Experience Of Poetry Research Articles

Realism in the Poems of A.S.M. Muniandi

Literature is a life experience. Modern Tamil poetry inspires the thought of writing freely. Tamil poetry is broadly divided into two types: classical (i.e., Marabu Kavithai) and modern (i.e., Puthu Kavithai). Modern poetry has freed itself from the shackles of grammar. It has a wide range of songs. The definitions of poetry are new. He realised that poetry of experience, the poetry of longing, the poetry of longing, the poetry of anger, poetry of hope, the poetry of wisdom, and Tamil poetry will come, and he knows life and sings in Tamil. He has written a wonderful poem saying that God and poetry are one. He has created poetry, understanding that in modern times, there is more falsehood and less truth in man. The poet has established through his poems that realism is the aesthetic of modern times. In the poem, the poet's imagination can realize the promise of the candidate. He emphasises that those who want to make a career in life should first know themselves. Prayer is the highest, but that alone does not make a man live. He says, "Charity is needed and gives importance to actions with humanity." In his new poem, thinking of Buddha, he has created the life of people in Kaliyuga as it is. Through poetry, he criticises the people who live as uncivilised people because of the TV craze. While voicing support for religious harmony and world peace, it highlights the violence happening in the country. The aim of the article is to attempt to express the feelings and the community, which is emphasised in Muniandi's poems. The uniqueness of the poet is that he not only praises the height of love but also sings about the other side of love.

“Sick as a Rose”: William Blake in Leopoldo María Panero’s Poetry of Experience

William Blake’s Songs of Experience found a powerful response in the Spanish author Leopoldo María Panero (1948–​2014). In his work, which is crowded with echoes of the Blakean images of the sick rose and the tiger, he offers a reinterpretation of some of Blake’s most popular motifs.

Hacia la «Poética del límite»; de Las cartas marcadas (1995) a No se trata de un juego (1998), de Eduardo García

En términos generales, el proyecto poético de Eduardo García (São Paulo, 1965-2016) se orienta hacia la superación de los límites de «lo real» a través de la exploración de los «resortes afectivos-irracionales» (2005: 70), desde una concepción totalizadora del ser humano que aspira a la reintegración de sus dos dimensiones psíquicas constituyentes: consciente e inconsciente. En este sentido, la trayectoria del autor cifra en sus primeras entregas la evolución desde una inicial adscripción a la «poesía de la experiencia» hasta la cristalización plena de la «poética del límite», en Horizonte o frontera (2003). En lo que sigue, llevaremos a cabo una aproximación al pensamiento poético del autor, traspasada por toda la serie de referencias que lo acuerpan (Wittgenstein, Gadamer, Jung); para, desde ahí, centrarnos en Las cartas marcadas (1995) y parte de No se trata de un juego (1998) con el fin de rastrear el progresivo avance hacia la «poética del límite» y tratando de comprender desde dentro la evolución y plena coherencia de esta obra.

La revista Ínsula y su recepción del cambio poético entre los años 1966 y 1983

El artículo estudia la recepción que la revista Ínsula dispensa a los cambios poéticos que se dieron en España a partir de los años sesenta, sobre todo en los autores que más tarde serían conocidos como novísimos y en aquellos que, más tarde, se distanciaron de la estética de los primeros. La obra de los novísimos es acogida en las páginas de la revista, pero sin el entusiasmo que, a partir de mediados de los setenta, se evidenciará por la poética de los no novísimos, caracterizada por su continuidad respecto a la poesía de la generación del 50. A esos poetas y a los que inician la publicación de sus libros a partir de mediados de los 70 —poesía de la experiencia, neosurrealismo, poética del silencio—, la revista dedicará un mayor espacio y una valoración más positiva.

Sobre una “poesía que se piensa en el lenguaje”. ¿Hacia una nueva vanguardia en la poesía española?

En la última década puede observarse una renovación de las poéticas en España, tras un largo periodo de hegemonía de la lírica realista o figurativa. Aunque aún lejos de cuestionar el predominio a nivel editorial de la conocida como “poesía de la experiencia”, sí es evidente que el descrédito de la vanguardia va siendo superado y que, en formas múltiples y personales, alejadas de ningún movimiento grupal, muchos de los poetas jóvenes vuelven a poner en cuestión el lenguaje, cuestionamiento que suele relacionarse con un intenso tratamiento de lo corporal. Todo ello relacionado con una mayor lectura de la poesía latinoamericana y de otras tradiciones. En este artículo se pretende acercar al lector a la obra de una serie de poetas, jóvenes en su mayoría, esbozando sus rasgos más diferenciales, que pueden resumirse en esa creencia en una voz oracular del cuerpo, la disolución en una polifonía de voces, y una presencia cada vez mayor de lo político.

The Poetry of Experience and the Cockney Profession of Poetry

When Alfred de Musset's Fantasio first appears in the play that bears his name, he asked his friend, Spark, it ever occurred you that have nothing do--no profession, no pursuit? (10) While the imaginative, poetic--and, well, fantastic--Fantasio briefly pursues a career as a court jester, he closes the play proclaiming that even though jesting jobs go is the one he prefers to any other, really can't hold any (44). Fie leaves the play without a profession and without the woman who at first appears serve as his love interest. While Fantasio might appear as another romantic Flamlet who has something within that passes the show of the conventional roles of career and marriage, the incessant concern in the play with Fantasio's suggests something more mundane: that a modern world of business has no place for poetic souls, that the imagination does not figure into the cash nexus. are many such children of the century. From Schiller's Karl Moor Ibsen's Fledda Gabier, the potentially great or creative or simply different dramatic subject finds no objective roles in the modern world show others that which passes within. While in the drama, this gap between subjective ideals and external constraints produces a kind of modern tragic drama, the novel exploring this trajectory appears as a kind of failed bildungsroman. One thinks of Stendhal's Julien Sorel, who dreams of being another Napoleon, but who must make his way as a tutor and a secretary. One could even think of Dostoevsky's Raskolnikov, imagining himself a superman but having only a petty murder commit. More usefully, one should consider Dickens' Pip, seeking his great expectations, perhaps hoping for a life in a country estate with his dream girl Estella, but ending up in Jaggers' London, secretly bankrolled by a convict and living with Herbert Pocket, who is always looking about for a prospect of making a fortune in spices or tobacco or elephant tusks, and who gives Pip the more imaginative name of Handel as a sign of their desire rise above their current state. As Pip notes of Pocket, There was something wonderfully hopeful about his general air, and something that at the same time whispered me he would never be very successful or rich (190). Of course, Pip also returns from being a dreaming Handel back his identity as the boy who once helped an escaped convict. In the original ending the book, Pip concludes life as a kind of burn-out case, having made his way in the trade in India, where he happily with Herbert and his wife, and lived frugally, and paid my debts (520). He sees Estella one last time only reinforce that their differing dreams of success and of love have come naught. Pip may have learned what constitutes a real gentleman, but, like Fantasio, he finds neither a great career nor a fulfilling love. While I do not want reduce these powerful narratives, which presumably reveal something about the massive social transformations of the 19th century that identified with the rise of the middling ranks, a portrait of the artist as a feckless young man, I do want suggest that they can help one think about the ways in which Keats and other writers around him struggled between making poetry and making money. While, among others, I have repeatedly argued for a sense of company in the Keats circle or the Cockney school as sociability and communal creativity, I now want think of company in the business sense. I want explore the tension between the Cockney School's great poetic expectations and the need of most of its members make a living. The periodical, The Dejeune; or, Companion for the Breakfast Table, insisted in 1820 that we cannot serve God and Mammon; cannot be an author and any thing else (December 12, 1820: 357), hut the Cockneys knew it was not that simple. They may all want be Fantasio, able walk away from any job other than imagining a better life, but they live in the world of Herbert Pocket. …

Our urban interiors: Recovering use value in the prose poems of Luis García Montero's Una forma de resistencia (2012)

Starting from Luis García Montero's own characterization of his work as constituting “una poesía urbana”, this article approaches his recent book Una forma de resistencia (2012) through an urban lens. While previous work that labels his artistic production as the “poetry of experience” is not wholly irrelevant here, it is through theories of the everyday urban experience that we can best appreciate this series of prose poems on everyday objects by a renowned left-leaning author and critic. Thus while García Montero clearly draws inspiration from Baudelaire here, the ideas of Henri Lefebvre, Guy Debord, Manuel Delgado Ruiz, Andy Merrifield, Marshall Berman and David Harvey are also relevant to understanding these narrations of a contemporary indoor flâneur. Ultimately, the poet centers the work around an urban form of resistance that is just as material as it is inmaterial – one that recovers the notion of use value within a postwar capitalistic everyday life that has been colonized. For the famed prose poet, to resist in this context is to use the personal scale of the everyday as a point of entry into the battle between use value and exchange value that characterizes contemporary urban life and that links our interior and exterior worlds.

Separate Rooms: Luis García Montero and the Reading of Experience

The strain of contemporary Spanish poetry known as the “poetry of experience” has often been characterized as a more engaging form of lyric, one that comes closer to its reader. This article seeks to challenge this view through close readings of two poems by the leading figure of the movement, Luis García Montero: “Life Vest under Your Seat” and “Garcilaso 1991” (Habitaciones separadas, 1994). Although these poems draw the reader in and encourage him or her to identify emotionally, they ultimately put this sentimental engagement into question, revealing its superficiality and its tendency to falsify and gloss over the subtleties of the poetic vision.

Las antinomias de la poesía española contemporánea: la poética de José-Miguel Ullán como desmontaje de la Historia literaria

La poesía española contemporánea tiende a ser dividida en dos grandesgrupos: “Poesía de los 70” o “Novísima” y “Poesía de la experiencia”. Este sistema de clasificación se debe no sólo a ciertos estudios de tipo generalizador, promovidos desde la institución,sino también al deseo de los propios poetas por crear un grupo al que adscribirse y con el que diferenciarse del temido “otro”. Tal caracterización dual ha provocado numerosos debates en torno a la pertenencia y pertinencia de dichas categorías, que además perduranen las perspectivas con la que el fenómeno es abordado en la actualidad. En este sentido, la propuesta estética del poeta José Miguel Ullán, considerado tradicionalmente como miembro de la llamada generación del 70´, puede servir como ejemplo de autor noclasificable en ninguna de las corrientes mencionadas y por tanto, como punto de partida para una posible revisión y desmontaje de una historia, la de la poesía española contemporánea, contada de manera parcial.

“Palabras de familia gastadas tibiamente”

This article aims to chronicle the lyrical trend of realistic affiliation labelled “poetry of experience” that dominated the Spanish literary system of the Eighties, establishing a differentiated norm which integrated the paradigm of new creation. From the perspective granted by a certain historical distance, the examination of that process shows its progressive disintegration during the Nineties, due to the institutionalisation of the paradigm, along with stagnation and epigonism, until the moment when younger poets discuss it and look for a change. At that moment, the poetry of experience stresses the meditative overtones and amplifies the space of realism towards a wider imaginative freedom, whilst transforming its characteristic features, such as narrativity and biographical anecdotes.

Philip Jenks and the Poetry of Experience

Philip Jenks and the Poetry of Experience

The Poetry of Experience

^^>^ Both our institutions and we ourselves always require the refreshment of nature's present moment. Revelation subsides into theology and insight ossifies into a curriculum as surely as the newly gathered grass turns into hay. High time, once more, to walk back out into the mysterious, unmown field. Over the past decade, many teachers and scholars have been trying to reconnect the study of literature with the living earth. The evolution of this project may be tracked by looking at certain terms that have dominated the conversation at different stages. identified a lineage that ran from Gilbert White and Thoreau up through contemporary authors like Edward Abbey, Barry Lopez, and Terry Tempest Williams. By calling attention to the deeply rooted history, as well as the continuing power, of the genre, this term has helped literary studies to go beyond the conventional categories of poetry, fiction, and drama. It has celebrated a rich American tradition of reflective nonfiction, grounded in appreciation of the natural world yet also open to the creation's spiritual significance. The example of nature writing has also established a firmer connection between literature and the natural sciences, bridging the two cultures and fostering the development of interdisciplinary studies programs in our colleges. Nature writing continues to flourish, both as a form of writing and as a rewarding field of study. It has become clear, though, that this is not as comprehensive a genre as the name itself might suggest. It refers to just one variety of the personal essay rather than to the whole range of imaginative writing about the earth. In addition, for reasons suggested by the social history within Lawrence Buell's book The Environmental Imagination, it is a form that has been practiced largely by white writers. By using the more inclusive term environmental literature, a number of scholars have sought to broaden the conversation. This has allowed for connections between Thoreauvian nature writing and treatments of

Unmasking Rigor: Composition, Analysis, and the Poetry of Experience

Unmasking Rigor: Composition, Analysis, and the Poetry of Experience

Browning as a Cultural Critic: Red Cotton Night-Cap Country

Twenty years ago interest in Browning's poetry, in England at any rate, was at a low ebb: both Eliot and Leavis had pronounced against him. The first stirrings came with Robert Langbaum's The Poetry of Experience (1957), which raised problems about the moral and epistemological aspects of the dramatic monologues. There followed in the sixties a series of books and articles reaffirming the centrality of The Ring and the Book* for the Browning canon. As a result of this “revaluation” some of the earlier long narratives, in particular Paracelsus and Sordello* received critical reappraisal. The Oxford University Press saw fit to issue a revised edition of Browning's poems from 1833 to 1864 edited by Ian Jack (1970), and Penguin filled a useful gap with its publication in 1971 of The Ring and the Book.

The Victorianism of Victorian Literature

T IS A TRIBUTE to criticism published during the last decade that the Victorians are in danger of losing their identity and becoming mid-nineteenth century or premodern. In reaction perhaps to the stigma that the term carried, literary historians and critics have attempted to demonstrate the un-Victorian characteristics of the age and to indicate what consider to be its true nature. Three influential studies reveal their approach by the subtitles: Dramatic Monologue in Modern Literary Tradition; Essays on the Continuity of Nineteenthand Twentieth-Century Literature; and Five Nineteenth-Century Writers. No longer, it seems are such titles as The Victorian Frame of Mind or The Victorian Temper or even Victorian England: Portrait of an Age suitable.1 Perhaps the most influential studies in this tradition have been Robert Langbaum's The Poetry of Experience and The Modern Spirit, both of which focus on the similarities rather than the differences of Romantic, Victorian, and modern. In the former, Langbaum stresses particularly the way that the writers of all three periods were influenced by the Enlightenment: Whatever the differences between the literary movements of the nineteenth and twentieth centuries, he writes, they are connected by their view of the world as meaningless, by the response to the same wilderness. In The Modern Spirit his approach is best indicated by the subtitle.2 One other example will help define this tradition. In his perceptive analysis of the reactions of De Quincey, Browning, Bronti, Arnold, and Hopkins to the disappearance of God, J. Hillis Miller places all five in the tradition of Romanticism. After citing other possible reactions to the withdrawal of God-that is, humanism,

The Poetry of Experience.

The Poetry of Experience.

The Poetry of Experience: The Dramatic Monologue in Modern Literary Tradition

The Poetry of Experience: The Dramatic Monologue in Modern Literary Tradition

The Poetry of Experience: The Dramatic Monologue in Modern Literary Tradition

The Poetry of Experience: The Dramatic Monologue in Modern Literary Tradition