This article addresses how the poetry of the Northern Irish Troubles enters into a dialogue with the memory of World War II. Poems by Michael Longley, Seamus Heaney, Derek Mahon, and Sinéad Morrissey ...are analysed, showing how World War II is a controversial source of comparison for these poets. While World War II provides important ways of framing the suffering and claustrophobia of the Northern Irish conflict, evident differences also mean that such comparisons are handled warily and with some irony. The poems are highly self-conscious utterances that seek to unsettle and develop generic strategies in the light of traumatic suffering. This essay draws on Michael Rothberg’s concept of multidirectional memory, and it also makes use of Alison Landsberg’s notion of prosthetic memory in order to highlight how Seamus Heaney in particular makes use of the World War II memories mediated by popular culture to respond to the Troubles.
To whom does a poem speak? Do poems really communicate with those they address? Is reading poems like overhearing? Like intimate conversation? Like performing a script? William Waters pursues these ...questions by closely reading a selection of poems.
This study aims to investigate women between the ages of 50 and 70 who write and perform spoken word poetry, through which they wish to lead positive social change, by turning the culture of silence ...into open discourse. This period represents a new phase of life. These women are at an "in-between" phase of being no longer young but not yet old and are between life roles. This is a new age group that has not yet been studied. We argue that this stage of life requires a new term. The term chosen for this study is advant-age because it implies the advantages and opportunities that this period of life affords. Although this group of women is growing in relation to the general population, the ageism and sexism they experience are increasing, creating a gradual process of social exclusion and reduction in their agency. Spoken Word Poetry (SWP) is written on a page but performed live in front of an audience. It is a poetic piece that includes rhythm, rhyme, and sometimes humor, which help convey complex messages with finesse. The importance of the current research lies in revealing a new and unresearched social phenomenon that has been developing in Israel in recent years: Advant-aged women are discussing issues that society usually silences, using methods that traditionally have been associated with younger groups. Through SWP, advant-aged women are enabling the possibility of raising these issues for public discussion and creating an opportunity for social change.
With reference chiefly to Dickicht (2011) and ich bin ein Feld voller Raps, verstecke die Rehe und leuchte wie dreizehn Ölgemälde übereinandergelegt (2016) this paper will demonstrate that voice is a ...key concern of the poet and that the voices created in Sandig's collections are deliberately constructed in various ways. Some contain literary quotations, some play with fairy tales and nursery rhymes. At issue for Sandig more than anything else is the 'Hörbarkeit der Dichtung': finding a voice for poetry, which also challenges conventional understandings of the link between voice and identity. What is more: many of the poems have a simultaneous life as songs, sound pieces, or in relation to films; others emerge in collaboration with artists, musicians or composers. This paper teases out Sandig's project with reference to her collections, her multi-media work, recent commissions and 'Lied aus dem Off', her lecture on voice as part of her Poetikdozentur in Mainz (2017) in order to understand how the idea of voice relates to her other literary concerns.
Edward Thomas's (1878-1917) poem 'Words' (26-8 June, 1915) is an ars poetica written in 'Skeltonics', the accentual rhythm associated with the Tudor court poet John Skelton (c. 1463-1529). The ...Skeltonic is a short, seemingly formless line for lyric poetry, being 'generally homogenous in plan but susceptible of minor variations', as George Saintsbury wrote in his History of English Prosody (1906).1 It has between two and six syllables, which can have between two and four accents, and it is never cross-rhymed. Rather, it frequently involves extensive end rhyme, which appears in torrents with no clear regulating principle. Internal rhymes also contribute...
Internet poetry clips are a multimedial hybrid form that comingles features of different literary genres, such as lyric, epic, and drama; different modal catego ries, such as spoken language, ...writing, gestures, and facial expressions; and medial modes, such as text, performance, video clip, and documentary. This paper deals with the central features of three selected internet poetry clips: “A Brown Girl’s Guide to Gender” by Aranya Johar, “Water” by Koleka Putuma, and „Ohne mich“ by Sandra Da Vina. The focus is on the media-specific forms of personal union between author and performer in each of these works.
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!['I am a Double-voiced [...]...](http://api.summon.serialssolutions.com/2.0.0/image/issn/XR4PS5YY4K/0078-7191/small "'I am a Double-voiced [...] Bird': Identity and Voice in Ulrike Almut Sandig's Poetry")
