Poetry Criticism Research Articles

"Kim Deuk-seen’s Poetry Criticism "

"Kim Deuk-seen’s Poetry Criticism "

이스라엘 지파들에 대한 모세의 축복(신 33)

이스라엘 지파들에 대한 모세의 축복(신 33)

The Hunt In Arabic Poetry: From Heroic to Lyric to Metapoetic

The Hunt In Arabic Poetry: From Heroic to Lyric to Metapoetic

The Hunt In Arabic Poetry: From Heroic to Lyric to Metapoetic

The Hunt In Arabic Poetry: From Heroic to Lyric to Metapoetic

Seongho Yi Ik's Poetry Criticism

본고는 주로 실학의 측면에서 연구되어 온 『성호사설』을 시 비평의 측면에서 살펴보고자 한다. 이를 위해서 『성호사설』 <시문문>의 비평문들 중 시부를 대상으로 한 작품들에 초점을 맞추고자 한다. 우선 성호 이익은 동아시아 고전시의 다양한 목록을 검토하면서, ‘어떤 것이 진정한 시적 고전인가’하는 문제에 대해서 진지하게 성찰하였다. 그는 시가 진리를 향한 인간의 정신적 지향을 표상한다는 관점에서, 시에 드러난 뜻(志)을 중요하게 여겼다. 이러한 관점에서 진리에 대한 담박한 추구로 충만한 『시경』, 비극적인 상황 속에서도 충절과 기개를 추구한 굴원의 작품들, 역사에 대한 근심과 고민으로 인해 깊이가 더해진 <고시십구수>와 같은 작품들이 동아시아 고전시의 진정한 고전으로 평가되었다. 성호 이익은 동아시아 고전시의 역사를 자신의 기준으로 다시금 객관화, 논리화 한 것과 마찬가지로 자국시의 역사도 객관화 한다. 그는 조선 후기에 많은 영향을 미친 명의 고문사파의 담론 등에 함몰되지 않고, 자국시의 한계와 성취를 비평적으로 세밀하게 평가하였다. 그 과정에서 중국과 조선의 문학사적 관계에 대한 객관적인 인식이 드러난다. 또, 성호는 현실 정치의 사건들이 시에 대한 비평적 평가에 외삽적으로 영향을 미치게끔 하지 않았다. 오히려 그는 현실 정치에서 물의를 일으키거나 혹은 억울하게 배척된 이들의 다양한 상황을 사실적으로 기술하면서, 시의 미학적 성취란 타자의 삶과 죽음, 고통에 대한 윤리학적인 관심과 결부됨을 밝혀내었다. 윤리학과 미학을 결합시킨 성호 이익의 비평은 현대에 들어와서 상실된 비평의 이상이라 할 수 있겠다.This essay investigates The Miscellanies of Seongho(星湖僿說) in terms of poetry criticism, which has been mostly studied in the field of Silhak(實學). I focus on its chapter of poetry and prose. Seongho explores thoroughly which works can be appreciated as classical poetry, analyzing different texts of East-Asian poetry created in the previous eras. He emphasizes the inclination of the poet revealed in poetry because he regards poetry as the intellectual inclination(志) towards truth. From his perspective, these classical works are reconfirmed as the true classics of East-Asian classical poetry: The Classic of Poetry (試經), The Songs of the South (楚辭), and The Nineteen Old Poems(古詩十九首). It is not because they are automatically assumed as classical poetry but because they share the timeless, heart-wrenching agony for man and history. As he objectifies the history of East-Asian classical poetry, he also objectifies the history of Chosun Sino-Korean poetry. Instead of being immersed in the pre-existent literary discourses of the Ming Dynasty on classicism, which were highly influential in late Chosun, he evaluates the limits and achievements of Chosun poetry per se on the basis of his close reading and objective attitude. Meanwhile, he establishes an objective understanding of East-Asian literary history concerning China and Chosun. Also, he never lets real politics influence excessively the field of literary criticism. He rather represents the lives and works of the wretched and abandoned subjects in real politics and demonstrates that the aesthetic achievement of poetry is actually related with the ethical attitude towards the life, death, and sufferings of the other. In sum, Seongho s poetry criticism is the literary ideal that combines ethics and aesthetics, which has been lost in modernity.

Literary Heredity and Variation in Selected Facebook Poems of Veralyn Chinenye And Her Collaborative Authors

Facebook has become one of the mediums of creativity and criticism of works of art as a result of the nature of its blended writing. At the “completion” of a composition, Facebook poems maintain a certain degree of the static form, which is a characteristic of print literature. Facebook poetry coalesces the oral and print into a “new” form of poetry and extends the boundaries of oral and print literature. Using Bolter and Grusin concept of Remediation as a theoretical framework, this paper examines literary heredity and variation in selected Facebook poems of Veralyn Chinenye and her collaborative authors and participants. The paper further examines the characteristics and criticism of Facebook poetry and explicates the functionality of “Emoji”, “Comments”, “Share”, and intertextuality in the on-going creation and criticism of Facebook poetry that is different from the conventional perception and practice of literary creativity and criticism. Through the examples of poetry analysed in this paper, our findings show that digital literature is, to an extent, fluid and shares identical characteristics with oral literature in terms of artist and audience participation, occasion of performance

한국 선시에서 '만당구승(晩唐九僧)'과 '소순기(蔬筍氣)'를 통한 품평 - 긍정 및 부정 평가를 중심으로 -

한국 선시에서 '만당구승(晩唐九僧)'과 '소순기(蔬筍氣)'를 통한 품평 - 긍정 및 부정 평가를 중심으로 -

Ideas of Poetics and the Close Reading of Poetry

Ranjan Ghosh and J. Hillis Miller provide different but productive ways to think about poetics and to read poetry closely and with attention. As a poet, reader and critic of poetry, I welcome their thoughts on the theory and practice of poetry. Whereas Miller sees the reading of poems as subjective and selective, Ghosh views it as universal and shared. Both readers help us in the drama of meaning, the tension between them. As convivial and suggestive as that difference between Miller and Ghosh may be, it allows us to experience the different sides of poetry and the philosophy of poetry, if we think about, say the Socratic, Platonic, and Aristotelian tradition of thinking about poetry and even Philip Sidney's response on the one hand and the rhetorical tradition of reading poetry on the other. Ghosh, although having mastered Western literature and poetry, as Miller has, also provides us with Eastern views, and this is also of great benefit to the reader of Thinking Literature Across Continents ( 2016 ). One of the great centres of literature is language and poetry is compressed and memorable language that forms the heart of literature: it is a key to thinking about Ghosh and Miller thinking literature across the various parts of the world.

Arabic Poetry and Terrorism: The Dictator Perishes and the Poet Remains

Abd al-Wahhab al-Bayati is one of the most prominent twentieth-century Arab poets. His poetry makes a drastic shift from politically committed in the 1950s and 1960s to metapoetic in the 1970s onward. In his post-Nasserist works, al-Bayati interrogates the role of poets and the function of their poetry. This article explores some of the main metapoetic themes in al-Bayati's poem “Meditations on the Other Face of Love,” which was published in 1979. The article argues that al-Bayati consciously uses reflexive poetry as a platform to blur the line between poetry and literary criticism and to declare his discontent with the literary scene and the political status quo in the Arab world. The article also examines some of the poetry by Nizar Qabbani and Muzaffar al-Nawab, in relation to that of al-Bayati. These three poets provide a poetic discussion of “terrorism” against the hegemony of political discourse, and demand that Arab citizens reject their undignified lives by adopting resistance and rejecting terrorism.

Re-examining English and/in the Geography of (World) Literature

Re-examining English and/in the Geography of (World) Literature

Plato and the Power of Images by Pierre Destrée Radcliffe G. Edmonds III

366 BOOKREVIEWS recent effort at covering all of Euripides’ plays, J. Morwood’s The Plays of Euripides (London, 2008). Its scholarly engagement also far outdoes the other, much earlier efforts to give roughly equal attention to each of the plays and bind them under consistent intellectual impulses: G. Grube, The Drama of Euripides (New York, 1941); D. J. Conacher, Euripidean Drama (Toronto, 1967); and T. B.L.Webster,TheTragediesof Euripides(London,1967). All in all, this is a valuable contribution to research on Euripides’ works, and it will be auseful addition tomany undergraduate andgraduate libraries. ROBERT HOLSCHUH SIMMONS MonmouthCollege,rsimmons@monmouthcollege.edu * * * * * Plato and the Power of Images. Edited by PIERRE DESTRÉE and RADCLIFFE G. EDMONDS III. Leiden, NL and Boston, MA: Brill, 2017. Pp. viii + 243. Hardback, $133.00.ISBN 978-90-04-34501-0. Plato is the great philosopher of ideal forms who stoutly asserts that they are the eternal and absolute reality of which the phenomena of the visible world are imperfect transitory reflections. Yet no one has rendered those mere reflections with greater skill and minute perception, or marshalled images with greater rhetorical power, than Plato. Plato and the Power of Images offers a diverse set of illuminating and provocative essays on this fundamental Platonic paradox: it aims to explain, among other things, how Plato can at once harshly condemn images and image-making poets and yet still make use of vivid and intense imagery in his own writing. The volume contains an introduction by the editors, twelve chapters, each with footnotes and a bibliography, and indices of passages andof subjects (the latter very brief).The first six chapters explore images as used in various dialogues; the lastsix are devotedtothe Republic. The collection begins with two essays on the image of Socrates in Alcibiades’ speech in the Symposium. Andrew Ford argues that Alcibiades’ comparison of Socrates to Sileni figurines and Marsyas is really an allegory for the Platonic text itself, “a cunning kind of verbal icon that, like Sileni, has a precious hidden meaning for those able topenetrate its surface sense” (15–16).ElizabethBelfiore, working from the same speech, undertakes a study of Socrates and Achilles as mirror-images,of Socrates as akindof Achilles in reverse. BOOKREVIEWS 367 Francisco Gonzalez and Radcliffe Edmonds III offer perceptive essays that distinguish, on the one hand, between poetic and philosophical erôs, and, on the other, between the right and wrong use of images. Just as the poet, or the lover of sights andsounds, sees and is attracted to only what the beautiful image contains, so Phaedrus gets stuck upon the bare words of Lysias’ speech, whereas the philosophical lover, who uses beautiful images correctly, allows them to lead him tosomething further,arecollection of his pre-incarnate vision ofbeauty. Christopher Moore investigates Plato’s use of various images as they relate to the theme of self-knowledge, giving special attention to the figure of Prometheus in the Protagoras and Typhon in the Phaedrus. Gerd van Riel considers images through the lens of Plato’s theology, detailing Plato’s preference, stated in the Sophist, for eikastikê technê, which accurately reproduces the proportions of the model, over phantastikê technê, which adapts the original proportions to a particular perspective. Grace Ledbetter’s “The Power of Plato’s Cave”—the first of the six essays on the Republic—argues that Plato structures the cave-narrative in such a way that Socrates andGlaucon themselves enactthe veryascentdescribedtherein.Olivier Renaut examines the city-soul relationship as ametaphor which achieves the task of transferring the power of reason to the power of law for an audience of citizens whoare notphilosophers. Penelope Murray convincingly details the “psychological parallelism” (200) between poetry and tyranny, showing how the critique of poetry in Book 10 recalls the earlier portrayal of the tyrant: the image of the tyrant demonstrates the state of the soul which poetry threatens to produce. Douglas Cairns discusses Plato’s tripartite soul as a metaphor intendedtoelucidate the behavior of persons and considers how Plato’s fundamental concern with the agency of persons “intrudes” upon the metaphor in various ways. A. G. Long’s and Kathryn Morgan’s complementary essays, each one dealing with Plato’s Ship of...

Rhetorical Technique in the Young Adult Verse Novel

Rhetorical Technique in the Young Adult Verse Novel Mike Cadden (bio) The verse novel for young adult readers is the most striking development in literature for young people in the young twenty-first century. Hundreds of titles have been published since the late 1990s. What makes it important is that it is a form which has found a niche in the Young Adult (YA) market, and so while the YA novel has understandably become set in its own conventions over the last few decades, the verse novel is, in contrast, still an experiment. The form makes visible the process of rhetorical balance between estrangement and invitation, which is an important consideration in literature for the young. Rather than judging a verse novel on individual poems or even as a collection of poems, we should judge the volume's success in its balance in providing aesthetic challenge and communicating story.1 Is it Poetry? Patty Campbell asks this question of the verse novel: "But is it poetry?" (61). Answering her own question, she alludes to a "Dictionary definition of 'poetry'" which includes "condensed language, natural cadences, and metaphors" (613)—qualities any good prose writer hopes to achieve as well, surely. Campbell compliments Karen Hesse's Out of the Dust as "vivid," which is an aspiration of all good novelists regardless of whether we consider the diary entries to be poems. Some verse novels are more poetic than others, as some novels in general are. But I think for us to concentrate only on individual entries and their poetic qualities may mean missing the forest for the trees. I'd like to suggest that while we can appreciate verse novels that are comprised all or in part of some fine poems, we can also acknowledge the poetic quality of others ("condensed language, natural cadences, and metaphors"), and then also concede that [End Page 129] other verse novels are simply less poetry than they are good novels that guide the reader by manipulating language into rhetorically effective forms. Poets may be attracted to the form for different reasons than fiction and nonfiction writers, but regardless of from which direction the writer comes, she sees in the form opportunities to combine poetic convention with story, and the form rewards the writer who wants to create a distinctive voice above all things (Alexander 282). Karen Coats argues that children's poetry criticism generally has suffered from its being read with the same critical lenses used to read poetry for adults, and so we have the compounded problem of judging verse novels on the quality of individual poems using standards possibly ill-fitted to judge poetry for young people at all. Children's poetry criticism creates "camps that operate out of implicit theoretical positions culled from approaches to adult poetry," and as a result, "children's poetry has no coherent theory of its own" (129). We also don't usually judge the verse novel for failing to be enough like novels or like drama, two other genres clearly at work in the verse novel, though it has as much in common with those genres as it does poetry. The graphic novel presents us with a similar circumstance: it might be accused of not being novel enough, or comic enough—too much of either or not enough of both. I would rather not go down the rabbit hole that critics often do regarding whether something is or isn't children's or YA literature. The binaries of poetry-or-not as well as for-children-or-not are typically more useful for fireworks than shedding actual light. Rather than answering the question, "is it poetry?" I'd like to consider how the verse novel strikes a balance between techniques that provide access and techniques that encourage alienation, and certainly poetic form is part of this balance. Although the contemporary verse novel has its roots in the epic and the verse novels of earlier centuries, as Donelle Ruwe explains in her work, the twenty-first century version of the verse novel has been embraced enthusiastically by writers of young adult literature. Vikki Van Sickle observes that "familiar methods of categorization and analysis are failing the verse novel." We...

Contemporary human manners as reflected in East African Poetry: A tri- model characters in Okot p’ Bitek’s Song of Lawino

“It is only with the heart that one can see rightly; what is essential is invisible to the eye, (Antoine de Saint-Exupery, The Little Prince). This study consists of literary criticism in Eat African poetry with particular interest in Okot p'Bitek's Song of Lawino under feminist approach. The study has explored the theme of oppression, women right violation specifically because of human nature of weaknesses coupled with wickedness geared by ignorance for self- destruction in favour of the outsider, modernity being at the heart of the problem. It has been found that Lawino's husband, Ocol, over-civilised until he now rejected his tradition. Clementine won totally Ocol to the detriment of Lawino, a traditional woman, whose accusations to the clansmen is revealing the role of the clan in the settlement of the house conflict in African tradition. The study showed how human society is paved with temptations and traps coupled with attractions that may lead to family destruction by the outsiders depicted in the image of Clementine as a modern beautiful wife. Since Feminist theory posits that women should be free from men- the oppressors, that women can become what they want if given their right, this paper ranges among the foundation laid for human rights respect for the sake of the oppressed among different societies.

ن۔م۔راشد کی اداریہ نویسی کا تحقیقی جائزہ

The editorials are of utmost importance in the prose works of N.M Rashid. His editorials were published in the intellectual and literary magazines like Ravi, Nakhlistan and Shahkaar respectively. He wrote on the different types of trends of his contemporary literature. He created guidelines for new intellectuals and poets for the betterment of the Urdu literature. He laid stress on literary criticism and genres of poetry. With a comparative study of classical intellectuals, he tried to assert their literary status. He prefers to Ghalib and Daagh over Zauq. He has denounced the poetry of Ibrahim Zauq. The reader can have a difference of opinion if he likes. We not only get an insight of his views on important issues through his editorials but these editorials are also the representatives of his literary style. After reading these editorials we come to the conclusion that Rashid is not only a prolific poet and also an excellent prose-writer too.

An Introduction to Arab Poetics

An Introduction to Arab Poetics

Metatation

In the domain of literary criticism, many critics practice close reading , annotating by hand while performing a detailed analysis of a single text. Often this process employs the use of external resources to aid analysis. In this article, we present a study and subsequent tool design focused on leveraging a critic’s annotations as implicit interactions for initiating context-specific computational support that automatically searches external resources. We observed 14 poetry critics performing a close reading, revealing a set of cognitive practices supported through free-form annotation that have not previously been discussed in this context. We used guidelines derived from our study to design a tool, Metatation, which uses a pen-and-paper system with a peripheral display to utilize reader annotations as underspecified interactions to augment close reading. By turning paper-based annotations into implicit queries, Metatation provides relevant supplemental information in a just-in-time manner and acts as a bridge between close and distant reading.

Globalisering, modernisme en postmodernisme: In stede van die liefde (2005) van Etienne van Heerden

In the 1990s postmodernism as a literary phenomenon led to the development of a lively literary discourse in Afrikaans. However, in contemporary narrative criticism postmodernism rarely features as a theoretical framework for studies of new Afrikaans writing. In poetry criticism postmodernism still enjoys some currency, whereas some critics hold the position that there should be stronger acknowledgement of modernist elements in the development of Afrikaans poetry. In an effort to grasp the manifestation of postmodernism in contemporary Afrikaans prose, this article focuses on globalisation and modernism as two unique challenges to thinking about postmodernism that prevail in Etienne van Heerden’s novel In stede van die liefde (In Cities of Love, 2005). The article identifies three problems in theoretical reflections about postmodernism, namely a too narrowly conceived view of postmodernism, a lack of recognition of the continuities between modernism and postmodernism, and the resulting neglect of modernism. Furthermore, the article offers a critical interrogation of globalisation in its guise as a new master narrative in the light of recent developments in the postmodern era. Through a reading of Van Heerden’s novel, the interrogation focuses on the motifs of slippage and substitution in In stede van die liefde. The representation of space in the novel includes both the urban and the rural and points to ‘glocalisation’, a term that refers to the interconnection between the local and the global. The author proposes that globalisation in the guise of a diffuse and multidimensional master narrative, produces a yearning for older master narratives leading to the reaffirmed presence of modernist elements in a manifestly postmodernist novel such as In stede van die liefde. The challenge is to acknowledge modernist elements in contemporary literature using a theoretical approach that exhaustively accounts for the link between postmodernism and globalisation – new manifestations of modernism can no longer be examined with outdated theories about modernist literature.

Chinese Poetry in Review 2016

In this comprehensive review of the Chinese poetry scene in 2016, the editors have assembled a prodigious amount of information that, in aggregate, points to China as one of the most fascinating, dynamic poetry scenes in world literature today. The editors begin with a survey of the year’s poetry activities across China, including notes on major conferences, poetry readings, international festivals, and travels, and other large-scale public poetry activities. The report offers a detailed summary of the work prepared from these field engagements and comments on its significance. It also documents the major changes ushered in by the large-scale shift to the digital publication and consumption of poetry, and reveals a sociological connection between poetry and vulnerable communities, such as migrant workers. The article goes on to survey the year’s publications of important poetry criticism, highlighting particular volumes and laying out key arguments in detail. The last two sections offer an extensive survey of major publications of poetry and an assessment of the condition of poetry in translation, which includes scholarly works published abroad. The article concludes with a short discussion of the poetry publishing industry as a whole.

Write Another Poem about Marigold: Meaningful Writing as a Process of Change.

In this article, I consider a process approach toward the goal of meaningful writing which may aid in positive personal change. From outlining recent criticism of contemporary poetry, to arguing against the tradition and practice of craft in the writing of poetry, I move to propose a means of writing centered on a method of inquiry, which involves the elements of self-involvement, curiosity, risk to think in a new way, and development of the new possibility through extensive thought.

Ghostly Figures: Memory and Belatedness in Postwar American Poetry by Ann Keniston

Ghostly Figures: Memory and Belatedness in Postwar American Poetry, by Ann Keniston. Iowa City: University of Iowa Press, 2015. 228 pages. In Ghostly Figures: Memory and Belatedness in Postwar American Poetry, Ann Keniston reopens two topics that are central to thinking about poetry but that each present a number of potential snares for the scholar who aims to train a critical eye upon them: temporality and figuration. Both topics are seemingly ubiquitous; they are not only the subjects of myriad books and articles written over the past several decades, but they are also topics that have occupied poets incessantly. In a number of respects, these two issues are at the very heart of the poetic enterprise, and so taking them on is akin to taking on nearly everything that might matter about poetry. Many of the most important statements about and theories of poetry over the past several hundred years emerge out of a consideration of one or the other of these issues, whether Wordsworth's theory of the affective temporality of poetic composition spontaneous overflow of powerful feelings that is, some time later, composed as a poem, recollected in tranquility [Gill 1984, 611]) or Eliot's notion of the proper mechanism for figuring emotion in poetry (the objective correlative [1953, 107]). For the most part, Keniston's interests in the temporalities and figures of poetry aren't directly focused on the act of composition, and her goal in Ghostly Figures is not to wrestle once again with Wordsworth or Eliot (although each comes to the surface at several points). However, her framing of these central issues introduces another set of formidable critical precursors. Near the start of her introduction, Keniston provides an important gloss on her central motif: often impacted tropes and figures in postwar poems reveal their inextricability from the difficulties of (5). So, on the one hand, Keniston means to intervene in a topic over which a small cache of essays by Paul de Man still holds remarkable sway. And, on the other hand, she aims to revive a term--belatedness--that is still bound to Harold Bloom's theory of literary influence. Keniston's argument isn't dedicated to overturning these powerful theories emerging from New Haven in the 1970s, and de Man's influence in particular is evident throughout the volume. Rather, Keniston aims to reroute her central themes--figuration, lyric address, belatedness--around these influential deconstructionist accounts of them, in order to make them newly relevant and vibrant within contemporary poetry criticism. This is part of the great value of Keniston's volume: under the broad rubric of belatedness, she provides an account of postwar American poetry that manages to reenergize and complicate a series of fundamental concepts. By examining the ways in which a handful of American poets from the past sixty years have figured and have experimented with and within the temporalities of poetic form and lyric address, Keniston's volume intercedes in current debates about lyric theory in the area in which the so-called New Lyric Studies is least well developed: the relationship between theories of lyric and contemporary poetry that, in whatever way, might be said to partake of some of the energies of lyric writing. The central figures associated with New Lyric Studies--Virginia Jackson, Yopie Prins, and, in a different way, Jonathan Culler--aren't prominent figures in Keniston's volume, but it is helpful to understand her work within this larger field. More particularly, Ghostly Figures shows, implicitly if not directly, a path that might--that should--be taken by those critics interested in lyric theory and historical poetics. That is to say, her volume might help New Lyric Studies turn more productively toward the consideration of new poetry. In Keniston's account, belatedness is a multivalent term. In its more literal sense, it refers to the complex lag endemic to memory, to a broader structure of feeling (what we might call the feeling of post-), to the difficulties of representing the past and especially historical trauma, and in a more literary-critical sense to the ways that writers relate to their precursors (in a quasi-Bloomian way). …