Emotion In Poetry Research Articles

SORROW AND REMORSE IN ANNE SEXTON’S POETRY

Readers and critics alike responded to Anne Sexton's confessional poetry in conflict during the 1950s and 60s. Because of the authentic way in which her poems delve into emotions, some critics had a positive opinion of her poetry. However, some critics contended that Sexton's writing was tainted by her emotions rather than being poetry in the traditional sense. The nature of emotion in poetry and its importance are assessed by the critics in each scenario. Emotions, in fact, secure the sense and meaning of the poetry in a sense-making manner. This essay argues that Sexton's use of emotion to convey her feelings about particular events is evident in her poetry. Through an analysis of her poetry, one can discern the ways in which her individual emotions shaped the overall structure of the poem as well as the shaping spirit and cognitive dimension of emotion. This essay examines the feelings of regret and grief found in Anne Sexton's poetry and shows how these feelings explain the things that happened in her life and give her poems meaning and logic. It makes the case that the emotion found in Sexton's poetry is based on assessments and judgments the woman has made about things that have happened in her life. Sexton considered these events and her feelings about them with awareness and intelligence.<p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/soc/0661/a.php" alt="Hit counter" /></p>

Emotions in the Mental and Linguistic Space of Lyric Poems

The article is based on a report given in course of the round table meeting 'Language as an art', dedicated to the 90th anniversary since the birth of the outstanding linguist L.A. Novikov, whose reknown works on the issues of linguistic meaning and the aesthetic aspects of language have attracted wide critical acclaim and become a valuable part of philology as a science. The choice of the topic is methodologically adjusted to L.A. Novikov’s conception of verbal arts, which is succinctly represented in the term 'poetheme'. Emotives (vocabulary that names, expresses and describes emotions) can be categorised as poethemes, since the verbalisation process of emotions in poetry is related to their aesthetic transformation. The description of emotions in the article is conducted in multiple directions, each of which is significant in order to understand the specifics of the verbalisation of emotions in poems. The author relates the new aspect of viewing the poetic semantics of emotives to the influence of the grammatical meaning of the verb mood on the illocutionary function of verbalised emotions that take part in the declaration of intent. Besides, the imperative mood and the infinitive accentuate the extravert semantics (emotions for others and for oneself), the subjunctive mood being introvert (emotions for oneself). Additional information regarding the contextual features of emotions could be acquired through the emphasis on the indefinite, demonstrative, negative and possessive pronouns, which accompany emotives. The article demonstrates that metaphorical rows of emotions organise the personal mental image of the poet’s world. Basic poetic emotions, established due to the fact of attractiveness (mutual attraction, approach), are related to Russian mentality as a whole. The range of problems dealt with in the article is significant to filling the forming term 'emotional picture of the world’ with content.

"Menelusuri Pergolakan Emosional pada Puisi “Tentang Mahasiswa yang Mati, 1996”

The poem "About Students Who Died in 1996" was included in Sapardi Djoko Damono's poetry anthology Ayat-Ayat Api. The anthology illustrates the atmosphere of the new order environment in Indonesia so that the poems contained therein carry an emotional message in the struggle for democracy. This research will focus on tracing the creation of emotional turmoil created in the poems. Thus, the purpose of this research is to (1) present a review of the development of empathetic emotions in poetry to create an aesthetic understanding, and (2) present a review of the relevance of poetry to its visualization (image 1). As the basis of analysis, the method used is descriptive qualitative method, with critical discourse analysis technique supported by empathy theory by Titchener and cognitive & affective empathy theory by Hoffman. The theory of empathy is used to determine the construction of cognitive empathy knowledge narratives that later lead to affective empathy and finally lead to intact knowledge about the aesthetics of the poems and images analyzed. The theory attempts to answer the mobilization and development of cognitive and affective empathy for the poem based on the events of Kudatuli 1996. The reader is also directed to know about the event in order to bring out the aesthetic understanding. With the visualization of images taken in the 20s, this research tries to construct the emotion of the poem's content.

Imagery in Poetry: An Assessment of Poems in Compulsory English Course of Class Eleven in Nepal

This study aims to analyze poetic imagery applied in the poems prescribed in compulsory English course of class eleven in Nepal. Feeling and emotions in poetry are mostly expressed through imagery. Based on primary and secondary data, this paper first critically generalizes definition of imagery and its types and makes discussions on all prescribed poems. It is found that most common images in the poems are visual, auditory, tactile and kinesthetic. Olfactory and gustatory images are less realized in the poems. Most dominant imagery in all poems is visual. Most of the poet have used this imagery to condition things in a context and to communicate desired message effectively. The analysis asserts that understanding imagery and its types would certainly help students perceive ideas in poems and analyze them critically.

Emotional Analysis of G. M. Hopkins’ Spring and Fall

This article critically focuses on the emotions created in the poetry of Gerard Manley Hopkins. It explores the various features responsible for creating feelings in poetry. Among them are word choice, sound choice and imagery. Moreover, it delves into the poem to anayse how devices such as alliteration, simile, metaphor, diction, and symbolism play a vital role. Appropriate implementation of these features create strong emotions in poetry. In most of his poems, Hopkins employed coinage words. In “Spring and Fall”, he doubly used coinage words in a single – line. In the second line of the poem, he coined ‘Goldengroove’ and ‘unleaving’ and in the eighth line ‘wanwood’ and ‘leafmeal’. The word ‘Goldengroove’ is not used for a place in reality yet, and it is a place that represents autumn’s beauty. ‘Golden groove also refers to the ‘Garden of Paradise’. It indicates the four seasons of the year and the chronological phases of human life too. The words ‘golden’ and ‘groove’ are combined to form a single word. The word ‘unleaving’ encapsulates the noun ‘leaf’ employed as a verb possessing a negative prefix ‘un’, which means ‘leaving leaves’. The coinage word ‘unleaving ' is an Anglo-Saxon and comes in the category of pun. Another word, 'wanwood', is also a compound word. ‘Wanwood’ explains the pale condition of trees that have shed their leaves, so they seem to become ‘wan’ or pale. Initially, the word ‘leafmeal’ appears to be ambiguous, yet this ambiguity is expelled immediately.’Leafmeal’ refers to the phrase ‘leaf by leaf’. The two words ‘wanwood’ and ‘leafmeal’ are originated from Anglo- Saxon ring. Hopkins entitled the poem” Spring and Fall”, which itself enhances strong emotion. The rhyme scheme's alteration in this innovative poem, “Spring and Fall”, exhibits the speaker's feelings.

Using weighted directed graphs for identification of flow of emotions in poems

Poem is a spontaneous flow of emotions. There are several emotion detection systems to identify emotions from speech, gestures, and text (blogs, newspapers, stories and medical reports). Since such systems do not exist for poetry, we take the first step in building a system to recognize emotions in poetry by constructing a benchmark corpus, the PERC (Poem Emotion Recognition Corpus), of poems written by Indian poets in English. In this research a novel graphical method, Poem Emotion Trajectory System (PETS), is proposed to depict the flow of emotion in a poem. PETS is based on the construction of a weighted directed graph as a means to represent the emotion flow among the verses of a given poem. The weights represent the transition probability among the emotion states considered. The significant advantage is that a dominant path for each emotion category is identified. Emotion flow along verses is analyzed using a graph-based approach. This method, applied to each emotion category, generalizes the emotion flow in each emotion class. This PETS can be applied in poetry therapy and to enhance creative thinking and writing.

Licentious Fictions: Ninjō and the Nineteenth-Century Japanese Novel by Daniel Poch

Reviewed by: Licentious Fictions: Ninjō and the Nineteenth-Century Japanese Novel by Daniel Poch Brian Dowdle POCH, DANIEL Licentious Fictions: Ninjō and the Nineteenth-Century Japanese Novel. New York: Columbia University Press, 2019. 304 pp. $65.00 hardcover; $64.99 e-book. Daniel Poch’s significant Licentious Fictions is a wide-ranging critical history of ninjō: “human emotions.” Although ninjō includes a range of feelings, Poch focuses on it as code for “amorous emotion or love, often including sexual desire” (12). Due to its erotic connotations, ninjō was often seen by Japanese readers as problematic or “licentious.” This work follows recent scholarship on the long nineteenth century in Japan. Poch makes a meaningful contribution to suture this period into “a coherent literary and discursive space held together by an intensified critical and narrative awareness of emotion” (4). Since this work covers many of the same texts and issues, it can be seen as a companion to Jonathan Zwicker’s Practices of the Sentimental Imagination: Melodrama, the Novel, and the Social Imaginary in Nineteenth Century Japan (Harvard East Asian Monographs, 2006). Although Poch is constructing a nineteenth-century genealogy of the novel through the discourse of ninjō, he intentionally chooses to exclude authors from the 1850s to 1870s, writing, “it is legitimate to discard, at least for the purpose of this discussion, the many minor gesaku works and authors that proliferated, from the bakumatsu period well into Meiji times” (9–10). This removal of an entire generation who helped shape the term ninjō and wrote the very types of fiction he seeks to analyze creates a noticeable lacuna in the work. Poch’s genealogy of history actually stretches beyond the nineteenth century and provides a rich historical background, as can be seen in the two chapters of Part I, “Ninjō and the Early-Modern Novel.” The first, “From Ninjō to the Ninjōbon,” connects the mid-nineteenth-century genre of the ninjōbon to its Japanese and Chinese antecedent discourses on emotion in poetry and fiction. Poch defines the ninjōbon as “books of human emotion” that focus on “male-female love” (2). This focus differs from Jonathan Zwicker’s or Peter F. Kornicki’s view of the genre as sentimental [End Page 362] books, which were designed to bring the reader to tears. Weaving together numerous interpretive threads, Poch convincingly shows how, by the 1800s, works focusing on ninjō were “unstable” in their social position and reveals how such works were stuck between historical “legitimizing discourses that highlight their morality and didactic value” and “discursive devaluation [of the genre] as licentious” (58). Hence, Poch sees in the author Tamenaga Shunsui’s (1790–1843) writing the representation of “titillating licentiousness” as well as under-appreciated “moral-didactic ambitions” (58). Despite this ambiguity, by the 1880s, Poch argues the ninjōbon was taken as “a lowbrow narrative medium focusing on ninjō and therefore potentially dangerous” (58). Chapter Two, “Questioning the Idealist Novel,” turns to yomihon, an early-nineteenth century genre of historical fiction, which was seen as “inherently moral” with “a serious or idealist mission” (61). Poch, however, challenges this one-dimensional view of it as an “idealist novel,” identifying a similar nuanced ambiguity as found in the ninjōbon. He provides a compelling close reading of the yomihon’s representative author, Kyokutei Bakin (1767–1848), and his magnum opus, Nansō satomi hakkenden (1814–1842), demonstrating how Bakin’s depiction of ninjō complicates this idealism. Both Bakin and Hakkenden are noted for their kanzen chōaku (promotion of good and chastisement of evil) as “both a plot paradigm” and the “novel’s moral ideology—a strict dichotomy of good and evil” (60). Poch’s contention is that “Bakin’s writing of ninjō blurs this seemingly unshakable dichotomy” (62). Poch reconsiders Bakin’s legacy by highlighting how his novels also “displayed a strong interest in ninjō” and he astutely asserts, “Bakin’s yomihon, in their writing of chaste romance, almost served as the ninjōbon for educated men” (65). This ultimately counters idealist readings of Bakin and the yomihon, because “Bakin did not reduce emotion and desire to the stabilizing moral poles of either virtue or vice; they belonged to the gray zones...

Prosody-Based Sound-Emotion Associations in Poetry.

Conveying emotions in spoken poetry may be based on a poem's semantic content and/or on emotional prosody, i.e., on acoustic features above single speech sounds. However, hypotheses of more direct sound–emotion relations in poetry, such as those based on the frequency of occurrence of certain phonemes, have not withstood empirical (re)testing. Therefore, we investigated sound–emotion associations based on prosodic features as a potential alternative route for the, at least partially, non-semantic expression and perception of emotions in poetry. We first conducted a pre-study designed to validate relevant parameters of joy- and sadness-supporting prosody in the recitation, i.e. acoustic production, of poetry. The parameters obtained thereof guided the experimental modification of recordings of German joyful and sad poems such that for each poem, three prosodic variants were constructed: one with a joy-supporting prosody, one with a sadness-supporting prosody, and a neutral variant. In the subsequent experiment, native German speakers and participants with no command of German rated the joyfulness and sadness of these three variants. This design allowed us to investigate the role of emotional prosody, operationalized in terms of sound-emotion parameters, both in combination with and dissociated from semantic access to the emotional content of the poems. The findings from our pre-study showed that the emotional content of poems (based on pre-classifications into joyful and sad) indeed predicted the prosodic features pitch and articulation rate. The subsequent perception experiment revealed that cues provided by joyful and sad prosody specifically affect non-German-speaking listeners' emotion ratings of the poems. Thus, the present investigation lends support to the hypothesis of prosody-based iconic relations between perceived emotion and sound qualia. At the same time, our findings also highlight that semantic access substantially decreases the role of cross-language sound–emotion associations and indicate that non-German-speaking participants may also use phonetic and prosodic cues other than the ones that were targeted and manipulated here.

Metre, rhythm and emotion in poetry. A cognitive approach

This essay integrates what I have written on the contribution of meter and rhythm to emotional qualities in poetry, opposing them to emotional contents. I distinguish between “meaning-oriented” approaches and “perceived effects” approaches, adopting the latter; and adopt a qualitative (rather than quantitative) method of research. Providing a simplified list of structural elements of emotion, I explore structural resemblances between rhythmic patterns and emotions. I investigate such issues as convergent and divergent poetic styles, convergent and divergent delivery styles, hypnotic poetry, the contribution of meter and rhythm to a “dignified quality”; and the rhythmic performance and emotional effect of stress maxima in weak positions. Finally, I locate my work between impressionist criticism on the one hand, and meaning-oriented criticism on the other.

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). …

Theory of Non-Emotion in theZhuangziand its Connection to Wei-Jin Poetry

Zhuangzi purports to follow a particular method of viewing human emotion and suggests freeing oneself from worldly emotions—this is called “doctrine of non-emotion” (wuqing shuo 無情說). This article attempts to show that the idea of non-emotion in Zhuangzi does not in any way conflict with the expression of emotion in poetry, and moreover, it provides a foundation for the poet to express his emotions naturally and freely. We will use the Chinese poetry of the Wei-Jin Period—a period that is strongly influenced by the philosophy of Zhuangzi, yet at the same time emphasizes the expression of the poet's emotion in poetry—as an example to show how fruitful it indeed is when Zhuangzi's philosophy becomes applied to Chinese poetry.

Theory of Non-Emotion in the Zhuangzi and its Connection to Wei-Jin Poetry

Zhuangzi purports to follow a particular method of viewing human emotion and suggests freeing oneself from worldly emotions—this is called “doctrine of non-emotion” (wuqing shuo ). This article attempts to show that the idea of non-emotion in Zhuangzi does not in any way conflict with the expression of emotion in poetry, and moreover, it provides a foundation for the poet to express his emotions naturally and freely. We will use the Chinese poetry of the Wei-Jin Period—a period that is strongly influenced by the philosophy of Zhuangzi, yet at the same time emphasizes the expression of the poet’s emotion in poetry—as an example to show how fruitful it indeed is when Zhuangzi’s philosophy becomes applied to Chinese poetry.

To those who feel rather than to those who think: Sound and emotion in Poes poetry

In his critical writings, Edgar Allan Poe stressed the importance of the impressionistic use of sound and emotion in poetry. This research quantifies Poe’s use of emotionally communicative sounds and demonstrates that he wrote in accordance with his expressed principles praising the use of pleasant and sad emotions in poetry and decrying the use of active ones. Poe’s poems were submitted to a phonoemotional analysis and proportions for the usage of sounds in eight emotional categories were obtained. Frequently anthologized English poems, some of Poe’s non-poetic writings, and poems of two other 19th century American poets were compared to Poe’s poetry. As predicted, Poe used several classes of emotionally-toned sounds at significantly higher than normal rates (Pleasant, Sad, Soft, Passive, and Cheerful ones), and several at significantly lower than normal rates (Unpleasant, Active, and Nasty ones). His poetry was significantly more extreme in the employment of his preferred emotional sounds than his other writings, and than other poetry, especially with respect to the use of Pleasant, Sad, and Soft sounds. Key words: Poe, poetry, sound, emotion.

P Is for Happiness, N Is for Sadness: Universals in Sound Iconicity to Detect Emotions in Poetry

This article demonstrates the potential of sound iconicity for automatic text analysis. This study claims that—at least in poetic language—the ratio of plosive versus nasal sounds in a text predicts its emotional tone as it is perceived by readers; that is, poems that have a relatively high frequency of plosive sounds are more likely to express a pleasant mood with high activation, whereas a relatively high frequency of nasal sounds indicates an unpleasant mood with low activation. Moreover, these findings are universal (i.e., they are independent of specific languages or language families). This article presents the results of an intercultural study testing the previous hypothesis.

The multisensory image and emotion in poetry.

The multisensory image and emotion in poetry.

Evergreens of Reason: The Function and Treatment of Nature in the Qasīdehs of Nāser-E Khosrow

This article argues that imagery of the natural world is Nāser-e Khosrow’s “technical language” for writing poetry. Nature’s function is to give him a poetic means with which to express all the major concerns of his other work with the intensity of emotion in poetry. Indeed, its use in Naser’s Qasīdehs (odes) is threefold: first, nature permits Nāser both to manipulate and to uphold the structural and contextual requirements of the qasīdeh form. Second, nature is the basis for the Nāser’s allegories for instruction in his philosophy and “the true faith.” Finally, it is through nature that Nāser sets out his biography and achieves his personal, sentimental objective in composing poetry. Nature pervades the reflexive recognition in Naser’s poetry, as he struggles to unify in verse the pains of exile, his highly individuated code of beliefs, and a language that is both uniquely Iranian and uniquely his own. He demonstrates that the existence and the function of the soul, of his soul, are explicable and reflected through the paradigms and processes of the natural world.

Emotion in poetry: The oral interpreter's special responsibility

(1955). Emotion in poetry: The oral interpreter's special responsibility. The Southern Speech Journal: Vol. 21, No. 1, pp. 31-38.

Interpreting emotion in poetry

Interpreting emotion in poetry