Lyric Poetry Research Articles

A Stylistic Analysis into the Art of Deviation as Stylistic Features of Dickinson’s Poem “I Heard a Fly Buzz -When I Died”

Emily Dickinson is one of the most outstanding and influential American poets of the 19th century. Her poem “I Heard a Fly Buzz -When I Died” is told from a perspective of narrator who is near her death. As a typical modernist poet, Dickinson’s poems have prominent modernist characteristics. Her poetry language deviates from the norm, not limited to the language norms, forming a unique foregrounding effect from different levels such as phonetic level (the repetition of diphthong, flow, nasal, and iambic tetrameter and iambic trimeter), graphological level (the frequent use of capital words and dashes), rhetorical level (enjambment, contrast, synesthesia, oxymoron), semantic level (lexical meaning transference) and grammatical level (juxtaposition and ellipsis). Exploring the stylistic characteristics of Dickinson’s poetry based on the theory of deviation from the functional stylistics is helpful to excavating the implicated theme meaning and unique aesthetic value of Dickinson’s poetry.

Художественная специфика лирики казачьего поэта Н. А. Келина

The paper aims to determine the artistic distinctness of the lyric poetry of the little-studied Cossack poet of the Russian émigré community N. A. Kelin. The paper identifies the main themes, images and motifs of his poems. Attention is paid to the structural and rhythmic features of his works (a tail-rhyme stanza, musicality), to the use of folklore techniques by the poet. The scientific novelty of the research consists in revealing the song-like nature of Kelin’s poems, in noting the close connection of the persona with national spiritual values. The research findings showed that the system of images and motifs of Kelin’s lyric poetry is based on folklore traditions. In terms of genre, the author’s poems are close to folk songs; parallelism, lexical repetitions, addresses, diminutive suffixes, dialectisms are often present in his works. In Kelin’s creative work, there are often features of animistic thinking, as well as the veneration of ancestral ties, the masculine principle, which was embodied in the idealised image of his grandfather. The poet employs the image of Russia, the main Cossack images: the horse, the wind, the steppe, the Don, often uses the opposition “familiar – foreign”. The motif of the “Grandfather Don” is the leading one in Kelin’s creative work and forms the image of the homeland in his artistic consciousness.

James Reshoulde and Elizabethan Scribal Culture

Abstract: Bodleian Library, MS Rawl. poet. 85 (Ra), and Marsh's Library, Dublin, MS Z 3.5.21 (Ma), are two of the most important anthologies of Elizabethan lyric poetry. We have long known that Ra was compiled at St. John's College, Cambridge, apparently by John Finet. He credits his fellow Johnian, James Reshoulde, with two poems in Ra, one of which is answered by a poem in Ma. Reshoulde is not named in Ma, but the discovery of his handwriting in this miscellany confirms that it, too, was compiled at St. John's and drew upon a common store of in-house and external writings, including poems written by courtiers at the apogee of Elizabethan society. The relationships among these elite texts shed important new light on how lyric poetry circulated in the age's scribal culture and how these practices exerted a democratizing influence on what is generally considered a culture of exclusive coteries.

Wordsworth's Causal Poetics of Thought

Abstract: Utility, bugbear of poetics and aesthetics since at least the time of the Romantics, appears as a fraught but constitutive question in modern literature's self-understanding. This essay considers a defining engagement with the question of the useful at a formative moment of modern poetics, arguing that reflection on means-ends relations shapes a form of thought in Wordsworth's lyric poetry. The anti-utilitarian impetus of "The Old Cumberland Beggar" intimates a causal poetics of thought that goes on to stamp the seminal "Lines Composed a Few Miles Above Tintern Abbey" and define the project of The Prelude .

Ethics, Sublimity and Hospitality

Abstract This article presents a study of ‘The Rime of the Ancient Mariner’ by Coleridge and ‘Resolution and Independence’ by Wordsworth. The readings are mainly addressed by the philosophy of Emmanuel Levinas and try to present a conception of sublimity which mainly revolves around ethical awareness and sensibility so as to gauge the extent to which they can possibly hint at ethical issues at stake. We propose that these poetic works deal with the other and the sublimity of the encounter between the self and the other. Each of these works offers similar images of the self before the encounter – that of dwelling, self-preoccupation and enjoyment – but the speakers come out of the encounter differently: in ‘The Rime’, the Mariner roams throughout the country and recounts his experience for other ‘others’ in the hope of spreading what he now can probably identify as ‘the Good’; in ‘Resolution and Independence’, the speaker simply comes out of the unsettling and sublime encounter with the leech-gatherer enlightened and mindful of the other. The conclusion is that one significant part of the idea of the sublime in Romanticism deals with irreducible alterities – cosmic/ontic as well as (more importantly) human – and while they ineluctably reduce them to the language of poetry, each treatment can be evaluated by analysing how well they express the ruptures and interstices of alterity within a language which can go beyond language.

明末淸初 香奩詩의 예술사회학적 분석

During the late Ming Dynasty and the early Qing Dynasty, Poetry of trousseau formed positive perceptions and values of human individuality and desires, and became a literary genre that was widely enjoyed by female writers as well as the literary class regardless of origin and status. At that time, writers recognized Poetry of trousseau as a genre of independent lyric poetry by honestly expressing their experiences in poetry without being bound by traditional values in expressing individual emotions. In particular, writers were active in the popularization of Poetry of trousseau, such as creation, creation, engraving, and distribution, using their reputation and human network, so they responded to the trends and trends of the times and naturally jumped on the sensibility and social trend. Because it was created based on sensuous materials, the readership was very thick, and in particular, it became a major means of cultivation and creation of writers, which served as a major opportunity for Poetry of trousseau to have a status as a lyric poetry that sincerely expresses individual emotions. In addition, in the era of destruction called the late Ming Dynasty and the early Qing Dynasty, Poetry of trousseau also contains the genre characteristics as a satirical poem that reveals the dissatisfaction that writers kept in their hearts.

모테트 태동에 영향을 준 Philip the Chancellor의 재조명

Philip the Chancellor(c.1160-70 - 1236), who has been recorded in history as an important figure at Notre Dame Cathedral in Paris, has been known as a person who played an important role in the spread of the Latin lyric poetry repertoire in the 13th century. Many of his extant poems were often used as lyrics for the Notre Dame School, who was a famous composer at the time, and his ability to set poetry to music makes it clear why his work was favoured by composers of the time. However, despite his contribution, his work has not been published in complete works or actively studied. This study examines Philip's musical works based on the major music manuscripts of the 13th century, which are the sources of his works, and discusses how his music influenced the genesis of the motet, which emerged as the dominant genre of the 13th century. In doing so, it establishes Philip's place in the history of medieval music alongside Leonin and Pérotin, the leading figures of the Notre Dame school of his day.

Effects of Prior Knowledge and Peer Assessment on the Quality of English as a Foreign Language Poetry Writing

Poetry, being a distinct literary art form, fosters meaningful literacy, but few studies focus on enhancing its writing quality. Using a 2 × 2 between-subject design, this study explored the effects of prior knowledge and peer assessment on the quality of English as a foreign language poetry writing. A total of 81 English majors participated in a 7-week online poetry writing task, generating 567 poems on seven themes. Literary experts evaluated the poems across seven aspects. Results revealed that peer assessment enhanced general writing quality, specifically for participants with high prior knowledge. Prior knowledge negatively influenced personal voice and organization, with the low prior knowledge group showing a stronger focus on personal expressions and the flow of the poem. Peer assessment positively influenced the use of poetry schemes, with the assessed group demonstrating better utilization compared to the non-assessed group. The findings guide teaching poetic knowledge, encourage communication among students, and ultimately improve the quality of L2 poetry writing.

Post-Avant Translation Practices: Language Poetry in Austria & The Low Countries

Post-Avant Translation Practices: Language Poetry in Austria & The Low Countries

Voicing the Terrestrial: Theory of the Lyric and the Pressures of the Anthropocene

Abstract In the present essay, I argue that lyric ecopoetry is particularly suited to alter our worldview in favor of a more ecologically-aware stance. In itself this position has been announced by numerous ecocritics, with some doubts as to its adequacy expressed by Timothy Clark in his Ecocriticism on the Edge. Partly in response to his critique, it is here argued that poems do offer a viable way of altering human modes of thinking not by what or how they evoke but by the way in which they register in the reader’s consciousness. To this effect, I depart from the theories of the lyric advanced in the last two decades by the likes of Jonathan Culler, Derek Attridge and the poet Don Patterson, all of whom argue that lyric poetry differs from any other form of linguistic expression in being itself the event it evokes rather than a representation of an event. This is because by dint of being performed by readers, lyric poems compel one to embrace the voices that comprise them as one’s own, as a result helping one interiorize an experience of ultimate otherness. It is this modus of poetry’s existence that makes it a particularly apt literary form for impelling one to appreciate the complexity of and one’s imbrication in the networks of planetary ecosystems. In this way, as I claim further on, poetry may be conceived of as a vehicle for instilling a form of thinking that Bruno Latour has recently theorized as Terrestrial. For him, the Terrestrial is characterized by what he calls the system of engendering, a way of dwelling in the interrelated systems of the Earth that is reciprocally beneficial for human and non-humans. After an overview of Latour’s idea, which is put forward as a potential political platform, and its relation to the extant theories of environmental humanities that emphasize poetry’s role in conjuring the awareness of the intricacy of natural processes, I suggest that lyric poetry offers not only a means of linguistic expression of the interdependence of all elements in any given ecosystem but also constitutes a language capable of swaying human modes of thinking in favor of the Terrestrial.

Современная женская поэзия Петербурга: творчество Т. С. Царьковой

The aim of the study is to identify the themes, techniques, features and sociocultural significance of T. S. Tsarkova’s poetry. Several determining factors have been established for the analysis of T. S. Tsarkova’s creative work: this is a woman poet, a poet from St. Petersburg, a poet-philologist (not only by training, but also by profession). The paper is novel in that it is the first to introduce into scientific use previously unexplored materials, i.e. T. S. Tsarkova’s poems demonstrating a harmonious combination of the traditions of St. Petersburg poetry and the motifs of female lyric poetry. It was shown that the author’s poetic system is distinguished by a wide range of themes concerning timeless and topical issues, as well as the variation of stylistic registers. As a result, the main themes of T. S. Tsarkova’s poetic works were highlighted and characterised: lyric poetry related to purely women’s themes; philosophical lyrics; poems imbued with St. Petersburg themes; poems that emotionally capture the events of the era contemporary to the poet.

Modernity and Difference: In the Context of India and Indian Literatures

ABSTRACT This article provides an overview of the seminar on India and Indian literature held in summer 2020 as part of the Redesigning Modernities project at Penn State. It summarizes the organization of the seminar, contextualizes its materials and goals, and discusses its principal outcomes. The main question that the seminar’s twenty-six faculty and graduate student participants sought to explore collectively, across multiple humanistic disciplines, was: Why does the modern world look so different in a geo-cultural location such as India or South Asia, as we look at it through the eyes of Indian writers of fiction, prose, poetry, and drama in several languages?

Lyrical Poetry as a Factor in the Formation of Literary Cultures

Lyrical Poetry as a Factor in the Formation of Literary Cultures

The Semantics of the Absurd: On German ‘Hermetic’ Poetry and Political Commitment after 1945

German culture experienced an enormous rupture after 1945. Not only was the country in ruins and an outcast of the international community because of the recent regime and its devastating effects, its entire cultural tradition was under suspicion: had German culture always been steering towards this catastrophe? Was everything within it corrupt? While the frenetic economic activity of the ‘Wirtschaftswunder’ side-stepped a mainstream confrontation with the horrors of the recent past, intellectuals and artists radically interrogated the reasons for the disaster. As always, language and the meaning-making procedures in language prepare the mind to open up and to prepare for action. Language is at the root of action and this insight fuelled reflections on language, for instance by philosophers such as Wittgenstein and Heidegger. But it was particularly in lyric poetry that a lucid and politically aware examination of the recent past took place and an expression of such considerations could be found.
 This paper demonstrates how poets made a unique and highly significant contribution to the development of a new political awareness in Germanlanguage culture. By integrating silence and the absurd (that is, the unheardof and the unspeakable) into literary language, this so-called hermetic poetry did not entail a withdrawal from society but, on the contrary, devoted itself to a particular form of political commitment. This procedure represents a rupture with what Max Horkheimer and Theodor W. Adorno called the ‘culture industry’ (1947), opposing conventional and habituated approaches to art in terms of its production and reception and advocating instead a stringent and critical concept of arresting aesthetic form that was to distinguish the work of art from products of that culture industry. Paul Celan, Ingeborg Bachmann, Ilse Aichinger, Günter Eich and Nelly Sachs are the household names associated with this poetics. While it was never necessarily mainstream, it was arguably the most innovative poetic strand of its time and in the long run a key factor in shaping a modern German culture that could come to terms with its past and overcome authoritarian structures.

‘Thou Breath of Autumn’s Being’: Voicing Masculinity in the Poetry of Late Life

This article argues that lyric poetry is a form suited to contesting dominant ideas about masculinity because of its thematic and formal preoccupations with voice. It argues that voice offers a different way of viewing the social constrictions that accompany male experiences of ageing to the well-known theory of the mask of ageing. Through a study of a long history of Western lyric verse, which includes writers such as William Shakespeare, Percy Bysshe Shelley, Alfred, Lord Tennyson, W. B. Yeats, Robert Frost and Philip Larkin, the article explores the significance of restricted breathing in relation to dominant norms of masculine reticence and the physiological deterioration of the vocal profile in age. It then explores the possibility of counter-voicings of masculinity in poems with intergenerational themes from a group of post-war British poets.

THE CRISIS OF LANGUAGE IN THE POETICS OF MODERNISM

The article deals with the topic of linguistic skepticism in modernistic literature, using works of German, Austrian and Russian literature as examples. The crisis of rationalistic thinking at the turn of the 20th century led to an extensive discussion about the functions and role of language. The reaction to the crisis of faith in the power of language was the search for ways to overcome this crisis - from the demand for voluntary poetic silence to the utopian project of creating a perfect language of poetry. Numerous avantgarde linguistic experiments resulted from the recognition of the inconsistency of former poetic forms. The anarchist rebellion against conventional language and its conscious deformation are paradoxically combined with innovative artistic projects that set the transformation of the world with the help of the revived word as their ultimate goal.

Costache Conachi, the “Founder” of the Amorous Imaginary in Romanian Lyric Poetry

Costache Conachi is regarded as a “founder of spirit” (Eugen Simion), whose influence has left a profound mark on the evolution of erotic imagination in Romanian poetry. The poet distilled and essentialized the anacreontic discursive landmarks of the 18th century, thereby prefiguring the compelling lines that defined the vision of Romanian Romanticism. In his verses, he established the ‘eroticonʹ of the gaze, the ‘erotologyʹ of seduction, and sketched the first metaphysical contours of absolute love. The portrayal of love in Conachiʹs poetry is an artful fusion of hedonistic theory and intensely dramatic experience. Here, love reveals all its facets – from the grotesque and the caricatural to the profoundly tragic. What remains with us from Conachiʹs legacy is a seminal poetic erotology, one that has realigned the amorous discourse of its time to new coordinates of sensitivity and artistic vision.

Благопожелание чаю в современной калмыцкой лирике: фольклорный аспект

Introduction. The article examines the genre of tea well-wishes in contemporary Kalmyk lyric poetry through the prism of folklore tradition. The fact that the theme has been somewhat understudied from the latter perspective makes the work relevant enough. Goals. The article aims to investigate the folklore aspect in Kalmyk poets’ narratives addressing Kalmyk tea. Materials and methods. The paper analyzes related Kalmyk- and Russian-language poems by contemporary Kalmyk poets representing different generations. The study shall examine a number of folklore genres, such as tea well-wishes, proverbs, sayings, and three-part (ternary) poems. The main methods employed are historical-literary, historical-functional, comparative analysis ones, and that of descriptive poetics. Results. In modern Kalmyk lyric poetry, the mentioned genre is represented by a number of poems dealing with ethnic foods. These are texts in Kalmyk and Russian created by poets of different generations — elderly and young ones. In terms of genre, literary tea well-wishes — like the latter’s folklore analogues — largely tend to synthesize different patterns: these often resemble yöräls (well-wishes) and magtals (praises), sometimes — tea well-wishes proper (Kalm. цәәд тәвх йөрәл) and farewell well-wishes (Kalm. хаалhин йөрәл). Conclusions. Tea well-wishes authored by Kalmyk poets describe offerings to ancestors, deities, as well as treats to guests, which reveals the primacy and undeniable significance of tea in rituals, rites, and hospitality. In the folklore tradition, representative texts addressing Kalmyk tea have been created mainly by elderly and middle-aged poets fluent in mother tongue, familiar with oral folklore, customs, rituals, and beliefs of ancestors.

Благопожелание чаю в современной калмыцкой лирике: фольклорный аспект

Introduction. The article examines the genre of tea well-wishes in contemporary Kalmyk lyric poetry through the prism of folklore tradition. The fact that the theme has been somewhat understudied from the latter perspective makes the work relevant enough. Goals. The article aims to investigate the folklore aspect in Kalmyk poets’ narratives addressing Kalmyk tea. Materials and methods. The paper analyzes related Kalmyk- and Russian-language poems by contemporary Kalmyk poets representing different generations. The study shall examine a number of folklore genres, such as tea well-wishes, proverbs, sayings, and three-part (ternary) poems. The main methods employed are historical-literary, historical-functional, comparative analysis ones, and that of descriptive poetics. Results. In modern Kalmyk lyric poetry, the mentioned genre is represented by a number of poems dealing with ethnic foods. These are texts in Kalmyk and Russian created by poets of different generations — elderly and young ones. In terms of genre, literary tea well-wishes — like the latter’s folklore analogues — largely tend to synthesize different patterns: these often resemble yöräls (well-wishes) and magtals (praises), sometimes — tea well-wishes proper (Kalm. цәәд тәвх йөрәл) and farewell well-wishes (Kalm. хаалhин йөрәл). Conclusions. Tea well-wishes authored by Kalmyk poets describe offerings to ancestors, deities, as well as treats to guests, which reveals the primacy and undeniable significance of tea in rituals, rites, and hospitality. In the folklore tradition, representative texts addressing Kalmyk tea have been created mainly by elderly and middle-aged poets fluent in mother tongue, familiar with oral folklore, customs, rituals, and beliefs of ancestors.

Evolution of Entertainment and Indian Literature: From Musical Plays To Hollywood

Evolution is an unending, continuous process marked by gradual changes and improvements that manifest in diverse forms and stages. In today's high-speed world, as we perpetually race and immerse ourselves in the quest for livelihood, the imperative for stress relief and relaxation becomes even more crucial. The entertainment industry has played a pivotal role in helping us realize this potential. Indian literature encompasses classical texts, ancient scriptures, narratives, and poetry in myriad languages across various works. This industry has grown expansively, garnering the interest of both avid listeners and dedicated readers. Enthusiasts range from those captivated by ancient literature to those intrigued by science and fiction. As the industry evolved from its roots in musical plays to the heights of Hollywood, it's vital to recognize that each stage possesses unique features and allure although a shift has been seen and people have become more inclined to Hollywood. And let's not overlook the expressive enactments of musical plays, as they paved the way for the grandeur of Hollywood.