'En vue de plus tard ou de jamais': Poetic Community in Stephane Mallarme's Tombeaux

2014 ◽  
Vol 68 (3) ◽  
pp. 328-343
Author(s):  
R. Pekron
Keyword(s):  

Author(s):  
Jennifer Batt

Nearly every monthly magazine published in the eighteenth century had a poetry section, a regular slot given over in each issue to poetic expression of all kinds, written by a broad range of writers, both male and female, provincial and metropolitan, amateur and established. This chapter assesses the place that women poets, both familiar and unfamiliar, occupied in the rich poetic culture that made magazines possible. Jennifer Batt’s case studies are drawn from national periodicals such as the Gentleman’s Magazine (1731–1922), London Magazine (1732–85) and British Magazine (1746–51), as well as from regional magazines. Collectively, these examples shed light on the possibilities that periodicals made available to female poets (of giving them a voice, a readership, a public profile and place within a poetic community). At the same, Batt demonstrates that women could be exploited by the medium and its editorial practices (publishing without author consent, for instance, or intrusive framing of poems) in ways that have overdetermined women poets’ critical reception.



Author(s):  
Marion Thain

The first case study of this part of the book teases out of Swinburne’s metrical masochism a perversely chaste account of lyric community, in which poetic form works to imagine a chorus of voices. Starting with poem ‘Anactoria’, one of the best known poems of Poems and Ballads (1866), the chapter analyses the questions of genre and poetic community posed in Swinburne’s early work. Reading on through his oeuvre this impulse might find a natural outlet within Swinburne’s politically-engaged work of the 1870s, but what about the more Parnassian ‘A Century of Roundels’ (1883)? Close reference to this volume, enables the chapter to demonstrate models of lyric collectivity in poems that are far from any ’dramatic monologue’ model—and ultimately provides the tools to offer a fresh engagement with ‘Anactoria’. Comparison with the poems of Oscar Wilde helps focus the issues of poetic subjectivity and connect with Wilde’s infamous d commentary on Swinburne’s poetic subjectivity.



2020 ◽  
Vol 63 (5-6) ◽  
pp. 788-819
Author(s):  
Shayan Rajani

Abstract This article examines a turn towards the region in two genres related to Persian poetry in eighteenth-century Sindh, the bayāẓ or poetic anthology and taẕkira or biographical dictionary. I argue that poets in Sindh’s premier city, Thatta, established Sindh as an organizing principle for poetry and the poetic community, initiating a process of regionalization in Persian after the end of Mughal rule. Notably, this was done without the patronage or encouragement of the regional successors to the Mughals in Sindh. These poets neither sought out vernaculars, nor predicated regionalization upon cultural difference. Rather, regionalization without vernacularization was the basis for their participation in the transregional enterprise of Persian poetry in a milieu where the Mughals and their officials were no longer sources of patronage or of poetic standards. The case of Persian poetry in Sindh calls for rethinking the function and status of Persian beyond its role as a language of power and for considering the role of Persian poets in bringing the region to renewed cultural salience in eighteenth-century Sindh.



2020 ◽  
pp. 181-198
Author(s):  
Lynn Domina

Gerard Manley Hopkins’s environmental concerns are not only ecological but also “ecotheological” in that he addresses both the relation of organisms to one another and their connection to divinity. Ecotheology (creation-centered approaches to theology) differs from ecocriticism (literary criticism centered on environmental awareness), and there is a tradition of ecotheological thought within Catholicism, ranging from St. Francis of Assisi to Gerard Manley Hopkins to Pope Francis. In poems like “Binsey Poplars,” “As kingfishers catch fire,” and “God’s Grandeur,” Hopkins’s Christian symbolism and ecotheological themes demonstrate that, for him, nature’s importance stems from its sacredness. These Hopkinsian strands are picked up by three contemporary poets—Denise Levertov, Pattiann Rogers, and Martha Silano—who, though not as orthodox as Hopkins in their religious views, nevertheless share his ecotheological impulses. These writers represent, together with their Jesuit predecessor, “a particular poetic community” that, like the God of Genesis, sees an inherent goodness and value in creation. These contemporary poets are examples of the many writers who have echoed Hopkins’s ecotheological concerns.



SubStance ◽  
2014 ◽  
Vol 43 (3) ◽  
pp. 107-119
Author(s):  
J. Holland ◽  
E. Landgraf ◽  
R. Vallury
Keyword(s):  


Author(s):  
Oren Izenberg

In this concluding chapter, the author makes a sort of experiment in imagining his argument about the history of poetry as a prescription for reading rather than writing. The author addresses the two concerns he has raised in this book: to think about the nature or structure of collective intentions, and to offer a defense of a kind of intense and deliberated inattention to poems. The discussion is partly autobiographical, taking the author's own use and abuse of poetry as a case study. The author reflects on how he sought to read a poem, A. R. Ammons's Tape for the Turn of the Year with another person, but at a distance—“together apart.” He explains how reading poems together may promote an attitude of indifference toward the specificity of any poem in the greater interest of solidarity with other persons. He also proposes an alternative to models of poetic community built around conversation, interpretation, or translation.





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