Showing papers on "Lyricism published in 2017"
01 Jan 2017
TL;DR: In this article, the authors propose a method to improve the quality of the data collected from the data collection process of data collection and transmission................................................................................................................................ ii DEDICATION................................................................................................................
Abstract: ............................................................................................................................... ii DEDICATION ............................................................................................................................. ii
8 citations
TL;DR: Život je jinde (Life Is Elsewhere) as mentioned in this paper exposes the narcissistic underside of this subversive epoch through a highly subjective juxtaposition of the two major historical events that happened in the same year in Eastern and Western Europe.
Abstract: Contrary to widespread celebrations of the Western sixties as the antiauthoritarian heyday of “shining youthfulness” and “revolutionary lyricism” in contemporary cultures, Milan Kundera’s novel Život je jinde ( Life Is Elsewhere ), written shortly after the Soviet invasions of Czechoslovakia in 1968, exposes the narcissistic underside of this subversive epoch through a highly subjective juxtaposition of the two major historical events that happened in the same year in Eastern and Western Europe — Prague Spring and French May ’68. While Kudera’s idiosyncratic historical perspective, which perceived the Prague 1968 as more important than the May uprisings in Paris, may infuriate many Western readers, I argue that the book Život je jinde does not entertain a totally dismissive, unsympathetic attitude towards the revolutionary traditions of modern Europe at large. Relatively ignored by the critical world ever since its publication, Life Is Elsewhere not only outlines some radically alternative visions of the European sixties but also provides innovative ways to problematize the epistemological and ideological confines implicitly attached to the currently reigning liberal-democratic capitalism.
4 citations
TL;DR: The development of faith identity in African American churches has traditionally invested symbolic significance in the Exodus narrative as mentioned in this paper, and whether one considers the celebrated Black poet and abolitio......
Abstract: The development of faith identity in African American churches has traditionally invested symbolic significance in the Exodus narrative. Whether one considers the celebrated Black poet and abolitio...
3 citations
TL;DR: In this paper, a protocol of reading defined as an erotical pragmatics is proposed, grounded in a pragmatic dimension of the poem whose relevance is not based on the search for understanding, but takes place on the scene where desire tells itself, as it has been analysed by Jacques Lacan.
Abstract: Denis Roche’s poetry is a poetry which both calls for a rereading for its own sake, because of the strength of its lyricism, and which raises key issues for theory and critique, from structuralism until the current revival of aesthetics. Taking into account previous readings by C. Prigent, J.-M. Gleize and D. Kunz, here is proposed and illustrated a protocol of reading defined as an erotical pragmatics. It is grounded in a pragmatic dimension of the poem whose relevance is not based on the search for understanding, but takes place on the scene where desire tells itself, as it has been analysed by Jacques Lacan. It is therefore suggested that the reading scene cannot be dissociated from the scene of writing, in other words aesthetics from poetics, which is always a singular poetics.
3 citations
TL;DR: In this article, the authors explore the lyrical qualities of Hellenistic epigram not only by linking it to the lyric poems and tropes of the past but also by drawing on the modern understanding of lyric as genre or mode.
Abstract: Abstract: The paper explores the lyrical qualities of Hellenistic epigram not only by linking it to the lyric poems and tropes of the past but primarily by drawing on the modern understanding of lyric as genre or mode. Taking as a point of departure the notion of lyric subjectivity, it discusses the degree to which the poet’s voice is involved in the different types of epigram, namely dedicatory, sepulchral and erotic. An in-depth reading of selected epigrams from the Greek Anthology brings to light the various uses and emotional effects of the lyric ‘I’ within the rhetoric of the epigrammatic discourse.
2 citations
Book•
12 Jan 2017
2 citations
23 May 2017
TL;DR: In the opening ceremonies to the 2014 Sochi Olympic Games, intricately choreographed dance routines depicted an idealized view of Russian life, from the lyricism of a tsarist ball to the throbbing tempo of rapid industrialization as mentioned in this paper.
Abstract: In the opening ceremonies to the Sochi Olympic Games in 2014, intricately choreographed dance routines depicted an idealized view of Russian life, from the lyricism of a tsarist ball to the throbbing tempo of rapid industrialization. A celebration of cosmonaut Yury Gagarin’s 1961 space flight was followed by a parade of vintage carsand brightly clad stiliagi (hipsters) dancing in the street.
2 citations
31 Jul 2017
TL;DR: The authors compare Smith and Clare's sonnets to reassess our grand narratives of the Romantic sonnet revival using digital text analysis, revealing distinctive features of their form and style, and reveal how subtly they remade the sonnet to embody these new ways of seeing.
Abstract: In this article, I compare Smith and Clare’s sonnets to reassess our grand narratives of the Romantic sonnet revival. Using digital text analysis, I reveal distinctive features of their form and style. Both Smith and Clare give voice to new kinds of lyric consciousness in their sonnets. Smith’s sonnets explore unresolved contradictions of the psyche. Clare’s couplet sonnets set forth an objective and communal way of seeing the world. Text analysis reveals how subtly they remade the sonnet to embody these new ways of seeing. Both represent alternatives to Wordsworth’s “orbicular” notion of the sonnet’s form, and have great significance for our understanding of varieties of Romantic lyricism and Romantic selfhood.
2 citations
01 Jan 2017
TL;DR: In this paper, a forgotten lyric cycle Intermezzo by Mieczyslaw Jastrun, written from 1937 to 1939, published solely in 1947 in his Chosen Lyrics and disregarded by critics, is described, consisting of two unnamed parts: the lyrical and dramaturgical one (separated by a mystical, groundbreaking poem Nad Morzem (On the Seaside), which shows the transformation of poetical consciousness and the departure from the former lyricism towards a superindividual reflection).
Abstract: The article presents a forgotten lyric cycle Intermezzo by Mieczyslaw Jastrun, written from 1937 to 1939, published solely in 1947 in his Chosen Lyrics and disregarded by critics. In the paper, the structure of the writing was described, consisting of two unnamed parts: the lyrical and dramaturgical one (separated by a mystical, groundbreaking poem Nad Morzem (On the Seaside), which shows the transformation of Jastrun’s poetical consciousness and the departure from the former lyricism towards a historical and superindividual reflection. The structure of the cycle and its leading motive was — inter alia — underscored by the musical shaping of the whole. These hidden elements were unveiled in the analysis and interpretation of the poem. The actuality of the objectives of the article is meant to appear from the premises which elucidate the groundbreaking position of the cycle Intermezzo in the literary output of Mieczyslaw Jastrun. First of all, it separates Jastrun’s inter-war poetry from that written after 1941. Secondly, it shows the transition from the idealistic worldview of the author to a realistic one.
1 citations
05 Jul 2017
TL;DR: Schubert and Schubert were drawn to the Memnon myth for reasons different than Mayrhofer's as discussed by the authors, who was not alone in associating Memnon's wail with poetic speech.
Abstract: In March 1817 Franz Schubert composed the song "Memnon" to words by his friend Johann Mayrhofer. The martial aspects of the Memnon story actually find no place in either Mayrhofer's poem or Schubert's setting. Mayrhofer and Schubert were likely drawn to the myth of "Vocal Memnon" for somewhat different reasons. The myth not only suited Mayrhofer's classical leanings but also symbolized his personal plight. Memnon's twilight zone between life and death paralleled Mayrhofer's own tortured existence. In the opening lines of "Memnon" Mayrhofer seems to allude to his own painful condition: "Gewohnt zu schweigen immer und zu trauern." Mayrhofer was not alone in associating Memnon's wail with poetic speech. Biographical and musical evidence suggests that Schubert was drawn to the Memnon myth for reasons different than Mayrhofer's. In Mayrhofer's poem, his desire remains a fantasy; in Schubert's setting, the fantasy is realized in music that exudes both lyricism and simplicity.
TL;DR: The play 2666 as mentioned in this paper is a dramatization of the homonymous Roberto Bolano's novel, adapted by Pablo Ley and Alex Rigola and directed by this last one.
Abstract: In this paper we set out to analyze the play 2666 , a dramatization of the homonymous Roberto Bolano’s novel, adapted by Pablo Ley and Alex Rigola and directed by this last one. The staging keeps the complexity, fragmentariness and multiperspectivism of the novel, investing in intermediality as well as respecting faithfully the narrative tension of the original and the lyricism of Bolano’s word.
18 Sep 2017
TL;DR: This paper explored the writer's attachment to places whose importance and inspirational value were such that he even thought of them as possible principles of thematic organization in cycles for his entire literary production, that is Cecina, Volterra, and the inland of Maremma.
Abstract: Tuscany is for Cassola, who was born and had long been living in Rome, a land of choice where he moved after his Twenties and set almost all his works. The paper explores, both from a biographical and a literary point of view, the writer’s attachment to places whose importance and inspirational value were such that he even thought of them as possible principles of thematic organization in cycles for his entire literary production, that is Cecina, Volterra, and the inland of Maremma. The literary transposition of these beloved places is informed by the astonishment he felt when he discovered them as an adolescent on holiday. The beauty of landscapes is described with the lyricism of his writing’s existential realism.
TL;DR: Isabel Quintanilla as mentioned in this paper is one of the most outstanding members of the so-called "Madrilenian Realism", a group of artists who choose the reality, especially everyday reality, as a core reason of their work.
Abstract: Isabel Quintanilla is one of the most outstanding members of the so called «Madrilenian Realism», a group that includes a number of artists who choose the reality, especially everyday reality, as a core reason of their work. Following that artistic trend which she has supported since the very beginning of her artistic life, without paying any attention to other tendencies or fashions, Isabel Quintanilla´s paintings reveal the artist’s emotion facing the nature of things. Therefore, and though at first sight her work might be considered close to the American hyper realistic painting (due to the perfection of her brush stroke, some aspects on details or similar subjects), in fact the techniques used by the painter as well as the atmosphere, the lyricism covering her paintings keep her firmly away from that tendency, with which she was so wrongly related to. The following analysis is based on unknown conversations of the author of this study with the artist herself, as well as on opinions of other experts on her painting.
25 Aug 2017
TL;DR: In this article, a comparative reading of two important poem books of twentieth-century Brazilian lyric: Dentro da noite veloz (1975), by Ferreira Gullar and Sentimento do mundo (1940) by Carlos Drummond de Andrade is presented.
Abstract: The article aims to illuminate elements for the comparative reading of two important poem books of twentieth-century Brazilian lyric: Dentro da noite veloz (1975), by Ferreira Gullar and Sentimento do mundo (1940) by Carlos Drummond de Andrade. Four poems are analyzed to collect these elements: “Agosto 1964” and “O acucar” by Gullar and “Noturno a janela do apartamento” and “Elegia 1938” by Drummond. From the analysis, the article seeks to point out similarities and verifiable differences in the participating lyricism of the two poets. --- DOI: http://dx.doi.org/10.25094/rtp.2017n23a433
01 Jan 2017
TL;DR: In this article, a poetic and personal meditation on reading Lidia Yuknavitch, Stephanie Glazier interrogates the memoir's varied narrative modes, including lyricism, lists, fragments, and portmanteaus, while performing the kind of relationship with her readership.
Abstract: In this poetic and personal meditation on reading Lidia Yuknavitch, Stephanie Glazier interrogates the memoir’s varied narrative modes—including lyricism, lists, fragments, and portmanteaus—while performing the kind of relationship Yuknavitch herself builds with her readership. Such narrative hybridity, Glazier argues, is part of Yuknavitch’s project as a feminist writer exploring emotively difficult storylines, most centrally her experiences of abuse and the stillbirth of her first child. The traditional abstract included here is merely a content teaser and, we hope, reads ironically against the innovative critical work that follows. If you wish to read more about the process by which this author undertook writing this essay, as well as the critical stakes of its production, please see the introduction to the volume as well as the accompanying anti-abstract at the close of the chapter.
01 Jan 2017
TL;DR: This paper studied the border-crossing democratic texture of Barrett Browning's civic soul as she experimented with forms that aspire to voice the hardships, frustrations, and aspirations of disenfranchised communities at home and abroad.
Abstract: This chapter studies the border-crossing democratic texture of Barrett Browning’s civic soul as she experiments with forms that aspire to voice the hardships, frustrations, and aspirations of disenfranchised communities at home and abroad Calibrating lyricism with dissonance, the poet uses her imitative harmonies to urge factory reform (“The Cry of the Children” [1843]), protest against slavery (“The Runaway Slave at Pilgrim’s Point” [1847–8]), and support the Italian quest for liberty and self-governance (Casa Guidi Windows [1851] and “Napoleon III in Italy” [1860]) Moving her Anglo-American reader-listeners literally and figuratively with her poetry, she encourages them to imagine caring transnational communities of free and equal citizens In the process, EBB’s own soul—inflected by an unshakable Dissenter’s belief in Christian love—emerges as a force for faith in an ethical politics, despite the increasing cynicism and opportunism of pragmatist politicians