms as melody, mode, scale, and instrument.

Discusses the benefits of working on a literary history of modernist American poetry. Tendency of critical advances and their discourses to be reactive; Ahistorical criticism of humanist subjects; Association of formalism with evaluation; Susceptibility to sifting of the postwar period in American poetry.

Presents a thematic representation and narrative discourse of a form of lyric poetry called the corrido, popular in Mexico and part of the United States. Limited knowledge on the ballad tradition outside of the areas where it exists; Obscurity of texts and difficulty of interpretation; Viewpoints expressed by the genre which often contradict or stand in direct opposition to dominant perspectives.

Discusses the poetry and poetics of 20th-century American writer Robert Frost. Description of Frost's ideal audience; Struggle against canonical forces carried out on behalf of a new lyric diction; Frost's battle with the concept of the traditional author and the traditional lyric; Gendered, socially expansive and novelized efforts to read and rewrite lyric poetry.

Discusses reaction of American students to lyric poetry in French. Poets that interest most students; Students' comments on certain passages from various poets.

The author reflects on the relationship between art and science. She offers information on her current project called "American Letters," a collection of lyric epistles exploring the relationship between the personal and the bureaucratic and between ideals, hopes, and the consequences of dealing with American institutions. The author also argues that Djerassi's Open House allowed her to explore her interest in science and poetry which encourages people to think of science as an oracle rather than as a public institution.

The article offers information on the contributors of the publication "Russian Review" in the July 2008 issue. Aaron Beaver is an Assistant Professor of Russian in the Slavic Department at Indiana University. His recent publications include an essay on metaphysics and morality in the poetry and essay of Gavrila Derzhavin. On the other hand, Jonathan Stone is a lecturer of Slavic literature at the University of California in Berkeley, California. He is working presently on a study of the development and institutionalization of Russian modernism. Moreover, Michael Wachtel is a Professor of Slavic Languages and Literatures at Princeton University in New Jersey. He is working currently on a commentary to the lyric poetry of Alexander Pushkin.