Counter-Reformation: the Search for a Unified John Donne
... “how could the reckless young lover possibly become the gaunt and contemplative man of the church”? When faced with the comparison of two such evidently different characters, the reconciliation of the two is often achieved through a narrative of personal revolution. Because the characters are so ver ...
... “how could the reckless young lover possibly become the gaunt and contemplative man of the church”? When faced with the comparison of two such evidently different characters, the reconciliation of the two is often achieved through a narrative of personal revolution. Because the characters are so ver ...
Visible-izing Praxis Through Mimicry in Phillis Wheatley`s
... re-citation of Anglo-European literary markers could be used to both parody and talk back, double-voiced, to “those marks and the laws to which they [referred]…”(Kendrick 73). Wheatley in fact established a poetic prototype for “a poaching raid of sorts, a stealing of signs” that had already existed ...
... re-citation of Anglo-European literary markers could be used to both parody and talk back, double-voiced, to “those marks and the laws to which they [referred]…”(Kendrick 73). Wheatley in fact established a poetic prototype for “a poaching raid of sorts, a stealing of signs” that had already existed ...
Counter-figures - Pajari Räsänen
... to the formation of images and figures, ideas and schemas, “any graven image, or any likeness of any thing”. This is why singularity and radical alterity are key issues here, and why an ethical dimension is implied by, or intertwined with, the aesthetic. In terms borrowed from Paul Celan’s Meridian ...
... to the formation of images and figures, ideas and schemas, “any graven image, or any likeness of any thing”. This is why singularity and radical alterity are key issues here, and why an ethical dimension is implied by, or intertwined with, the aesthetic. In terms borrowed from Paul Celan’s Meridian ...
“I Have Heard it Said”: Towards a New Translation of Beowulf
... translation. It departs from the structure of the source text quite radically: dividing what was an unbroken narrative into discrete poems, as well as changing a regular meter into many different poetic forms. This approach is mirrored in the actual plot of the poem; the translation often adds descr ...
... translation. It departs from the structure of the source text quite radically: dividing what was an unbroken narrative into discrete poems, as well as changing a regular meter into many different poetic forms. This approach is mirrored in the actual plot of the poem; the translation often adds descr ...
READING AS SCULPTURE: RONI HORN AND EMILY DICKINSON
... signs, to refer to that which is not present. The ordinary usage of language doesn’t emphasize this absence, however, but quickly replaces it with image or concept. As Blanchot puts it, “I say, ‘This woman,’ and she is immediately available to me, I push her away, I bring her close, she is everythin ...
... signs, to refer to that which is not present. The ordinary usage of language doesn’t emphasize this absence, however, but quickly replaces it with image or concept. As Blanchot puts it, “I say, ‘This woman,’ and she is immediately available to me, I push her away, I bring her close, she is everythin ...
View - OhioLINK Electronic Theses and Dissertations Center
... heard and defined in classical texts? The term voice by itself is a very broad one: it can mean the sound or sounds uttered through the mouth of people; expression in spoken or written words, or by other means; the distinctive style or manner of expression of an author or of a character; the faculty ...
... heard and defined in classical texts? The term voice by itself is a very broad one: it can mean the sound or sounds uttered through the mouth of people; expression in spoken or written words, or by other means; the distinctive style or manner of expression of an author or of a character; the faculty ...
Whitman in Translation: A Seminar
... here Whitman is talking about the sound of the voice: the sound, in other words, is the very subject matter. Most of us who interpret Whitman think that the question of orality is very important to Whitman. So the translator is left with the problem: how do you capture the sound of the “lull I like” ...
... here Whitman is talking about the sound of the voice: the sound, in other words, is the very subject matter. Most of us who interpret Whitman think that the question of orality is very important to Whitman. So the translator is left with the problem: how do you capture the sound of the “lull I like” ...
william mason: a study - Research Explorer
... H.T.Dickinson, ‘Whiggism in the Eighteenth Century’, in The Whig Ascendancy: Colloquies on Hanoverian England, ed. by John Cannon (New York: St. Martin’s Press, 1981), 28-44 (pp. ...
... H.T.Dickinson, ‘Whiggism in the Eighteenth Century’, in The Whig Ascendancy: Colloquies on Hanoverian England, ed. by John Cannon (New York: St. Martin’s Press, 1981), 28-44 (pp. ...
- Enlighten: Theses
... produce in the course of history mere ‘modifications’ of their fundamentally unhistorical nature, but in the fact that historical development represents a dialectical process, in which every factor is in a state of motion and subject to constant change of meaning, in which there is nothing static, n ...
... produce in the course of history mere ‘modifications’ of their fundamentally unhistorical nature, but in the fact that historical development represents a dialectical process, in which every factor is in a state of motion and subject to constant change of meaning, in which there is nothing static, n ...
Emaricdulfe by EC Esquier (1595): Materials Toward a Critical Edition
... experience described in the sequence. Though I mention possibilities, I am unable to settle firmly upon either an attribution or her identity. These identities have remained hidden for over four hundred years and may perhaps remain so. Moreover, though I attempt to describe literary, historical, and ...
... experience described in the sequence. Though I mention possibilities, I am unable to settle firmly upon either an attribution or her identity. These identities have remained hidden for over four hundred years and may perhaps remain so. Moreover, though I attempt to describe literary, historical, and ...
Humor and Ambiguity in Poetry
... structural elements in a poem, and as the result of ambiguities. Ambiguities both accompany humor in poetry and serve as helpful analogies for theorizing about humor’s role. This dissertation will at times posit the presence of humor in poems, even if we do not immediately recognize it there.9 It wi ...
... structural elements in a poem, and as the result of ambiguities. Ambiguities both accompany humor in poetry and serve as helpful analogies for theorizing about humor’s role. This dissertation will at times posit the presence of humor in poems, even if we do not immediately recognize it there.9 It wi ...
- Institutional Repository of IAIN Tulungagung
... Literature is one part of communication. This is one molded art of effloresce man creature along with developing eras. Literature is a result of processes interaction between human and their environment, how they see environment around them and create beautiful opus by using language. Jones (1968:1) ...
... Literature is one part of communication. This is one molded art of effloresce man creature along with developing eras. Literature is a result of processes interaction between human and their environment, how they see environment around them and create beautiful opus by using language. Jones (1968:1) ...
edgar allan poe edgar allan poe`s complete poetical works
... some little reputation as a writer of satirical verses; but of his poetry, of that which, as he declared, had been with him "not a purpose, but a passion," he probably preserved the secret, especially as we know that at his adoptive home poesy was a forbidden thing. As early as 1821 he appears to h ...
... some little reputation as a writer of satirical verses; but of his poetry, of that which, as he declared, had been with him "not a purpose, but a passion," he probably preserved the secret, especially as we know that at his adoptive home poesy was a forbidden thing. As early as 1821 he appears to h ...
Elizabeth Bishop: Translation as Poetics
... This approach leads me, for example, to an examination of issues of humor, comedy and the carnivalesque in the translation of Aristophanes. In the chapter on Max Jacob, I focus, among other aspects, on surrealism, the grotesque, but also on religious concerns. I pay detailed attention to The Diary o ...
... This approach leads me, for example, to an examination of issues of humor, comedy and the carnivalesque in the translation of Aristophanes. In the chapter on Max Jacob, I focus, among other aspects, on surrealism, the grotesque, but also on religious concerns. I pay detailed attention to The Diary o ...
The Sensuous Order, Faith and Love in the Poetry
... close to genuine religiosity, and that criticism should take note of that closeness. ...
... close to genuine religiosity, and that criticism should take note of that closeness. ...
Last Things - Emily - Global Public Library
... can be heard—and yet the trees incline to one another and repeat their childhood memories about when the nymphs lived in them, and imagination gorges itself in supreme enjoyment’.⁸ Supreme enjoyment—an unqualified affirmation of the joy of being alive—is the core of Brontë’s poems and is entirely comp ...
... can be heard—and yet the trees incline to one another and repeat their childhood memories about when the nymphs lived in them, and imagination gorges itself in supreme enjoyment’.⁸ Supreme enjoyment—an unqualified affirmation of the joy of being alive—is the core of Brontë’s poems and is entirely comp ...
Eudora Welty and the Poetry of WB Yeats
... poet Seamus Heaney: In a recent essay, Seamus Heaney, who is also of two cultures, writes: Certainly the secret of being a poet, Irish or otherwise, lies in the summoning of the energies of words. But my quest for definition, while it may lead backward, is conducted in the living speech of the lands ...
... poet Seamus Heaney: In a recent essay, Seamus Heaney, who is also of two cultures, writes: Certainly the secret of being a poet, Irish or otherwise, lies in the summoning of the energies of words. But my quest for definition, while it may lead backward, is conducted in the living speech of the lands ...
Feints, Apparitions and Mode of Locomotion
... Mallarmé takes us into the realm of the anxiety of influence, as Harold Bloom labelled it: the need to learn from past masters without being overwhelmed by their mastery, and the need for any artist to clear the undergrowth of history to make room for her or his own new work. That uneasy mixture of ...
... Mallarmé takes us into the realm of the anxiety of influence, as Harold Bloom labelled it: the need to learn from past masters without being overwhelmed by their mastery, and the need for any artist to clear the undergrowth of history to make room for her or his own new work. That uneasy mixture of ...
chron ic lesoft im e
... Shakespeare's works were collected and printed in various editions in the century following his death, and by the early eighteenth century his reputation as the greatest poet ever to write in English was well established. The unprecedented admiration garnered by his works led to a fierce curiosity ...
... Shakespeare's works were collected and printed in various editions in the century following his death, and by the early eighteenth century his reputation as the greatest poet ever to write in English was well established. The unprecedented admiration garnered by his works led to a fierce curiosity ...
Well-Wishing Adventurers: Shakespeare`s Sonnets and Narrative
... her" concupiscent prize" (33). Adonis, then, may be seen as something of an anti-Narcissus because he seeks self-knowledge only as it remains distinct from sexual experience and thus ironically dies in "parodic sexual encounter with the boar" (33). The narrative establishes Adonis as object of desir ...
... her" concupiscent prize" (33). Adonis, then, may be seen as something of an anti-Narcissus because he seeks self-knowledge only as it remains distinct from sexual experience and thus ironically dies in "parodic sexual encounter with the boar" (33). The narrative establishes Adonis as object of desir ...
Northern Kurdish poetic features with an application to
... part of the analysis is on the phonological level, where I identify verse forms and rhyme schemes found in the corpus. Much of the information concerning verse forms in Northern Kurdish poetry was obtained by means of interviews with poets and an editor of poetry. The second part of the analysis is ...
... part of the analysis is on the phonological level, where I identify verse forms and rhyme schemes found in the corpus. Much of the information concerning verse forms in Northern Kurdish poetry was obtained by means of interviews with poets and an editor of poetry. The second part of the analysis is ...
ABC - WordPress.com
... The word “aragman” is an anagram of the word “anagram.” 1.First of all, begin with a word or two, perhaps your first name or first and last name. Settle on a word or two with not too many letters. In my aragman below, I used my first name “Salvatore.” 2.After you settle on a word, go to the Internet ...
... The word “aragman” is an anagram of the word “anagram.” 1.First of all, begin with a word or two, perhaps your first name or first and last name. Settle on a word or two with not too many letters. In my aragman below, I used my first name “Salvatore.” 2.After you settle on a word, go to the Internet ...
THEODORE ROETHKE, PANTHEIST An abstract of a thesis by
... To this writer, there appears to be a definite pattern of implied pantheism in Roethke's early poems, a pattern more obviously developed in the middle poems, and even more fully expr~ssed or implied in the later poems, including those publ~shed after his death. And so, in an attempt to prove that Ro ...
... To this writer, there appears to be a definite pattern of implied pantheism in Roethke's early poems, a pattern more obviously developed in the middle poems, and even more fully expr~ssed or implied in the later poems, including those publ~shed after his death. And so, in an attempt to prove that Ro ...
第十四课English Prosody
... in born. These are hence typical examples of alliteration. Alliteration used to be a major device for poetical musicality in Old English poetry, but has, over the centuries of development under foreign influence, been reduced to a minor or secondary poetic technique in modern versification. Yet it i ...
... in born. These are hence typical examples of alliteration. Alliteration used to be a major device for poetical musicality in Old English poetry, but has, over the centuries of development under foreign influence, been reduced to a minor or secondary poetic technique in modern versification. Yet it i ...
Topographical poetry
Topographical poetry or loco-descriptive poetry is a genre of poetry that describes, and often praises, a landscape or place. John Denham's 1642 poem ""Cooper's Hill"" established the genre, which peaked in popularity in 18th-century England. Examples of topographical verse date, however, to the late classical period, and can be found throughout the medieval era and during the Renaissance. Though the earliest examples come mostly from continental Europe, the topographical poetry in the tradition originating with Denham concerns itself with the classics, and many of the various types of topographical verse, such as river, ruin, or hilltop poems were established by the early 17th century. Alexander Pope's ""Windsor Forest"" (1713) and John Dyer's ""Grongar Hill' (1762) are two other oft-mentioned examples. More recently, Matthew Arnold's ""The Scholar Gipsy"" (1853) praises the Oxfordshire countryside, and W. H. Auden's ""In Praise of Limestone"" (1948) uses a limestone landscape as an allegory. Subgenres of topographical poetry include the country house poem, written in 17th-century England to compliment a wealthy patron, and the prospect poem, describing the view from a distance or a temporal view into the future, with the sense of opportunity or expectation. When understood broadly as landscape poetry and when assessed from its establishment to the present, topographical poetry can take on many formal situations and types of places. Kenneth Baker identifies 37 varieties and compiles poems from the 16th through the 20th centuries—from Edmund Spenser to Sylvia Plath—correspondent to each type, from ""Walks and Surveys,"" to ""Mountains, Hills, and the View from Above,"" to ""Violation of Nature and the Landscape,"" to ""Spirits and Ghosts.""Common aesthetic registers of which topographical poetry make use include pastoral imagery, the sublime, and the picturesque. These latter two registers subsume imagery of rivers, ruins, moonlight, birdsong, and clouds, peasants, mountains, caves, and waterscapes.