Reception Of Poetry Research Articles

Parallel Posts, Tumblr, and the Necessity of Poetry in the Digital Age: 'You are starved for it and you don't even realise you're hungry'

This article explores the emergent format of ‘parallel posts’ or ‘web weaving’, a practice of literary collage on blogging website Tumblr, and argues that they represent a new wave of poetry reception, unbound to formal literary education or to conventional spheres of cultural capital. Following Audre Lorde’s ‘Poetry is not a luxury’, I discuss parallel posts as a vital component of the broader digital literary sphere, a counterpoint to Instapoetry, and as a resurgence of commonplace book-keeping. I analyse the prevalence of users positioning poetry on Tumblr as akin to or superior to school-bound English education, and parallel posts as a humanist practice. I conclude by arguing that parallel posts represent a reclamation of poetry as a common resource and an ideology.

The ChildPoeDE Corpus: 1082 German Children’s Poems for Computational and Experimental Studies on Poetry Reception

The ChildPoeDE Corpus: 1082 German Children’s Poems for Computational and Experimental Studies on Poetry Reception

The Aesthetic Reception of Poetry Through Painting: “After Apple-Picking” as an Example

The Aesthetic Reception of Poetry Through Painting: “After Apple-Picking” as an Example

Shakespeare sonnet reading: An empirical study of emotional responses

The present study combines literary theory and cognitive psychology to empirically explore some cognitive and emotional facets of poetry reading, exemplified by the reading of three Shakespeare sonnets. Specifically, predictions generated combining quantitative textual analysis according to the Neurocognitive Poetics model with qualitative textual analysis based on the Foregrounding assessment Matrix of sonnets no. 27, 60 and 66 are empirically tested by analyzing 45 subjects’ ratings of the three sonnets. Reflecting the differences in foregrounding potential of the three sonnets found in the textual analysis, we expected to find different reader responses, accordingly. Our dependent variables are well-established categories of emotional evaluation (e.g. valence and arousal) and cognitive, affective and aesthetic aspects of readers’ responses (e.g. liking and understanding) as well as less common ones (e.g. wonder, delight and mental images). The statistical analyses suggest that the type of foregrounding is more important than the number of foregrounded elements. This finding motivated further qualitative exploration of reader responses to open questions regarding mental images and perceived feelings. Comparing the free recall data about the feelings perceived in the sonnets with the ratings data about Valence and Arousal indicated that only the former one reflects a clear distinction between all three sonnets, whereas the readers’ overall evaluations did not sustain this variety of feelings. Multi-method, interdisciplinary research of this kind contributes to improving our understanding of the potentially unique mechanisms involved in poetry reception, and to forming more precise hypotheses for future experimental studies using, for example, eye tracking.

Micropoetry Meets Neurocognitive Poetics: Influence of Associations on the Reception of Poetry.

Reading and understanding poetic texts is often described as an interactive process influenced by the words and phrases building the poems and all associations and images induced by them in the readers mind. Iser, for example, described the understanding process as the closing of a good Gestalt promoted by mental images. Here, we investigate the effect that semantic cohesion, that is the internal connection of a list words, has on understanding and appreciation of poetic texts. To do this, word lists are presented as modern micropoems to the participants and the (ease of) extraction of underlying concepts as well as the affective and aesthetic responses are implicitly and explicitly measured. We found that a unifying concept is found more easily and unifying concepts vary significantly less between participants when the words composing a micropoem are semantically related. Moreover these items are liked better and are understood more easily. Our study shows evidence for the assumed relationship between building spontaneous associations, forming mental imagery, and understanding and appreciation of poetic texts. In addition, we introduced a new method well-suited to manipulate backgrounding features independently of foregrounding features which allows to disentangle the effects of both on poetry reception.

Command Performance: Coercion, Wit, and Censure inSneglu-Halla þáttr

AbstractThis essay traces relations between Sneglu-Halli, an Icelandic poet, and King Haraldr “harðráði” Sigurðarson of Norway as realized in episodes ofSneglu-Halla þáttrdealing with the patronage, composition, performance, and reception of poetry, and their consequences for both king and poet, reciprocity and rulership. The king commands extemporaneous verse composition but is tolerant of scurrilous comments on his person if witty and well-crafted. The necessarily quick-thinking poet must often versify in a reactive mode but succeeds in bringing not only personal agency but criticism of royal rule to the fore. The short narrative also explores the concept oftvíræðior ambivalence in verse, where the insulting runs parallel to the innocuous.

Эдмунд Спенсер в России: к постановке проблемы исследования критической и переводческой рецепции поэзии английского Возрождения

Эдмунд Спенсер в России: к постановке проблемы исследования критической и переводческой рецепции поэзии английского Возрождения

A publicação de poesia na Internet: a literatura de Clarice Freire

Neste artigo se discute sobre a produção e o consumo de poesia online, entendendo o ciberespaço como um lugar onde há grande vitalidade na publicação e frequentação de receptores de criações artísticas e culturais, de modo geral, e inclusive de poesia. Faz-se um estudo de caso do perfil da rede social Instagram Pó de Lua, da poeta pernambucana Clarice Freire, de modo a explorar as especificidades do contato virtual entre produção e recepção de poesia. Considera-se a intermidialidade como uma característica importante na produção artística contemporânea, e verifica-se que esta atua como um recurso de estilo dos poemas visuais publicados no espaço digital. Observa-se, ainda, que nesse ambiente os leitores contribuem para a difusão das obras que ali se publicam a partir do compartilhamento dos poemas. Para este estudo, fez-se um recorte temporal da utilização da #pódelua nos meses de junho e julho de 2018, desde o qual se analisou as atualizações feitas por leitores e usuários das redes sociais nos poemas da autora.

СЕМАНТИЧЕСКИЕ ТРАНСФОРМАЦИИ МОТИВОВ В ВОЛЬНЫХ ПЕРЕВОДАХ ГАБДУЛЛЫ ТУКАЯ ИЗ РУССКОЙ ПОЭЗИИ

The article deals with the transformation of some motives of the poems by the Russian poets of the XIX-XX centuries in free translations by Ğ. Tuqay. It is ascertained that the motives of the translated works in Tuqay’s poems undergo quantitative (reduction, augment of motives) and qualitative (semantic transformation of motives) changes. Transformations of motives in the process of translation are conditioned by conceptual and semantic lacunae (lack of notions and concepts in the Tatar language and culture that determine the semantics of the translated poems motives), orientation toward the horizon of the Tatar reader’s expectations formed on the basis of the Oriental poetry reception.

Włoskie przekłady poezji Norwida

The article deals with several separate issues that have not been discussed previously. The introduction gives a brief description of the reception of poetry by Cyprian Norwid in Italy and presents its unusual character in confrontation with the works of other Polish Romantics, translated into Italian already in the 19 th century. Another topic is the problem of Polish research reflection on the reception of Norwid’s poetry in Italy. Further, the most important stages in the history of translation of Norwid’s poetic output into Italian were presented (starting with the magazine “Iridion” and the monthly “Tempo presente”, through anthologies and monographic editions, and concluding with translations published on the Internet and translation contests). The discussion also takes into account the profiles of translators and the characteristics of individual editions in connection with the availability of source texts. The whole is closed by a series of conclusions regarding the knowledge of Norwid’s poetry in Italy – poems and fragments most often translated, the typology of translations and their function in contemporary Italian culture.

”Vårvindar friska” och världen

”Vårvindar friska” (Fresh Spring Breezes) and the World
 With a point of departure in a specific case of poetry reception the article aims to nuance the contemporary discussions of world literature, by paying attention to song performances, anthologies and the digital archive as central media for transnational circulation of poetry in a historical perspective. The article examines the national and international reception of the poem, or song lyrics known as ”Vårvindar friska” (1828, Fresh Spring Breezes) by the Swedish romantic poet Julia Nyberg (pseud. Euphrosyne). Nyberg used a traditional melody when composing her text and it was further adjusted to a specific image of the Nordic traditional song when it was included in the Swedish canon. The reception history shows how the song became associated with Swedishness and on that account subjected to a whole range of ideological and commercial agendas. Today, several interpretations and performances of the song are available on YouTube, and the user comments demonstrate that they generate interest in the words, including the original, full text.The case of ”Vårvindar friska” also provides an opportunity to highlight central types of media through which world literature has been envisioned during two formative periods. In the second half of the nineteenth century, poetry anthologies were considered important media for the collection and dissemination of world literature. In our own century, YouTube seems to have taken over some of these tasks and expectations which also relate to the more general question of world literature in a digital age. The obvious differences notwithstanding, the presence (or non-presence) of ”Vårvindar friska” and other Swedish romantic poetry in translation anthologies and in the YouTube archive, point out some similar features, such as the principles of recycling and remediation and identity formation as a driving force. The two reception contexts shed light on each other as well as further complicating our understanding of the dynamics between availability and impact on a world-wide scale.

Poesiintresserade unga i Sverige

Poetry reading is since 2011 part of the core content in the subject of Swedish at both primary and secondary level. However, to date there is little research on poetry pedagogy that may provide guidance to teachers and poetry reading pedagogy for secondary students is an especially understudied area. Early research has developed knowledge on poetry reception in class but little is known about how secondary students read and use poetry in their spare time. Knowledge of the leisure uses of poetry could have implications for pedagogy. The aim of this study is to map and develop knowledge of how keen readers of poetry became interested in the genre and use poetry today in their spare time. The material consists of 21 semi-­structured online interviews. The analysis shows that participants tend to come from families that read and value literature. The participants generally develop an interest in poetry during late adolescence. Reading is the most common leisure activity. There is little online activity with poetry in the group. Many read poetry to be inspired and integrate what they read in other texts, images and music. Participants tend to prefer lyric poetry and a male western canon is dominant in their examples of favourite poets.

Mood-empathic and aesthetic responses in poetry reception

In the present study we investigate factors shaping poetry reception at multiple levels of analysis. We use both qualitative and quantitative means for describing structural aspects of poems, scales for assessing subjective dimensions, as well as behavioral and peripheral-physiological measures. Applying such mixed analyses we tested three hypotheses derived from the Neurocognitive Poetics Model of literary reading (Jacobs, 2011, 2015a, 2015b): (a) the multilevel hypothesis stating that textual features at four relevant levels of textual analysis (supralexical, interlexical, lexical and sublexical) affect empathic/immersive and aesthetic-liking processes of poetry reception at all three levels of measurement (experiential, peripheral-physiological, and behavioral); (b) the mood empathy hypothesis stating that poems expressing moods of persons, atmospheres, situations, or objects should engage readers to mentally simulate and affectively resonate with the depicted state of affairs (see also Lüdtke et al., 2014); and (c) the aesthetic trajectory hypothesis stating that poems with a high amount of foregrounding facilitate aesthetic liking responses. The results are in line with all three hypotheses and raise a number of questions for future research on poetry reception.

From Ivan Kozlov to Evgeny Feldman: To the History of the Russian Translation Reception of the Poetry of Robert Burns

Objectives: Significant episodes of the Russian reception of the poetry of Robert Burns are comprehended in this article, wherein the main attention is concentrated on the work of I.I. Kozlov, M.L. Mikhailov, P.I. Weinberg, S. Ya. Marshak, E.D. Feldman, who are the most authoritative interpreters of the great Scottish poet. Methods: facts of Russian translation reception are analyzed in this article; in this connection the basic material for analyzing became the translations of the works of R. Burns into Russian made by I. I. Kozlov, M. L. Mikhailov, S. Ya. Marshak, E. D. Feldman and others. Literary-critical and literary criticism publications, as well as the factual account of memoirs, epistolary, and reference books are involved as an additional material. Findings: When considering the sources of the reception of Burnsian creative work, it is analyzed the possible motives from the works of the Scottish author in the poems of A. S. Pushkin The Landslide (1829) and The Echo (1831). In addition, it is compared the arguments pro and contra, formulated in different years by A. V. Druzhinin, N. V. Yakovlev, B. V. Tomaszewski and E. V. Vitkovsky. Another great Russian poet, M. Yu. Lermontov, was interested by the quatrain Had we never loved so from Burns' poem Ae fond Kiss, and then we sever, where when translating into Russian it was made an error: an English word kindly (dearly, affectionately) M. Yu. Lermontov correlated with a German word Kind (a child). Until now this fragment of translation, not intended for publication, causes debates of specialists in literature and translation studies specialists: what guided by M.Yu. Lermontov when he incorrectly interpreted a meaning of the word (purposefully or not); whether the translation improved or worsen the impression of the original; whether to consider such transformation into Russian as a translation. author traces the stages of evolution of Russian reception of Burns' poetry noting the most important events - free adaptations by I. I. Kozlov, very unlike the originals, but quite accurately conveying the feelings and thoughts of the translator himself; the translations made by the authors of the democratic magazines of the epoch of the reforms of Alexander II, who, the authors, discerned closeness of the Scottish poet to the lower orders, their customs and traditions. Of all the Russian translations of Burns' works, the translations by S. Ya. Marshak are the most studied ones; S.A. Orlov, E. S. Belashova, Yu. D. Levin and others wrote on them in their articles in detail; however, even referring to them it turns out well to represent an unexpected new perspective of the subject: the S. Ya. Marshak's translations are comprehended through the prism of their perception by A.T. Tvardovsky ; thereby it is widely involved journalistic articles, diaries and letters of the Soviet poet, who as the editor in chief of one of the most popular literary magazines, Novy Mir (New World), did much to popularize the Marshakian Burns. Significant interests represent modern Russian translations of Burns, which are comprehended in this article for the first time, and first of all the translations by E.D. Feldman, who entering into correct absentee polemic with S.Ya. Marshak, managed to suggest new perusals of many works, and wherein E.D. Feldman's perusals are characterized by depth of penetration into conceptions of the Scottish author, into his inner world. Applications/Improvements: systematization of materials on a subject allowed to make generalizations, to form the complete idea of tendencies of development of the Russian poetic translation that will promote the solution of one of the most important problems of modern Russian literary criticism - to write the history of the Russian translated fiction.

Aesthetic appreciation of poetry correlates with ease of processing in event-related potentials.

Rhetorical theory suggests that rhythmic and metrical features of language substantially contribute to persuading, moving, and pleasing an audience. A potential explanation of these effects is offered by "cognitive fluency theory," which stipulates that recurring patterns (e.g., meter) enhance perceptual fluency and can lead to greater aesthetic appreciation. In this article, we explore these two assertions by investigating the effects of meter and rhyme in the reception of poetry by means of event-related brain potentials (ERPs). Participants listened to four versions of lyrical stanzas that varied in terms of meter and rhyme, and rated the stanzas for rhythmicity and aesthetic liking. The behavioral and ERP results were in accord with enhanced liking and rhythmicity ratings for metered and rhyming stanzas. The metered and rhyming stanzas elicited smaller N400/P600 ERP responses than their nonmetered, nonrhyming, or nonmetered and nonrhyming counterparts. In addition, the N400 and P600 effects for the lyrical stanzas correlated with aesthetic liking effects (metered-nonmetered), implying that modulation of the N400 and P600 has a direct bearing on the aesthetic appreciation of lyrical stanzas. We suggest that these effects are indicative of perceptual-fluency-enhanced aesthetic liking, as postulated by cognitive fluency theory.

“Poet and Audience Actually Exist”: The Contact Poetry Reading Series and the Rise of Literary Readings in Canada

This essay documents and assesses the history of the Contact Poetry Reading Series (Toronto, 1957-62), arguing that the Contact readings mark the emergence of a vital form of modern literary expression in Canada. The essay has two primary goals. The first is to contextualize the Contact Poetry Reading Series as a fundamental component of Raymond Souster’s editorial work in order to enrich dominant critical perspective of Souster’s accomplishments as an editor and publisher. The Contact readings express the same drive on Souster’s part to “make contact” (between generations, between international communities, between poet and reader) that is identifiable in his work with Contact and Contact Press, only in this case under material conditions unique to the public performance of poetry. The second goal is to situate the Contact Poetry Reading Series within current book history and performance studies scholarship. In doing so, this essay positions the literary reading as an essential but understudied component of processes of publication, distribution, and reception of poetry in Canada.

Immersing in the stillness of an early morning: Testing the mood empathy hypothesis of poetry reception.

Immersing in the stillness of an early morning: Testing the mood empathy hypothesis of poetry reception.

The Comparison of Reception of Selected Poems by Students from Varied Schools

The article presents results of a research of the reception of poetry by the respondents (12-18 years of age) from three types of schools – an elementary school, secondary comprehensive school and secondary vocational school. The differences in the reception of selected poems were investigated as well as the effectiveness of the research tool for all age groups of the respondents. The semantic differential method was used monitoring the reception of poetry from the perspective of three factors: comprehensibility, evaluation and impressiveness. The factor analysis confirmed the saturation of the specific factor semantic differential scales and the effectiveness of this tool in all considered schools. Reliability was verified by Cronbach's alpha coefficient. We found that the most striking differences between secondary comprehensive school students and the students of the other types of school are reflected in the comprehensibility factor. It is a factor projecting reading maturity, language competence of the respondents and their overall cultural perspective. The evaluation factors show significantly lower performance of the students from secondary vocational schools. In teaching the motivational element needs to be to strengthen and the students should be drawn more into the communication with texts. The occasional discrepancy between the declared low comprehensibility of the poem and the positive evaluation (especially among the younger respondents) suggests that some poems are understood more emotionally than rationally.

Age Variable Student's Personal Characteristics and Their Reader's Preferences

The article is based on a research monitoring a relationship between personal characteristics of young readers and their poetry reading preferences. When implementing the research the semantic differential method and Q-methodology was used. The semantic differential has been adjusted in our earlier studies, when exploring poetry reception there are three factors observed in reading reactions of the respondents: comprehensibility, evaluation and impressiveness of selected poems. Q - methodology has been selected to observe the students’ relation to human values, their personality characteristics and circumstances and their views on teaching of literature, especially poetry. The older respondents (14-15 years) are more independent, more critical of the authority of parents and teachers. When compared with the younger respondents (12-13 years) they have a greater resistance to poetry, they are moody and more sensitive. The older respondents show a greater understanding of the hidden humor of the nonsense poem, referring to their own school experience and at the same time they allow Prevert's text to reach them emotionally by the image of one of the many variants of the relationship between a man and a woman. They perceive the world around them as a more complex one than then the younger respondents who were impressed by the light Japanese five verse poem Oh designed primarily for adolescent readers.

The Research on the Reception of Poetry in Students Aged 12–15

This paper presents the first results of the research of the reception of poetry conducted at lower secondary schools (students aged 12–15). The method of semantic differential was used for the research. This method in its standard form makes it possible to measure psychological aspects of concepts in human minds with the use of three factors: evaluation, potency and activity. This method was modified and adjusted to the examination of the reception of lyric poetry. We succeeded in isolating three factors which were labeled as the factor of comprehensibility, evaluation and impressiveness. We have used this research instrument solely for monitoring the reception of poetry in adolescent readers (aged 15–19) so far. In current research, we also tried to focus on the students of lower secondary schools aged 12–15 and we tried to verify the research instrument for a younger age group, too. The students assessed eight poems on different topics and of different forms: poetry for children and teenage readers, impressionist poetry, romanticism poetry, decadent poetry, old Japanese five-line poem haiku etc. We monitored the differences in the reception of the assessed poems between particular groups of respondents (according to age, sex, reading preferences, field of study and personality traits). The article presents the methodology of processing the results and how the differences between particular groups of respondents were monitored and also the results of the reception of Pushkin's poem ‘The Cloud’.