Based on considerations taken from Marco Santagata’s celebrated study of Aragonese lyric poetry, this article provides new perspectives on southern Italian poetry through the privileged lens of ...correspondence in verse. The corpus examined includes addressees found in the old-guard (“vecchia guardia”) canzonieri, which, from Italian scholar Carlo Dionisotti onwards, refers to poets such as Giovanni Aloisio, Giovan Francesco Caracciolo, Pietro Jacopo De Jennaro, and Giuliano Perleoni. Despite the inclusive nature of this list, Francesco Galeota, often ignored even by specialized studies, needs a separate mention, not only due to the peculiarities of his canzoniere’s conetent and form, but also due to the special interest that his compositions exhibit in relation to the typology of epistolary in verse.
Muovendo da alcune considerazioni desunte dal celebre volume sulla lirica aragonese di Marco Santagata, il contributo fornisce nuove prospettive sulla poesia meridionale mediante la specola privilegiata della corrispondenza in versi. Il corpus esaminato si compone di tutti i testi con destinatario prelevati dai canzonieri di vecchia guardia, etichetta con cui, da Carlo Dionisotti in poi, ci si riferisce a poeti come Giovanni Aloisio, Giovan Francesco Caracciolo, Pietro Jacopo De Jennaro e Giuliano Perleoni. Pur rientrando nella gamma di questa classificazione, il caso di Francesco Galeota, spesso ignorato anche dagli studi specializzati, costituisce un discorso a parte, non solo per le particolarità contenutistico-formali che il suo canzoniere offre, ma altresì per l’interesse che i componimenti rivestono relativamente al discorso sulla corrispondenza in versi.
Working backwards from its point of broadcast, on the BBC’s Third Programme on 25 January 1954, at 8:45 pm, the story of Under Milk Wood’s genesis and development has been well-accounted for by ...various critics.1 Trickier to solve or address than its history, though, has been the question of Under Milk Wood’s form. How we ought to define Under Milk Wood is a rhetorical point often raised, but rarely explored or answered satisfactorily. ‘Is it a play? Is it a poem?’, asks Gillian Clarke, who settles on defining it as a ‘long poem for voices, and radio its perfect medium’; I am grateful to an anonymous reader of William Moynihan’s The Craft and Art of Dylan Thomas (1966), who, in response to the dismissal that ‘Under Milk Wood is neither good poetry nor good drama’, pencilled in the question, ‘but brilliant radio drama?’2 Of the problems manifest in this equivocating, a few stand out: a lack of definition for the terms ‘play’ or ‘poem’; the significance of plumping for one term over another; why or whether a text’s form matters; how form might behave differently listened to rather than read; and how the idea of inhabitation by voice might be imagined differently in text for radio rather than prose or lyric poetry. This article aligns itself with Moynihan’s anonymous reader and contends that Under Milk Wood’s deliberate formal intractability is related to its origin as a ‘Play for Voices’.
Emily Harrington offers a new history of women's poetry at the turn of the century that breaks from conventional ideas of nineteenth-century lyric, which focus on individual subjectivity. She argues ...that women poets conceived of lyric as an intersubjective genre, one that seeks to establish relations between subjects rather than to constitute a subject in isolation.
Moving away from canonical texts that contribute to the commonly held notion that lyric poetry is an utterance made in solitude, Harrington explores the work of Christina Rossetti, Augusta Webster, A. Mary F. Robinson, Alice Meynell, and Dollie Radford to show how nineteenth-century poetic conventions shaped and were shaped by concepts of intimacy. Writing about relationships that are familial, divine, sexual, literary, and musical, these poets reconsidered the dynamics of absence and presence, and subject and object, that are at the heart of the lyric enterprise.
Harrington locates these poets' theories of intimacy not only in their formal poetic practice but also in diverse prose works such as prefaces, literary and devotional essays, and unpublished letters and diaries. By analyzing various patterns of versification and modes of address, she articulates new ways of thinking about the bonds of verse and enlarges our understanding of verse culture in the late nineteenth century.
‘A slumber did my spirit steal, /I had no human fears.’ Given that Wordsworth’s celebrated lyric is suspended in its entirety above this essay, there is a decent chance that you, reader, will have ...noticed the typographical error in that opening quotation: a slumber did my spirit steal. Then again, perhaps not. Exactly that typo, or misquotation, or mishearing, or misremembering, has proven to be a surprisingly pervasive one, and the poem has been accidentally made into one about stealing by readers both relatively unfamiliar with Wordsworth and those very familiar indeed. Wherefore the insistence of this misidentification? It could well be that there is something in the sounds of ‘A slumber did my spirit seal’ that has us hear too much. It is this poem, after all, that Laura Mandell turns to when making the case that ‘Wordsworth’s poetry can move the reader from seeing visual to hearing acoustic images by exploiting the very visuality of the printed letter’.34 Accepting something of the truth of that assertion, what follows is an investigation of the possibility that ‘A slumber did my spirit seal’ wants to be misheard, and indeed that good interpretation is sometimes an event of over-hearing or hearing too much.
Some remarks on Elytis’ Crinagoras Luciani, Cristiano
Byzantine and modern Greek studies,
10/2022, Letnik:
46, Številka:
2
Journal Article
Recenzirano
Ancient Greek poets such as Alcaeus and Sappho, and later Crinagoras, took on through Elytis’ poetry a new literary significance, thanks to his personal reconstruction of fragments and the epigram ...respectively. The technique of reconstruction from fragments or restoring epigrams is not unconnected with the type of so-called ‘prismatic expression’ used by Elytis in the creation of his own poetry: a prism's polyhedral and crystalline form allows for the coexistence of facets significant in themselves, but which, when arranged in a new composition, create a new and harmonious entity.
Simeoni and colleagues introduced a compartmental model for tumor growth that has proved quite successful in modeling experimental therapeutic regimens in oncology. The model is based on a system of ...ordinary differential equations (ODEs), and accommodates a lag in therapeutic action through delay compartments. There is some ambiguity in the appropriate number of delay compartments, which we examine in this note.
We devised an explicit delay differential equation model that reflects the main features of the Simeoni ODE model. We evaluated the original Simeoni model and this adaptation with a sample data set of mammary tumor growth in the FVB/N-Tg(MMTVneu)202Mul/J mouse model.
The experimental data evinced tumor growth heterogeneity and inter-individual diversity in response, which could be accommodated statistically through mixed models. We found little difference in goodness of fit between the original Simeoni model and the delay differential equation model relative to the sample data set.
One should exercise caution if asserting a particular mathematical model uniquely characterizes tumor growth curve data. The Simeoni ODE model of tumor growth is not unique in that alternative models can provide equivalent representations of tumor growth.
In a world increasingly defined by prose, poets adapted the new forms, characters, and moral themes of the novel in order to reinvigorate poetic practice.
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