A major new book-length visionary poem from a writer "whose poems are among the major astonishments of contemporary poetry" (Robert Polito, the Poetry Foundation) Alice Notley has become one of the most highly regarded figures in American poetry, a master of the visionary mode acclaimed for genre-bending, book-length poems of great ambition and adventurousness. Her newest book, For the Ride, is another such work. The protagonist, "One," is suddenly within the glyph, whose walls project scenes One can enter, and One does so. Other beings begin to materialize, and it seems like they (and One) are all survivors of a global disaster. They board a ship to flee to another dimension; they decide what they must save on this Ark are words, and they gather together as many as are deemed fit to save. They "sail" and meanwhile begin to change the language they are speaking, before disembarking at an abandoned future city.
Pindar's victory odes have suffered from a curious lack of interest on the part of poststructuralism. Even a first, relatively superficial reading of the surviving corpus, however, reveals an intense interest in and exploitation of rhetorical figures and tropes, and an element of autoreferential self-questioning that throughout the history of Pindaric scholarship has attracted much comment. In view of the radical discontinuity within language postulated by Walter Benjamin, Jacques Derrida and Paul de Man between what is meant and the mode of meaning, we can on this basis alone ask what effects the rich figurality of the epinicians might have on what they intend to say. Are expression and intention, in these poems, always simply co-extensive? Or do the odes, read in the context of a series of concerns addressed in recent decades by deconstructive literary theory, reveal instead a level of reflection on the nature of literary language itself to which the hermeneutical assumption of such co-extension does not entirely do justice?
The book deals with the pastoral convention which emerged with many authors like Theocritus, Virgil, Shakespeare, wordsworth and last but not least Frost.This convention investigates the relationship between man and nature and the question of man's place in nature and in the universe in general.The pastoral remains a celebration of beauty and innocence of the shepherd's mode of living.The objective of this book is to identify the pastoral features in Frost's poems. The themes that Frost evokes in his text revolve around the relationship between humanity and nature,human loneliness and isolation.Equally important, Frost's poetic techniques are worth studying. Being two sides of the same coin,the pastoral tradition and the ecocritical theory are the main issues of this work. The book presents the idea of nature from an ecocritical perspective with a focus on the relationship between literature and the natural environment. This book can be classified as a reference in pastoral studies, ecocriticism and The analysis of Frost's poetry and techniques.
Breaking with the classical Arabic qasida which dates from the pre-Islamic period, Andalusian poets made a revolution in a field previously untouchable: the poetry of the ancients. They abandon the monorhymed poems built on a single meter and invented alternating rhymes and rhythms. The muwashshah becomes the appropriate poetic mode of expression of a society that has managed to establish relative harmony between its different social and ethnic backgrounds. The art of tawshîh is unquestionably the original signature of a hybrid civilization with various ethnic groups, particularly the Iberian, Arabic and Berber. indeed, from the middle of the 8th century, the muwashshah would constitute a kind of declaration of independence on the literary map. Despite the reluctance of medieval scholars to seriously document it, this kind of poetry would experience a significant development. This book traces such development through an examination of its structure, themes, as well as its 6 metrical form and relation to music and zajal.
Seminar paper from the year 2011 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Stuttgart, language: English, abstract:This term paper will analyse and confront the poems by William Wordsworth and Charles Bukowski. I will begin with "I wandered lonely as a cloud" and investigate the stylistic devices of every stanza, relate them to the latter as a whole, and finally figure out their functions to show how they support my argumentations concerning their ramification. As far as Bukowski's "8 count" is concerned, I will continue with the same mode of procedure, showing the formal and stylistic devices as well as how the poem is made up and in what way its composition contributes to the created effect. After having shown the poems' inner form and and content, I will provide a comparative analysis with regard to several aspects such as author and period, circumstances under which the poemscame into being, or form and content. Eventually, facing the similarities and differences, there will be a conclusion about a reader's role in the interpretative process of these two poems, and literary works in general.
High Quality Content by WIKIPEDIA articles! Decimus Iunius Iuvenalis, known in English as Juvenal, was a Roman poet active in the late 1st and early 2nd century AD, author of the Satires. The details of the author's life are unclear, although references within his text to known persons of the late 1st and early 2nd centuries AD fix his terminus post quem (earliest date of composition). In accord with the vitriolic manner of Lucilius the originator of the genre of Roman satire and within a poetic tradition that also included Horace and Persius, Juvenal wrote at least 16 poems in dactylic hexameter covering an encyclopedic range of topics across the Roman world. While the Satires are a vital source for the study of ancient Rome from a vast number of perspectives, their hyperbolic, comedic mode of expression makes the use of statements found within them as simple fact problematic, to say the least. At first glance the Satires could be read as a brutal critique of (Pagan) Rome, perhaps ensuring their survival in Christian monastic scriptoria, a bottleneck in preservation when the large majority of ancient texts were lost.