Litteraturstudier: lyrik og lyrikere

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Can love poetry be the site of a creative partnership? When a poem is written by the male poet for the woman he loves, both addressed to her and taking her as its object, how does ¿ how can ¿ she interact with it?This book represents a foray into the love poetry of Jacques Roubaud, tracing a lifetime of writing from the ardour of first love to the pain of grief and loss. The author brings Roubaud¿s poetry into proximity with evolving views on the sexual relation from Freud, Lacan and Irigaray in readings that consider the ties between poet and lover, poet and reader. At the centre of it all is the poet¿s engagement with form: the free verse style of the Surrealists that was popular in his youth, the form-orientated writing he turns to as a response to his self-doubt as a writer, and the collapse of metre and rhythm when he mourns the death of his wife. Is form a device for the confinement of the feminine presence in his poems, or does Roubaud construct spaces in his poetry for his lover ¿ his other ¿ to be?

"It's nearly impossible to write poetry that holds the human desire for joy and the insistent agitations of protest at the same time, but Lena Khalaf Tuffaha's gorgeous and wide-ranging new collection Something About Living does just that. Her poems interweave Palestine's historic suffering, the challenges of living in this world full of violence and ill will, and the gentle delights we embrace to survive that violence. Khalaf Tuffaha's elegant poems sing the fractured songs of Diaspora while remaining clear-eyed to the cause of the fracturing: the multinational hubris of colonialism and greed. This collection is her witness to our collective unraveling, vowel by vowel, syllable by syllable. "Let the plural be a return of us" the speaker of "On the Thirtieth Friday We Consider Plurals" says and this plurality is our tenuous humanity and the deep need to hang on to kindness in our communities. In these poems Khalaf Tuffaha reminds us that love isn't an idea; it is a radical act. Especially for those who, like this poet, travel through the world vigilantly, but steadfastly remain heart first. -Adrian Matejka, author of Somebody Else Sold the World"--

"Nonbinary Bird of Paradise shakes its tail feathers, reveling in a body that cannot be contained in gender binaries. Its opening sequence re-imagines the Judeo-Christian Eve as a queer person who, instead of eating of the proverbial forbidden fruit, conjures a femme lover: "God made man / in his own image, / so they say. / So I made a beloved / in mine," she says. Eve's power triggers a jealous God to manipulate Adam toward behaviors of toxic masculinity and to exile the two humans from the Garden of Eden. This retelling, accompanied by other retellings of classical and biblical narratives, indicts the ways in which religion and myth have created and buttressed compulsory heterosexuality. Elsewhere in the collection, Phillips delights in the autobiography of their imagination, the rendering of self after self after self. "Would you stay // & watch me," Phillips asks in the titular poem, wondering if the beloved will deem them desirable, even though they are masculine without being a man, "even / though / I have no blue velvet / skirt or ruby-raw / throat?""--

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Harpreet Kaur, writing under her pen name 'Rizak Kaur,' offers a soul-stirring collection of poetry that seeks to awaken the inherent power of love and authenticity within each reader. This book is not just a collection of poems; it's an invitation to embark on a transformative journey towards living a heart-centered life, radiating compassion, and embracing your unique essence.At the core of this book lies the philosophy that each individual is akin to a unique flower, poised to blossom into their full potential. Author's verses are crafted to nurture this process, encouraging readers to be gentle with themselves, just as they would with a delicate flower. Her words are a gentle reminder of the unconditional love that flows within us, a potent force that transcends societal status or external validation.Harpreet's personal journey of reconnecting with her Punjabi heritage infuses her poetry with a profound sense of authenticity and cultural pride. Growing up, she noticed that her proficiency in English was lauded, while her mother tongue, Punjabi, was not given its due respect. In this book, she beautifully intertwines the essence of her first language with the universality of her message, inspiring readers to honor their own cultural and linguistic roots.This book is more than just a poetry book; it's a beacon of hope and love, guiding you closer to your heart and the boundless love that defines your true self. Let each page light your path to self-discovery and the realization of your limitless nature.Join Harpreet Kaur on this heartwarming journey and discover the beautiful flower that you are.About the Author:Harpreet Kaur, also known as Rizak Kaur, is a bilingual writer skilled in both prose and poetry. Her work is a heartfelt tribute to her mother tongue and a testament to the beauty of embracing one's linguistic and cultural heritage. Harpreet not only shares her journey but also extends a hand to those seeking to reconnect with their own roots in a world that often overlooks the beauty of diversity.

Tân¿r¿, prea tân¿r¿ pentru valul între- b¿rilor care o caut¿, tr¿ie¿te äteptând r¿spunsuri pe care singur¿ trebuie s¿ le afle.N¿zuin¿a spre ascez¿ nu-i pornit¿ doar din necesitatea de autoîn¿l¿are moral¿, ci ¿i o form¿ de autoap¿rare fiind sedus¿ de dorin¿i "..plecat¿ cu durere"Întreb¿rile cad brutal, f¿r¿ minim¿ coloratur¿ retoric¿, vizeaz¿ elemente grave ale existen¿ei, consecin¿¿ a tine- re¿ii agitate de nevoia acut¿ de adev¿r Minciuna, conventionalul, pot s¿-i invadeze fiin¿a (¿i lirica): ¿Degetele miros a calimar¿/ Cuvintele transmit parfum de hârtie". dar literele s-au transformat în râni adânci". M¿rturisind pendu- larea între suferin¿¿ ¿i speran¿¿, între lumina adev¿rului ¿i neguraincertitudinilor, poeta se dezv¿luie suflete¿te cu o privire sever¿ adresat¿ sie¿i, dar ¿i lumii c¿reia ii apartine. Vechii gânditori crestini au ajuns la concluzia c¿ forma supe- rioar¿ de poezie este cea de laud¿ a lui Dumnezeu.Impins¿ de valul propriilor nemul¿umiri, poeta noastr¿ presim-te mi¿carea chiar dac¿ nu ¿i consecinteleDan Laz¿rescu

This book is the first collection of essays dedicated to the work of C. H. Sisson (1915-2003), a major English poet, critic and translator. The collection aims to offer an overall guide to his work for new readers, while also encouraging established readers of one aspect (such as his well-known classical translations) to explore others. It champions in particular the quality of his original poetry. The book brings together contributions from scholars and critics working in a wide range of fields, including classical reception, translation studies and early modern literature as well as modern English poetry, and concludes with a more personal essay on Sisson¿s work by Michael Schmidt, his publisher.

This edited collection explores the work of highly awarded and twice American Poet Laureate W. S. Merwin. Spanning Merwin¿s early career, his mid-career success, his Hawaiian epic, his eco-poetry, his lesser-known later poetry and the influence of Buddhism on his work, the volume offers new perspectives on Merwin as a major poet. Exploring his works across the twentieth and twenty-first century, this collection presents Merwin as a necessary and contemporary poet. It emphasizes contemporary readings of Merwin as an environmental advocate, showing how his poetry seeks to help each reader re-establish an intimate relationship with the natural world. It also highlights how Merwin¿s work presents our place in history as a pivotal moment of transition into a new era of international cooperation. This volume both celebrates his life and writing and takes scholarship on his work forward into the new century.

Dear Readers, This collection of my poems is based on the beauty of life, happiness, sadness, romance, love of motherhood, and nature. My poems are a reflection of myself, my thoughts, my feelings, and in the end they all have a message for myself, which can easily be applied to anyone else as well. I can honestly say that they are my heart and soul. Hope you enjoy reading them as much as I enjoyed writing them.

This book is a collection of academic essays that examines the representation, esthetics and dichotomy of the notions of grief and melancholy in East¿West exchanges and cultural dialogues. It explores the topic in the dimensions of individual behaviors under specific social norms and cultural products such as literature, film and any other forms of arts/genres, etc.In his 1917 work Mourning and Melancholia (Trauer und Melancholie), Sigmund Freud connected the grief of loss with melancholic emotions which may give rise to acts of mourning. He suggested that ¿[i]n mourning it is the world which has become poor and empty; in melancholia it is the ego itself¿ (Freud, 1917: 246). Inspired by Freud¿s stance and with the goal of providing up-to-date intellectual resources for academics, researchers and students with ardent interests in the varying exemplifications of grief and melancholy in Sino-Western contexts, the book serves more than a discussion over the pragmatic and ritualistic connections of grief and melancholy in relation to the inner self and the external world. It aims at the pursuit of a contemporary theorization of grief and melancholy beyond its modern limits.

This book covers nineteenth-century American poet Emily Dickinson who captured the multifaceted nature of life in all of its uncertainties. Studies on her exploration of faith are ample, but in this book, the author uncovers Dickinson¿s playful role-play in enacting solemn themes of religion, death, and the unknown. Dickinson¿s creativity encompasses not only her use of language but also her poetic personae and self-created poetic stages inviting readers to question, contemplate deeply or even poke fun at life's absurdities. By using performative roles such as the rejected outcast, passive supplicant, and playful warrior, Dickinson unveils--through a paradoxical framework of belief and unbelief-- a line of inquiry that is multifocal and erratic to ¿tell all the truth and tell it slant.¿

This book analyses the evolution of literary and artistic representations of the soul, exploring its development through different time periods. The volume combines literary, aesthetic, ethical, and political considerations of the soul in texts and works of art from the seventeenth to the twenty-first centuries, spanning cultures and schools of thought. Drawing on philosophical, religious and psychological theories of the soul, it emphasizes the far-reaching and enduring epistemological function of the concept in literature, art and politics. The authors argue that the concept of the soul has shaped the understanding of human life and persistently irrigated cultural productions. They show how the concept of soul was explored and redefined by writers and artists, remaining relevant even as it became removed from its ancient or Christian origins.

The book contains contributions on the significance of German culture for Romanian art, language, and literature. Not only will the direct influence of German role models on Romanian culture be discussed, but it will also show how this influence set in motion a whole series of socio-cultural and artistic shifts that allowed Romanian culture to better understand its position in the European world.Das Buch enthält Beiträge zur Bedeutung der deutschen Kultur für die rumänische Kunst, Sprache und Literatur. Erörtert wird nicht nur der direkte Einfluss deutscher Vorbilder auf die rumänische Kultur, sondern es wird auch aufgezeigt, wie dieser Einfluss eine ganze Reihe soziokultureller und künstlerischer Veränderungen in Gang gesetzt hat, die der rumänischen Kultur ermöglichten, ihren Platz in der europäischen Welt besser zu verstehen.

This book considers Samuel Taylor Coleridge¿s engagement with ¿Whig poetry¿: a tradition of verse from the eighteenth century which celebrated the political and constitutional arrangements of Britain as guaranteeing liberty. It argues that, during the 1790s, Coleridge was able to articulate radical ideas under the cover of widely accepted principles through his references to this poetry. He positioned his poetry within a mainstream discourse, even as he favoured radical social change. Jacob Lloyd argues that the poets Mark Akenside, William Lisle Bowles, and William Cowper each provided Coleridge with a kind of Whig poetics to which he responded. When these references are understood, much of Coleridge¿s work which seems purely personal or imaginative gains a political dimension. In addition, Lloyd reassess Coleridge¿s relationship with Thomas Percy¿s Reliques of Ancient English Poetry, to provide an original, political reading of ¿The Rime of the Ancyent Marinere¿. This book revises our understanding of the political and poetic development of a major poet and, in doing so, provides a new model for the origins of British Romanticism more broadly

This book reinterprets C. P. Cavafy¿s historical and archaeological poetics by correlating his work to major cultural, political and sexualized receptions of antiquity that marked the turn of the 20th century. Focusing on selected poems which stage readings of Hellenistic and late ancient texts and material objects, this study probes the poet's personal library and archive to trace his scholarly sources and scrutinize their contribution to his creative practice. A new understanding of Cavafy's historicism emerges by comparing his poetics to a broad array of discourses and intellectual pursuits of his time; these range from antiquarianism, physiognomy and Egyptomania to cultural appropriations of the classics which sought to legitimate British colonial rule as well as homoerotic desire. As this volume demonstrates, Cavafy embraced antiquarianism as an empathetic and passionate way of relating to the past and shaped it into a method that allowed his poetry to render modern meanings to Hellenistic antiquities.

Explores the various ways in which poetic and philosophical writing meet in texts by, and on, Paul Celan.

"Zarar Dar Zar" by Hasib Ahrari is a collection of Persian poetry that stands as a testament to the emotional depth and profound sensitivity of its creator. This compilation is not just a mere assortment of verses; it explores human conditions, delves into a myriad of themes such as love, sorrow, patriotism and the intricate blend of pain and pleasure that defines our existence. Ahrari's work is a beautiful fusion of traditional Persian poetic influences and contemporary relevance, making it unique and enjoyable to read. In this collection, while skillfully drawing parallels with the poetic ambience of traditional Persian poets, yet Ahrari's voice remains distinct and contemporary, reflecting his unique worldview and personal experiences as someone hailing from a rich cultural yet tumultuous political landscape of Afghanistan. While maintaining a deep connection to the rich heritage of Persian poetry, "Zarar Dar Zar" is a work infused with deep emotional and humanistic elements.

Questa raccolta di poesie spiritualmente ispirate, di sentimento iniziatico e ancora di emozioni e sentimenti umani si chiude con un'appendice su un fatale incontro tra l'Autore e un ignoto poeta ivoriano davanti a una libreria. Le poesie di Francesco Angioni hanno l'entusiasmo per la parola di certi romanzi sudamericani. C'è la nostalgia di un'era perduta ma non dimenticata come i giochi d'infanzia e Angioni gioca con i versi con l'emozione delle ossessioni, degli amori, dei dolori, delle vicissitudini di un navigatore nella vita. Sono spesso poesie pirotecniche come i fuochi d'artificio oppure colpi secchi di ramo che si spezza, come i suoi haiku. Talora sono colpi forti alla mente e al cuore che ti fanno fare un passo in avanti, verso un futuro agognato seppure ignoto La varietà dei sentimenti ed emozioni, il senso della vita e anche della morte pervade questa collezione dando il motivo di definirla "canti", cioè opere di musicale spiritualità. Le emozioni che traspirano dai versi hanno più il senso di sentimenti che cercano una via di elevazione piuttosto che la descrizione di ambienti naturali o umani. Queste poesie, così come la lunga serie di haiku, è il giocare della lingua in sé e per sé e il gioco non dà significati univoci, non è produttivo economicamente.