As a study of lyric poetry, in English, from the early modern period to the present, this book explores one of the most ancient and significant art forms in Western culture as it emerges in its ...various modern incarnations. Combining a much-needed historicisation of the concept of lyric with an aesthetic and formal focus, this collaboration of period-specialists offers a new cross-historical approach. Through eleven chapters, spanning more than four centuries, the book provides readers with both a genealogical framework for the understanding of lyric poetry within any particular period, and a necessary context for more general discussion of the nature of genre.
This is the first monograph entirely devoted to the corpus of late classical Greek lyric poetry. Not only have the dithyrambs and kitharodic nomes of the New Musicians Timotheus and Philoxenus, the ...hymns of Aristotle and Ariphron, and the epigraphic paeans of Philodamus of Scarpheia and Isyllus of Epidaurus never been studied together, they have also remained hidden behind a series of critical prejudices – political, literary and aesthetic. Professor LeVen's book provides readings of these little-known poems and combines engagement with the style, narrative technique, poetics and reception of the texts with attention to the socio-cultural forces that shaped them. In examining the protean notions of tradition and innovation, the book contributes to the current re-evaluation of the landscape of Greek poetry and performance in the late classical period and bridges a gap in our understanding of Greek literary history between the early classical and the Hellenistic periods.
The second volume in this series presents the reader with an extensive study of some major genres of Persian poetry from the first centuries after the rise of Islam to the end of the Timurid era and ...the inauguration of Safavid rule in the beginning of the sixteenth century. The authors explore the development of poetic genres, from the panegyric (qaside), to short lyrical poems (ghazal), and the quatrains (roba'i), tracing the stylistic evolution of Persian poetry up to 1500 and examine the vital role of these poetic forms within the rich landscape of Persian literature.
Lyric poetry has long been regarded as the intensely private, emotional expression of individuals, powerful precisely because it draws readers into personal worlds. But who, exactly, is the "I" in a ...lyric poem, and how is it created? In Lyric Poetry, Mutlu Blasing argues that the individual in a lyric is only a virtual entity and that lyric poetry takes its power from the public, emotional power of language itself. In the first major new theory of the lyric to be put forward in decades, Blasing proposes that lyric poetry is a public discourse deeply rooted in the mother tongue. She looks to poetic, linguistic, and psychoanalytic theory to help unravel the intricate historical processes that generate speaking subjects, and concludes that lyric forms convey both personal and communal emotional histories in language. Focusing on the work of such diverse twentieth-century American poets as T. S. Eliot, Ezra Pound, Wallace Stevens, and Anne Sexton, Blasing demonstrates the ways that the lyric "I" speaks, from first to last, as a creation of poetic language.
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.
This article focuses on the reception of natural disasters in Baroque lyric poetry and aims to show the proximity between prose and verse in Southern Italy’s literary output. Through the analysis of ...three poems from the second half of the 17th century and their comparison with a scientific “discourse” by Tommaso Cornelio –on a solar eclipse in 1652–, it is possible to reveal not only similarities in the narrative structure of these texts, but also the use of the same images and the same lexicon. This study, which allows us to delve further into the relationship between science and poetry during the 17th century, outlines a poetic product that was very widespread in the Spanish Viceroyalty of Naples: the poetry of disaster. The demonstration also underlines that the poetry of disasters is the fruit of Neapolitan scientifical knowledge, as well as the particular product of a territory frequently struck by natural disasters.
El soneto de Federico García Lorca "El poeta pide a su amor que le escriba" arrastró una larga historia desde que fue concebido por el poeta hasta que fue publicado con este título y como parte ...integrante de la serie de Sonetos del amor oscuro. Este artículo propone aclarar algunas de las incógnitas de esta historia de transmisión textual. Con tal finalidad, el artículo aporta nuevos datos que documentan, por un lado, la procedencia del apógrafo que ha servido de texto base para editar el poema, y, por otro, el papel que ha desempeñado en esta historia José Alameda.
A lot of things happened between the time Federico García Lorca wrote his sonnet "El poeta pide a su amor que le escriba" and its eventual publication under this title as part of the sequence of Sonetos del amor oscuro. The purpose of this article is to shed light on some of the unexplained aspects in the transmission of the poem from manuscript to published text. To this end it offers new data concerning the source of one of the transcriptions used to edit the poem, together with information about the part played in this story by José Alameda.
The essay offers a review of the occurrences of Catullus’ fifth poem within Torquato Tasso’s works, and it aims at contextualizing all these allusions while also discussing the use of the ...intertextuality and its diachronic evolution. Tasso reprises Catullus’ reflection on nature as cyclical as opposed to human finitude in four circumstances, thus demonstrating the outstanding importance of this particular carmen for his own poetry.
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