Search results for "poetry"
showing 10 items of 497 documents
“Creating a National Heritage, Denying a National Crisis: The Atlantic CableCelebrations and Atlantic Cable Poetry”
2000
International audience
Of whales and men: Caitríona O’Reilly’s septentrional voyage in “The Sea Cabinet” (2006)
2021
International audience; The title-poem of Caitríona O’Reilly’s second collection – The Sea Cabinet – is a sequence of five ekphrastic pieces paying tribute to the city of Hull’s past as a major whaling port. As she perambulates through the galleries of the Maritime Museum, the Irish poetess is inspired by all the paraphernalia on display: skeletons of various species of whales, whaler’s tools but also journals, logbooks, paintings, illustrations and hundreds of examples of the folk art and mythemes of the whaler. From one poem to the next, O’Reilly depicts the northernness of the Arctic Ocean as eery but bewitching otherness, focusing on illustrations of Captain Graville’s whaling ship ice-…
The lexicon and poetics from Du Bellay's Regrets (1558) in post Pléiade spiritual poetry (1560-1600).
2022
Starting from an advanced analysis of the lexicon dealing with suffering, which is used in the Regrets, this works aims at revealing that spiritual poets from late 16th century employ the same words and phrases but with different meanings. Indeed the regret of the homeland becomes that of sins and the exiled poet's suffering becomes that of the sinner. The main topics of the Regrets such as the passing of time and the return to the homeland are used with a different meaning and, then, a different purpose. This work aims to study the transfer of vocabulary and poetics from a secular context to a religious and penitential one; spiritual poets also use the sonnet. Finally this PhD thesis inten…
L'image bruissante
2019
By making a dialogue between a selection of Pía Elizondo's black-and-white photographs and Coral Bracho's poems, we propose to question the textures and rustling forms in action in the photo-poetic object a priori silent. In spite of their own technicality, these esthesic expressions engage in converging gaze and listening: words, rhythms, images of light and shadow configure landscapes of outcrops, fleeting or lasting resonances, intensities territories and thus pose the problem of the figurability of silence and its circulation in the sensitive material. Playing here with the precarious limits of seeing and saying, always in tension with what escapes them, photography and poem alternately…
Identité composite et métissage dans « Letter to Friends » de Leontia Flynn
2015
In “Letter to Friends” (Profit and Loss, 2011), a long epistolary poem inspired by Letters from Iceland (1937) by W. H. Auden and Louis MacNeice, Leontia Flynn paints an introspective and retrospective self-portrait in which she examines all the elements that have formed her existence until her recent maternity. The identity that emerges from this intimate inventory is plural, “mixed” or “multi-breed” (Édouard Glissant), the cultural mix resulting not only from history, globalization and travel but also from temporal, linguistic and psychological shifts or ruptures.Flynn’s lyrical and polyphonic (if not cacophonous) piece, bursting with asides, debating a multitude of subjects in an infinit…
Undercurrents and crosscurrents revealed: Sinéad Morrissey’s parallactic poetry
2015
International audience; In Parallax (2013), her most recent collection of poems, Sinéad Morrissey is attracted to affections “embedded in our cells”, to realities “on the periphery”, to “what happens outside”, to “the accidental”, to “world[s] that can’t be entered”, to “conversation[s] no one else can hear”. She also explores oblique, alternative perspectives that she describes in “The Mutoscope” as “what-the-butler-saw perspective[s]”. Parallax – the optical phenomenon used in astronomy to measure the distance of nearby stars and celestial bodies - serves as the prime metaphor for Morrissey’s poetical and metaphysical quest: the implications of the angle of vision and distance on percepti…
"If Mine Had Been The Painter's Hand": When Wordsworth And Keats Re/Un-Write Paintings
2010
International audience
« Which poet in which poetry? Arthur Symons’s vision of Romanticism »
2013
International audience; This presentation discusses Arthur Symons's "The Romantic Movement in English Poetry" (1908)
‘Some Books for Snobs? Reflections on Symons’s Translations, Reception, Dissemination and the Book Market’
2019
International audience
"Over the last hill": Wilfred Owen's "Spring Offensive"
2021
Being the poet’s last completed piece, “Spring Offensive” makes France Wilfred Owen’s last poetic landscape. The article explores the ways in which “Spring Offensive” continuously crosses and blurs the borders between the French landscape and the poet’s English heritage; it also emphasizes the sensuousness of the landscape and of the war experience, so that the bodies of the soldiers and nature fuse and interact. “Spring Offensive” thus comes to reflect Owen’s search for balance, a search of which the French landscape becomes the natural yet symbolic representation.