Search

In this paper, I attempt to read the poetic principle behind the Tammuzi movement of modern Arabic poetry through the lens of speculative poetics. While speculative-poetic accounts of modern poetry, such as those provided by Allen Grossman, blazed new paths connecting poetry to personhood in modernity, their application to the development of modern poetry outside of Europe remains limited by their self-avowed focus on European history. This paper will outline a critical corrective to speculative poetics which, I argue, can be of value in extending its domain of application to Arabic projects of poetic modernity, particularly the two tendencies of "free verse" and "commitment" poetry that emerged out of the Tammuzi movement.

The main problem of researching the semantics of free verse and its translations is that every literary critic is free to look at this intricate genre, choosing one’s own set of tropes and figures to interpret it in written form. These facts were considered in this study of original Ukrainian free verse works and their interpretations, regarding the specific treats of languages to use. The anthology Вільний вітер. Волен вятър published in Kharkiv in 2017 became a material for this research. This issue makes a good opportunity for one reader to get acquainted with Bulgarian culture, and for another to actualize their knowledge about this country on Black Sea coast. The 20th century free verse writing represents quite active and flexible use of natural philosophical imagery in the artistic texture of the poems. These are different functions for it to fulfill (from decorating the lyrical narration up to expression of an essence of the work), stylistic means, and formation of the new connotations on the base of traditional meanings. Studying the interpretations of traditional genres and their poetics in compositional and lingual dimensions of both Ukrainian and Bulgarian free verses (those included into Вільний вітер) allowed seeing the fact: the more the author gets into the internal world of the character and one’s relationships with nature, the wider becomes the circle of meanings for the cultural conceit, image, and symbol. Furthermore, the larger research field gets opened for comparison of aforesaid meanings in various languages, not only Ukrainian and Bulgarian.

“Imago” is a poem birthed from a place of understanding surrender. More specifically; the poem is an empathetic effort to understand the choices of one’s parents from the position of an adult child. The collages work with the extended metaphor of “a fly in your glass of wine” while also presenting the ever- Southern aftermath of a drink left outside, right underneath the porch lights. [ABSTRACT FROM AUTHOR]

This article examines two intrinsically linked periodical publications: Others: A Magazine of the New Verse (1915–1919) and Others: An Anthology of the New Verse (1916–1920) both edited by Alfred Kreymborg. To date, scholarship on the publications has focused either on the magazine or, to a lesser extent, on the anthology, but never on the dynamic between the two publications. The article begins by considering the way both publications challenged the boundaries of medial form in an effort to better characterize the respective functions of the magazine and the anthology in the Others dynamic. It demonstrates how the anthology, an annual publication, allowed Kreymborg to reclaim editorial agency over the Others brand, facilitating a secondary round of editing of the magazine's contents. By creating a secondary selection of poems increasingly collated by guest editors, Kreymborg was able to further shape the representation of the duo. The restoration of the Others anthology to the history of the Others project sheds new light on key contributors and resultantly requires us to further nuance our understanding of the Others magazine as a largely inclusive project. In uncovering the role the Others anthology played in the Others dynamic, this article ultimately underscores the need to include the serially published modernist anthology in our understanding of the diverse and interrelated modernist media ecology. [ABSTRACT FROM AUTHOR]

A paradoxical feature of the lament as a poetical and musical genre is the imbalance between the supposedly spontaneous expression of emotional turmoil and the artificial dimension of its artistic representation. Embedded in the lament since antiquity, such tension becomes particularly prominent in the early modern period, when the development of the 'lamenting mode' in poetry and vocal music facilitated experimentation in both domains. After reconsidering the rhetorical status of the lament, this essay explores the ways in which one specific lament – Olimpia's from Ariosto's Orlando furioso – moves across mediums and genres. More precisely, by focusing on the transition from ottava rima to the free-verse recitative style of seventeenth-century lamenti and cantatas, the article argues that the formal instability intrinsic to the lament exposes the limitations of any attempt to represent the utterance of a lamenting character as well as the expressive potential conveyed by its quintessentially performative nature. [ABSTRACT FROM AUTHOR]

The aim of this paper is to make a contribution to the old but still vivid discussion on free verse Swahili poems and to suggest a textual approach that avoids culturalism. This approach is based on the ideas of Euphrase Kezilahabi and Ebrahim Hussein, who accuse critics of placing too much emphasis on cultural aspects or context. Kezilahabi and Hussein suggest a more holistic approach based on the aesthetics of the text. The dispute over free verse started in the late 1960s and still continues not only in academic writings, but also in harsh comments made by poets who write in a "traditional way" or scholars that I have had occasion to hear at conferences or during my fieldwork in Dar es Salaam. [ABSTRACT FROM AUTHOR]

'[I]t has unfortunately become a fashion that people who obviously cannot claim to have any legitimation or any understanding in the field of sinology [...], take hold of the sinological works of others and exploit them merely for business reasons', complains the sinologist Leopold Woitsch in 1924, referring to Albert Ehrenstein's newest translations of Chinese poetry. The debate on who could authoritatively translate Chinese poetry was fiercely contested in German modernist circles and still rages to this day. Most scholars still contrast 'poetical' and 'scholarly' translations of Chinese poetry, either claiming that the former in an intuitive way come closer to the original, or criticizing the work of the poets who did not possess the linguistic and cultural background knowledge to dare approach Chinese poetry. However, it is exactly the interaction between the two modes that shaped the German reception of Chinese poetry in the twentieth century. Referring to a number of examples from the early-twentieth-century adaptations of Tang poetry, this article offers a more differentiated perspective on the cooperative and competitive relations between poets' and scholars' translations of Chinese poetry. Against the background of controversies surrounding 'legitimate' translations which shaped literary modernism in the early twentieth century, I show how the poetic and scholarly approaches were (and remain) closely interconnected, and discuss the thematic and aesthetic implications of this interrelationship. [ABSTRACT FROM AUTHOR]

Copyright of Theoretical Studies of Literature & Art / Wenyi Lilun Yanjiu is the property of Editorial Board of Theoretical Studies in Literature & Art and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study argues that Nāzik al-Malāʾikah's poetics—as indicated in her "Introduction" to her collection Shaẓāyā wa-ramād and her book Qaḍāyā al-shiʿr al-muʿāṣir —is in conversation with the famous American poet, critic, and short story writer Edgar Allan Poe's poetics. This affinity has not been properly noted by critics, as their discussions have been limited to issues of form, content, or borrowings from Poe's poems. This article argues that al-Malāʾikah's elaborations on Poe are more profound than hitherto assumed since they articulate a different kind of formal poetics altogether. The chief characteristics of this poetics can be identified as sound/rhythm, concision, refrain (or repetition, with variation). While these innovative instances are foundational in her literary criticism, her poetry also conveys other venues of indebtedness and conversation. [ABSTRACT FROM AUTHOR]

Copyright of Prosemas. Revista de Estudios Poéticos is the property of Universidad de Oviedo, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The essay examines the "free verse" of modern Italian poetry, hypothesizing that two general tendencies have followed one another: in the first phase it was possible to overcome the traditional prosody – based above all on the Leopardi model – while maintaining its rhythmic characteristics, in particular in the first part of the lines. In a second phase, a versification based on accents and not on syllables became more important. This change can be traced back to a change in collective prosodic competences, due to the definitive affirmation of the typical forms of tonal music. The hypothesis is also verified through the analysis of the recordings of the poets who read their poems, using the material preserved in the websites "VIP" and "Lyrikline". This feedback – which must be made with all the necessary caution – is nevertheless essential when trying to analyze a versification based on accents and not on syllables, also because it is not suited to the natural rhythm of the Italian language.

Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Marmara University Journal of Turkology / Marmara Türkiyat Araştırmaları Dergisi is the property of Marmara University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Prosemas. Revista de Estudios Poéticos is the property of Universidad de Oviedo, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present study analyses the poem Ó Šebestiáne (Oh, Sebastian) by Jan Zahradníček, included in his collection Rouška Veroničina (Veronica's Veil) (1949). These poems are seen particularly as a way to represent the general approaches typical of Zahradníček's work in the latter half of the 1940s. In particular, the exposition is presented both from the anthropoetic and the theopoetic standpoint. This treatment of the poet's anthropoetics does not just indicate that artistic creation in general and poetry in particular have a biological-anthropological basis, affecting aesthetic and social ties, but that literature and poetry are something of quite fundamental significance to man, in certain circumstances of vital importance to his survival, affecting him in extraordinary ways. This anthropoetical aspect is thematized both implicitly and explicitly in Zahradníček's poetry, as one of its driving forces and very prominently as a subject of poetic reflection. The initial anthropoetical and theopoetical framework of the exposition is also developed with an interpretationally-based poetological analysis of various poetic devices utilized in original ways by Jan Zahradníček. This particularly requires an outline of the way he worked with free verse, which becomes a dominant feature in his poetry in the late 1940s and the early 1950s, as well as his rhythmic and semantic organization, an analysis of the strophic composition of his poetry and an analysis of his usage of such devices as punctuation and the like. [ABSTRACT FROM AUTHOR]

Copyright of Basic Education College Magazine For Educational & Humanities Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract The prosodic innovations of free verse, prose poetry, and concrete poetry that overwhelmed poetic practices in the later nineteenth and throughout the twentieth century were grounded in Romantic ideas and practices with vernacular language. While the key agents of change were Wordsworth, Coleridge, and Byron, John Thelwall's involvement with the British Elocutionary Movement was equally crucial. What Pound called "the first heave" toward prosodic freedom, "To break the pentameter" (Cantos LXXXI), took place in England between 1790 and 1819. [ABSTRACT FROM AUTHOR]

Copyright of Ceska Literatura is the property of ASCR Institute of Czech Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revue Verlaine is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the little magazine effect and its role in the development of modernist poetry focusing on the role of poet Alice Corbin as the assistant editor at Poetry magazine. The article discusses Corbin's response to poet Ezra Pound's solicitation for his Catholic Anthology. Topics include rise of free verse, development of imagism, and racial and cultural appropriation that reflects in poetry.

Copyright of Journal of Social Sciences Institute / Sosyal Bilimler Enstitüsü Dergisi is the property of Bingol University / Rectorate and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The essay examines the depiction and absence of antebellum bohemians in U.S. literature. It discusses the network of bohemian New York and how it informs criticism of poet Walt Whitman and his innovative approach to free-verse poetry. A network analysis approach is also used to explore the literary history of the group.

Copyright of Slavistična Revija is the property of Slavisticno Drustvo Slovenije and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)