In order to understand the lyric poetry in any language, one should be familiar with the different aspects of its most important concepts. Because despite the common meaning overlap in words such as ...love and beauty in the world’s lyric poetry, there are still special cultural and linguistic differences without which it’s impossible to properly understand a poetry. One of these concepts is madness and its various images and interpretations in Persian poetry. This article tries to use descriptive – analytical method to examine various aspects to show how a common word finds its way in to Language of lyrical poetry and gradually expands other concepts of the poetry tradition, it becomes permanent, and then due to its parallelism with intellectual currents in the context of history, culture and thought. It is possible not to present it as a discourse in lyrical poetry. The results of this study show how the concept of insanity travels the discours path and undergoes changes from the dictionary meaning with the passage of time and political situation, and it is promoted from the socially unpleasant meaning ti the concept of love and then in the context Mutazila and Ashari philosophical conflicts become a suitable term for anti – rationalism, and with the spreadof Sufi ideas, it becomes a valuale term. And it goes beyond the limit of a mere word and opens its place as a common discourse by expanding the semantic realm and become one of the basic discourses of Persian lyrical poetry
This article reconsiders the methodological issues posed by the reception of archaic and classical poetry in imperial rhetorical texts. It argues that references to ancient poems and poets in the ...works of imperial sophists are always already the product of appropriation and rewriting, and that the study of sophists’ engagement with poetry should go beyond Quellenforschung to explore how and why poetic models were transformed in light of their new rhetorical and imperial contexts. To illustrate this approach and its contribution to our understanding of both ancient-reception phenomena and imperial rhetorical culture, the article focusses on Himerius of Athens, a fourth-century c.e. sophist and teacher of rhetoric whose fondness for lyric poetry has caused his Orations to be used as a quarry for lyric fragments and testimonia. Himerius’ treatment of carefully chosen lyric models is here discussed with attention to his self-presentation and rhetorical agenda to show how the sophist appropriated the voices of diverse lyric icons to promote his school and negotiate his position in relation to the imperial administration. This analysis restores Himerius’ intellectual significance within late imperial culture and society, but it also demonstrates how a more in-depth study of the reception of ancient poetry in imperial sophistic literature has the potential to illuminate the strategies of cultural politics used by imperial authors to (re)construct Greek tradition.
In this book, Elissa Zellinger analyzes both political philosophy and poetic theory in order to chronicle the consolidation of the modern lyric and the liberal subject across the long nineteenth ...century. In the nineteenth-century United States, both liberalism and lyric sought self-definition by practicing techniques of exclusion. Liberalism was a political philosophy whose supposed universals were limited to white men and created by omitting women, the enslaved, and Native peoples. The conventions of poetic reception only redoubled the sense that liberal selfhood defined its boundaries by refusing raced and gendered others. Yet Zellinger argues that it is precisely the poetics of the excluded that offer insights into the dynamic processes that came to form the modern liberal and lyric subjects. She examines poets-Frances Sargent Osgood, Elizabeth Oakes Smith, Frances Ellen Watkins Harper, Edna St. Vincent Millay, and E. Pauline Johnson-whose work uses lyric practices to contest the very assumptions about selfhood responsible for denying them the political and social freedoms enjoyed by full liberal subjects. In its consideration of politics and poetics, this project offers a new approach to genre and gender that will help shape the field of nineteenth-century American literary studies.
The paper examines five poems in which the Portuguese Baroque poet Frei Jerónimo Baía (1620-1688) depicts the portrait of the beloved woman. Each of these texts features the list of the different ...body parts praised for their beauty, following a model already present in the Petrarchist tradition. Baía combines to this model, like other authors of the same period, a display of wit and a playful disposition for wordplay, hyperbole, and paradox.
Facing Loss and Death Huhn, Peter; Goerke, Britta; Plooy, Heilna du ...
2016, 2016-08-22, Letnik:
55
eBook
This study proposes the application of the methodology of narratology to the analysis of lyric poetry, specifically focusing on the progression and eventful turns in poems. The fruitfulness of this ...approach is demonstrated by the analyses of English poems from different periods addressing the traumatic experience of loss (death of a beloved person, one's own imminent death, loss of a stabilizing order) and employing various coping strategies.
Lyric poetry's response to a crisis of relevance in Victorian Modernity.This study explores lyric poetry's response to a crisis of relevance in Victorian Modernity, offering an analysis of literature ...usually elided by studies of the modern formation of the genre and uncovering previously unrecognized discourses within it. Setting the focal aestheticist poetry (c. 1860 to 1914) within much broader historical, theoretical and aesthetic frames, it speaks to those interested in Victorian and modernist literature and culture, but also to a burgeoning audience of the 'new lyric studies'. The six case studies introduce fresh poetic voices as well as giving innovative analyses of canonical writers (such as D. G. Rossetti, Ezra Pound, A. C. Swinburne).Key FeaturesChallenges and transforms existing narratives of the modern formation of the 'lyric' genre through engagement with a body of work that larger-scale genre histories elideOffers innovative analysis of aestheticist poetry from the 1860s to the early years of the twentieth centuryProvides three fresh theoretical frames to examine the relationship between poetry and modernityIncludes case studies featuring a range of literary figures such as D. G. Rossetti, Alice Meynell, Thomas Hardy, Michael Field, Arthur Symons, A. C. Swinburne and Ezra Pound
In the present essay, I argue that lyric ecopoetry is particularly suited to alter our worldview in favor of a more ecologically-aware stance. In itself this position has been announced by numerous ...ecocritics, with some doubts as to its adequacy expressed by Timothy Clark in his
. Partly in response to his critique, it is here argued that poems do offer a viable way of altering human modes of thinking not by what or how they evoke but by the way in which they register in the reader’s consciousness. To this effect, I depart from the theories of the lyric advanced in the last two decades by the likes of Jonathan Culler, Derek Attridge and the poet Don Patterson, all of whom argue that lyric poetry differs from any other form of linguistic expression in being itself the event it evokes rather than a representation of an event. This is because by dint of being performed by readers, lyric poems compel one to embrace the voices that comprise them as one’s own, as a result helping one interiorize an experience of ultimate otherness. It is this modus of poetry’s existence that makes it a particularly apt literary form for impelling one to appreciate the complexity of and one’s imbrication in the networks of planetary ecosystems. In this way, as I claim further on, poetry may be conceived of as a vehicle for instilling a form of thinking that Bruno Latour has recently theorized as Terrestrial. For him, the Terrestrial is characterized by what he calls the system of engendering, a way of dwelling in the interrelated systems of the Earth that is reciprocally beneficial for human and non-humans. After an overview of Latour’s idea, which is put forward as a potential political platform, and its relation to the extant theories of environmental humanities that emphasize poetry’s role in conjuring the awareness of the intricacy of natural processes, I suggest that lyric poetry offers not only a means of linguistic expression of the interdependence of all elements in any given ecosystem but also constitutes a language capable of swaying human modes of thinking in favor of the Terrestrial.
