Representative Poetry Research Articles

Occasional Poetry — Representative Poetry. Poetic Representation of the Wedding of Palatine Joseph and Grand Duchess Alexandra Pavlovna

The 16-year-old Grand Duchess Alexandra Pavlovna married the 23-year-old Austrian Archduke Joseph in St. Petersburg on October 30, 1799. The wedding, of course, had dynastic aims: Habsburgs and Romanovs wanted to strengthen their political alliance against France. The newlyweds arrived in Buda, the capital of Hungary, on February 1, 1800. From then on, they were celebrated for several months in a series of representative events. The Hungarian noble estates and the citizens of Pest and Buda expressed their respect on these occasions, but also communicated their political position: what they expected from the Palatine, what they hoped for in the war against the French, and what the duties of the young wife were. Poems were often recited, often sung, and sometimes handed over in printed form at various celebrations (balls, theatre performances, masquerade balls, etc.). This lecture explores the poetic tradition followed by these poems and the different poetic techniques used to communicate the political positions.

Contextual Prosodic Theory Applied to English-Serbian Poetic Translation

The paper focuses on two rival translations of Shakespeare’s Sonnet 129 into Serbo-Chroatian (Hlebec 1987). The translator provides Version A, which faithfully conveys the stylistic nuances of the original, and is aimed to be appreciated by a sensitive reading public, and Version B, which the translator calls “adulterated”, but believes to be more accessible to a wider audience. However, he feels that Version B is “somehow more likeable” (Hlebec, personal communication). This impression was shared by all seven educated native speakers of Serbian consulted, among whom were three third-year students of English. Using Contextual Prosodic Theory and the Corpus of Contemporary Serbian, the paper sets out to explain this impression. The results suggest that syntactic patterns in Version A, being closer to the English original than in Version B, may impede comprehension, and that certain lexical items may not chunk the same states of affairs in Serbian as their English equivalents do in English. A representative poetry corpus must be created in order to verify Hlebec’s view (personal communication) that syntax employed in Version A is characteristic of Serbian poetry and therefore appropriate in poetic translation.

Mirroring the society, mirroring its hospitals: Hyginus Ekwazi's poetry and the challenge of nation-building

Anglophone African poetry has become a significant medium through which African society from the year 2000 to date is mirrored. The younger Anglophone African poets, widely referred to as the poets of the third-generation, have always used their poetry as means to respond to both historical and current socio-political circumstances that tend to distinguish Africa from the rest of the world. Their poetry now constitutes counter-hegemonic discourse against bad leadership in Africa and against corrupt African social and medical institutions. Using Hyginus Ekwuazi’s The Monkey’s Eyes as a representative poetry of the younger Anglophone African poets, emphasis is made on how the poet depicts the African society and its hospitals. The paper analyzes the collection as a sequel to all other collections of poetry produced by the younger poets at this period. It reveals the condition in which the poetry is produced and how it has responded to the decay in African society and its hospitals. The paper points out that though the older generation of the Anglophone African poets responded to similar socio-political situation, the younger generation of the Anglophone African poets has become the prominent voice in this period and that their poetry provides a clear picture of what is happening in Africa within this time space. Being a new set of voices on the terrain of the Anglophone African poetry, a study of this poetry opens up a new platform upon which this so-called “aesthetic of rage” is appreciated. Note: An earlier version of this paper was presented at Birkbeck University of London in an International Conference captioned “Mirror, Mirror: Perceptions, Deceptions, Reflections in Time” organized by London Centre for Interdisciplinary Research (LCIR) on 10th March, 2018 in London, UK.

THE EFFECTIVENESS OF POETRY THEORY TEXTBOOK WITH CONTEXTUAL APPROACH (RESEARCH AND DEVELOPMET IN ENGLISH DEPARTMENT, TEACHER TRAINING AND EDUCATION FACULTY, SURAKARTA, CENTRAL JAVA, INDONESIA)

(ProQuest: ... denotes formulae omitted.)INTRODUCTION:Introduction to Literature, as one of subject matter in English Department, has an important role to shape students' characteristics. Because there are many valuable materials of characters building which must be had by the students, especially students in the third semester. They do not only learn about the theory of literature but also learn about how they should behave in society. In learning literature, the students should learn and master three genres of literature, they are Prose, Drama and Poetry. It is very interesting to learn and peel up these genres. But unfortunately, there are not many books as learning sources for teaching and learning literature yet in most of the Private Universities in Central Java, Indonesia, especially in Slamet Riyadi University in Surakarta, Bantara Nusantara Veteran University in Sukoharjo, and Widya Dharma University in Klaten. Most of the lecturers of those universities said that there were not representative books for teaching and learning literature especially teaching and learning Poetry yet. Therefore, it is really needed and very important to provide representative poetry textbook for teaching and learning literature especially teaching and learning poetry. This poetry textbook can become valuable source material and an important element for the lecturers in lecturing Poetry class in English Department. Based on the observation, it can be known that the lecturers from three Private Universities said that they did not have permanent book or representative book as learning material source to teach poetry in class. Implicitly, it can be said that if there is good representative poetry textbook for teaching and learning Poetry then it could be able to help them in teaching and learning poetry more creative and fun. Perrine (Waluyo, 2012), said that poetry is universal as language and ancient. The most primitive peoples have used it and the most civilized have cultivated it. In all ages, and in all countries, poetry has been written - and eagerly read or listened to - by all kinds or conditions of peoples, by soldiers, statesmen, lawyer, farmers, doctors, scientists, clergymen, philosophers, kings, and queens. In all ages it has been, especially the concern of the educated, the intelligent, and the sensitive, and it has appealed, in it simple form, to the uneducated and to children. Because it has given pleasure. While another theory stated that Poetry is bentuk karya sastra yang dipadatkan agar memperoleh kekuatan pengucapan dan disertai pemilihan kata yang cermat, citraan, bahasa figuratif, persamaan bunyi, irama, metrum, dan kata kongkret (Waluyo, 2012). There are some elements in Poetry which should be learnt and mastered by the students, for instance 1) intensity, 2) rhyme, 3) solid rhythm, 4) mood, and 5) mimic or face expression (Waluyo, 2012). There is one thing that must be followed by student who wants to read poem in front of the class, such as firstly he or she should practice to read poem louder, confidence, full of passion, using good rhythm, and do not read it too fast.A good textbook is as an information source which is written by the writers based on certain science area. A textbook is used by the readers especially students to learn one of knowledge subject, science, technology, and art. In other word, textbook contains of scientific and scholarly literary. Permendiknas No.2 tahun 2008 pasal 1 ayat 3 (Wahyu, 2010) stated that Buku teks adalah buku acuan wajib untuk digunakan oleh satuan pendidikan atau perguruan tinggi yang memuat materi pembelajaran dalam rangka peningkatan keimanan, ketakwaan, akhlak mulia dan kepribadian, penguasaan ilmu dan teknologi, peningkatan kepekaan dan kemampuan estetis, peningkatan kemampuan kinestetis, dan kesehatan yang disusun berdasarkan standar nasional pendidikan. While (Tomlinson, 2008) stated that a textbook which provides the core materials for course. …

The Lemma and Database Design: Redesigning Representative Poetry Online, Lemmatizing Lexicons of Early Modern English, and Envisioning the Lemmatic Web

This article argues for the usefulness of the lemma as the base element for constructing large databases of texts for digital textual analysis and for providing a new hypertextual reading experience. Support for this is based on the author’s experience designing and developing two major Web initiatives: Representative Poetry Online and the Lexicons of Early Modern English. The basic database features of the two websites are delineated, but the latter website, in particular, is described with a view toward showing the importance of a shift away from envisioning the database as constructed upon word entries to one constructed upon lemmata.

Contrary voices: Representations of West Indian slavery, 1657-1834

This collection fills a gap in the provision of sourcebooks for the history and sociology of slavery. It highlights variations in representations of West Indian slavery by drawing on a wide range of testimonies, especially those of the enslaved themselves. It thus differs in important respects from recent collections such as Abolition and Emancipation; Amazing Grace: An Anthology of Poems about Slavery, 1660-1810; and Poetry of Slavery: An Anglo-American Anthology 1764-1865.First, the focus is on representations based principally on first-hand experience or observation of slavery in the then British West Indies, thus enabling valid comparisons to be made. Second, in order to recover the voices of the enslaved, it draws on sources untapped in most collections, such as transcriptions of slave songs, funeral orations, conversations and legal reports, as well as better-known slave narratives. The work is divided into five sections: Texts, 1657-1807; From Abolition to Emancipation, 1808-1834; Resistance and Rebellion; On the Haitian Revolution; and Songs of the Enslaved and Impersonations. The collection includes extracts from Richard Ligon, Hans Sloane, Joseph Addison, Edward Long, Loaudah Equiano, Matthew Gregory Lewis, Thomas Atwood, and representative poetry and slave songs.

Representative Poetry Online

Representative Poetry Online

The Boundary Walker: In Thanksgiving for the Life of Nathan A. Scott, Jr.

The Boundary Walker:In Thanksgiving for the Life of Nathan A. Scott, Jr.* Samuel T. Lloyd III (bio) Click for larger view View full resolution Figure 1. Nathan A. Scott, Jr. [End Page 5] It must have been the fall of 1973 that I found myself wandering the shelves of a bookstore just off Dupont Circle in Washington, D.C. It was an enormous shop for those days, less elegant and more stuffed with old volumes and academic books than the glitzy mega-stores today. I was a young graduate student in literature, still trying to imagine what my life's work might be. I had developed quite a passion for literature, especially modern literature with its quest to make meaning in a seemingly godless world. But I also felt pulled toward religion and the whole question of faith, toward trying to understand what Christianity could mean in the secularized, radical late sixties and seventies. There in the back shelves of that bookshop I pulled down a book called The Broken Center: Studies in the Theological Horizon of Modern Literature by someone named Nathan A. Scott, Jr. The back cover quoted this man Scott saying, "Underlying much of the representative poetry, drama, and fiction of our period is a sense that the anchoring center of life is broken and that the world is therefore abandoned and adrift." That fit my sense of the world exactly, and what thrilled me was the promise that Scott would undertake a theological assessment of what all this meant. Here was religion engaging the deepest questions and denials of our time. I leafed through chapters inside with titles like "The Bias of Comedy and the Narrow Escape into Faith" and "The Tragic Vision and the Christian Faith" and "Faith and Art in a World Awry," and I was hooked. I took the book home, and as I read it I found a new world opening to me in which the great works of literature, and of art, music, and film, were engaged in a lively conversation with ancient and contemporary Christian faith. I read paragraphs that I came to realize were quintessentially Nathan Scott—with sweeping lists of poets, novelists, and theologians. In a typical paragraph I landed on, Baudelaire and Kafka were rubbing shoulders with James Joyce, early Hemingway, Jean-Paul Sartre, Marcel Proust, and Virginia Woolf, and then in a dazzling leap Professor Scott declared that the true spiritual home of all these writers was not with St. Athanasius, the fourth century Christian theologian, but with Dionysius the Areopagite writing in the fifth century. "Where did he come up with that?" I wondered. And then he capped off this small tour de force with a simple, humane summary. These modern writers, he said, "have not known the kind of confidence in the world and in temporal reality that was managed in happier moments in the literary tradition." There it was—God's plenty—all wrapped up in a paragraph: the spiritual quest of the modern era, finding echoes in early Christian writings, leading to a summary that clarifies the spiritual dilemmas of our time. I had discovered in Nathan Scott a mind that encompassed the entire Western humanist tradition. He had taken from his great mentor, the theologian Paul Tillich, the conviction that all works of art and literature are fundamentally theological, because they express the [End Page 6] ultimate convictions of their creators and so deserve to be probed from a religious point of view. And this new field of Religion and Literature took as its focus secular literature of the nineteenth and twentieth centuries, in order to place the great poems and novels of modernity in dialogue with the religious vision embodied in the tradition of Western Christianity. Paul Tillich once wrote a memoir entitled On the Boundary, describing his sense of having carried out his theological work in a dialogue between Christian faith and the intellectual and spiritual currents of the twentieth century. The more I worked with and studied under Nathan Scott, I came to see him as one of the signal boundary walkers of our time. He lived and wrote on the boundary between religion and literature, between...

Virtual Verse Analysis: Analysing Patterns in Poetry

This article discusses the problem of computer identification of some basic patterns in poetry: rhythm and rhyme. The program AnalysePoems uses the Representative Poetry Online (http://rpo.library.utoronto.ca) corpus of poems to identify these patterns. The goal of the rhythm identification is not to produce a perfect metrical scansion of a poem, but to identify the dominant metre with a reasonable degree of confidence. Twelve example poems are used to show that the program is successful in its ability to identify the dominant metre, if one exists, even when some of the words of the poem are unknown to the computer. The computer is usually able to identify the number of syllables and dominant accent of these previously unknown words and then use this new data in its analysis of more poems. Similarly, an analysis of a poem's rhyme scheme allows the computer to identify rhyming pairs it had not previously encountered and use this new information to analyse subsequent rhyme schemes. The analysis of basic patterns lays the groundwork for the analysis of more complex, less obvious patterns. The changes in rhythmic confidence values from first to final analysis suggest a possible measure of the complexity and beauty of a poem's rhythms.

The Electronic Muse: The Council of Editors of Learned Journals Keynote Addresses, MLA Convention 2001

Picking up with CELJ's MLA 2000 topic on ways that the digital world is changing, and often guiding, copyright law and fair use in scholarly publishing (see JSP, April 2002), the Council of Editors of Learned Journals asked its keynote speakers for the 2001 MLA Convention to address two different faces of the ‘electronic muse.’ Patrick Harrison, who brings an expertise in law to concerns about the ramifications of the recent New York Times v. Tasini case on publishing electronic databases, discovers that at heart in the issue of copyright protection is the very definition of revision, which surprisingly has never been discussed in prior case law. What constitutes an electronic revision of a collective work such as a newspaper, magazine, or journal, and therefore a legitimate republication, according to copyright law, in electronic form such as a for-profit database? The Supreme Court came down on the side of protecting individual authors: the publication in an electronic database of a work originally appearing in a print journal or other collective work is not a revision but a new work. In stressing a text as material property at the centre of competing claims of ownership, this decision leaves open to question the status of a text's intellectual or creative relation to its community and to the common good. Ian Lancashire, a professor of poetry, has nimbly side-stepped the nettles of Net law in offering poetry for free to the world through an anthology of online poetry. His Representative Poetry Online (RPO) features over 2,500 English poems by 403 poets, nearly all in the public domain. Indeed, it is the public nature of this project, its conception of poetry and its study as a collaborative enterprise between scholarly editor and common reader, that safeguards its haven in the electronic world. This e-anthology challenges the concept of a poetic text as the product of individual genius whose access need be regulated by an elite class of academic professionals. Representative Poetry Online instead perpetuates the ‘representative’ life of poetry as belonging to the world. Existing online, this poetry is able to enter the very material lives of its readers.

Representative Poetry On‐line (Version 2.07)

Representative Poetry On‐line (Version 2.07)

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Representative poetry on-line

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Representative poetry on-line

<em>Representative Poetry On-line</em>: Updating a Historical English Teaching Anthology

Representative Poetry On-line is the first World Wide Web edition of the U. of Toronto English Department's undergraduate textbook, Representative Poetry, originally compiled in 1912. This article describes the editorial history of the anthology, the contents of the present edition, and the features offered by the MLA CD-ROM version of the edition with its TACT interface. Many pivotal questions surrounding literary databases are addressed: the editiorial history of such a long-standing textbook gives insights into the evolution of the literary canon; the new edition brings to the forefront issues of copyright and of the role of poetry on the WWW; and the TACT interface offers a new way to read and understand texts. Representative Poetry On-line is presently the largest non-profit database of poetry on the WWW and part of the growing universe of web-based literary texts.

Footprints Revisited or "Life in the Changed Space that I don't Know": Elke Erb's Poetry Since 1989

After the fall of the Wall, the lyrical correspondence of the East German writer Elke Erb with the Austrian experimental writer Friederike Mayröcker proved to be of great significance for Erb's process of reexamining perspectives and constituting a new poetic self. In a close reading of Erb's post-Wende texts, the article discusses Erb's reshaping of her poetic craft against the backdrop of her life in the former GDR and literarty discourses in unified Germany. The analysis of representative poetry focuses on three areas of Erb's poetry collections after 1989: critical reflections on life in the former GDR through linguistically playful strategies; unanchored existence in spaces of language that signify a suspicious stance toward language and signification; intertextuality in the form of "text-echoes" with Friederike Mayröcker. This essay argues that Erb's intense reading of Mayröcker between 1991 and 1994 is a unique model of female reader response.

Heart's flower: the life and poetry of Shinkei

Shinkei (1406-75), one of the most brilliant poets of medieval Japan, is a pivotal figure in the development of renga (linked poetry) as a serious art. Shinkei's life and work also provide a vivid portrayal of a tumultuous period of Japanese history that was one of the defining moments of its culture. The book is in two parts. The first part is a literary biography based primarily on Shinkei's own writings. The second part consists of annotated translations of Shinkei's most representative poetry. Throughout, the author seeks to define and clarify 'linked poetry'.