Guido Guinizzelli

2020 ◽  
pp. 59-81
Author(s):  
David Bowe
Keyword(s):  
Thirteenth Century ◽  
Poetic Voice ◽  
External Forces ◽  
The Voice ◽  
Literary Networks

Chapter 2 introduces the poetry of Guido Guinizzelli in the context of thirteenth-century literary networks and exchange, especially the tenzone tradition. The chapter focusses on Guinizzelli’s outward-looking version of dialogic subjectivity, through which he refines his poetic voice in relation to, and response to, external forces and others’ voices, including Guittone and Bonagiunta. The analysis of Guinizzelli’s poems, including ‘Al cor gentil’ shows how his subjectivity and poetics develop through the statement and restatement of poetic positions in the dialogic interactions of tenzoni with other poets and in dialogue with the voice of God.

Stevie Smith's serious comedy

2009 ◽  
Vol 22 (3) ◽  
Author(s):  
Mark Halliday
Keyword(s):  
Romantic Love ◽  
Poetic Voice ◽  
Romantic Passion ◽  
Stevie Smith ◽  
The Voice ◽  
As If

AbstractStevie Smith was a deeply original and serious poet who masqueraded as a poet of eccentric light verse, as if tempting her less perceptive readers to expose their own conventionality by dismissing her as an entertainer. Her poetic voice often imitates the voice of an impatient bright child, or the voice of an impetuous or irritable person amateurishly imitating classic poetry; but these imitations turn out to be strategies employed by Stevie Smith to achieve startling effects as what seems at first to be naïve then comes to seem strangely ironic and penetrating. As in all great comic writers, Smith's humor can be felt as an unsettling possibility always vibrating in her voice. Some of her most comic poems arise from her drastic skepticism about romantic love and marriage. She finds many ways to expose and satirize the arrogance of men, while also pointing out ways in which women cooperate with that arrogance. She implies that romantic passion is an illusion from which people need to escape so as to find another, less melodramatic center of value.

Geopolitical Upheavals: Brexit and Trump

2018 ◽  
Author(s):  
Mahesh K. Joshi ◽  
J.R. Klein
Keyword(s):  
Working Class ◽  
Living Standards ◽  
Domestic Policy ◽  
Economic Theories ◽  
Left Behind ◽  
Policy Choices ◽  
External Forces ◽  
The Impact ◽  
The Voice

Over recent years, investments had been going down, living standards had deteriorated, and inequality had risen. The underlying disaffection was picked up by Brexit and the Trump campaigns. Although these problems were not the inevitable results of globalization, but rather of domestic policy choices influenced by flawed economic theories, these populist standard bearers exploited it by blaming those challenges on external forces, including globalization. The Brexit vote and the election of Trump can be considered as the voice of the economically “left behind,” a protest by working-class voters at the impact of globalization on their jobs and living standards.

scholarly journals Living with grace on the earth: the poetic voice in Antjie Krog’s A change of tongue

Literator ◽  
2009 ◽  
Vol 30 (2) ◽  
pp. 69-88 ◽  
Author(s):  
A. Polatinsky
Keyword(s):  
The Body ◽  
Poetic Voice ◽  
Non Fiction ◽  
The Earth ◽  
Creative Non Fiction ◽  
The Voice

“A change of tongue”, Antjie Krog’s second creative non-fiction, articulates experiences of the postapartheid quotidian in two tongues: that of the journalist and that of the poet. This article examines Krog’s various instantiations of the poetic voice, and argues that the site of the body is crucial to Krog’s understanding of how languages and landscapes are translated into human experiences of belonging, alienation and self-expression. The voice that is inspired by, and best conjures these acts of somatic translation is the poetic voice, Krog suggests. The article argues that Krog endows the poetic tongue with particular capacities for synaesthetic perception and for modes of imagining that surrender many of the limitations we ascribe to other registers and grammars. Despite the profusion of challenges and setbacks expressed by the evidence-oriented journalist, the three poetic strands in the text, which are identified and explored in this article, provide a space of meditation and of refreshed language in which processes of hopeful revivification can occur.

scholarly journals Sounding the ‘Citizen–Patient’: The Politics of Voice at the Hospice des Quinze-Vingts in Post-Revolutionary Paris

2011 ◽  
Vol 55 (4) ◽  
pp. 479-502 ◽  
Author(s):  
Ingrid Sykes
Keyword(s):  
Thirteenth Century ◽  
Political Control ◽  
Institutional Management ◽  
New Models ◽  
The Right ◽  
Partially Sighted ◽  
The Voice ◽  
The Way ◽  
The Revolution

This essay explores new models of the citizen–patient by attending to the post-Revolutionary blind ‘voice’. Voice, in both a literal and figurative sense, was central to the way in which members of the Hospice des Quinze-Vingts, an institution for the blind and partially sighted, interacted with those in the community. Musical voices had been used by members to collect alms and to project the particular spiritual principle of their institution since its foundation in the thirteenth century. At the time of the Revolution, the Quinze-Vingts voice was understood by some political authorities as an exemplary call of humanity. Yet many others perceived it as deeply threatening. After 1800, productive dialogue between those in political control and Quinze-Vingts blind members broke down. Authorities attempted to silence the voice of members through the control of blind musicians and institutional management. The Quinze-Vingts blind continued to reassert their voices until around 1850, providing a powerful form of resistance to political control. The blind ‘voice’ ultimately recognised the right of the citizen–patient to dialogue with their political carers.

scholarly journals ‘My Tongue Gets t-t-t-’: Words, Sense, and Vocal Presence in Van Morrison'sIt's Too Late to Stop Now

2016 ◽  
Vol 13 (1) ◽  
pp. 53-76
Author(s):  
RICHARD ELLIOTT
Keyword(s):  
The Body ◽  
Poetic Voice ◽  
Post Hoc ◽  
The Relationship ◽  
The Voice

AbstractVan Morrison's live version of his song ‘Cyprus Avenue’ on the 1974 albumIt's Too Late to Stop Nowprovides an example of the authority of the singer's voice and of how it leads and demands submission from musicians, songs, and audience. Morrison's voice constantly suggests that it is reflecting important experience and can be understood both as an attempt to capture something and as a post-hoc witnessing or testimony. Through the example of Morrison's work, and ofIt's Too Late to Stop Nowin particular, this article explores the location of the voice in terms of the body and of particular places and histories. It then proceeds to a reflection on the relationship between the performing voice as producer of sound, noise, and music and the poetic voice that provides the words and visions upon which the performing voice goes to work. It concludes by focusing on a moment within ‘Cyprus Avenue’ where Morrison performs the act of being tongue-tied, discussing this as an example of ‘aesthetic stutter’. Throughout, attention is also paid to how other voices (particularly those of rock critics) connect to Morrison's voice by attempting to describe it, re-perform it, or explain it.

scholarly journals Repetition as Rebirth: A Sung Epitaph for Gautier De Coinci

2020 ◽  
Author(s):  
Meghan Quinlan
Keyword(s):  
Thirteenth Century ◽  
Gautier De Coinci ◽  
Experience Of Time ◽  
Imminent Death ◽  
Standard Edition ◽  
The Voice ◽  
Scholarly Attention

Abstract The thirteenth-century prior and poet-musician Gautier de Coinci is known for his extravagant wordplay, which relies on the recursive patterning of verbal sound. This article considers Gautier’s penchant for sonic repetition in the light of the music that frames his book of miracles, focusing on the song Por mon chief reconforter, a chanson à refrain written in the voice of an aging Gautier coming to terms with his imminent death. The song’s exclusion from Frederic Koenig’s standard edition of the Miracles means it has received little scholarly attention, yet its earliest source is linked with Gautier’s original exemplar. The article examines how repeated musico-poetic forms—within the stanza, between stanzas, and in the more temporally extended repetition of contrafacture—interact with notions of temporality and mortality voiced in the song’s texts and contexts, suggesting that such structures reshape the experience of time into one that is less linear, and therefore less final.

Means and beginnings: Voicing revolution in Solomos’s early work

2021 ◽  
Vol 7 (2) ◽  
pp. 203-218 ◽  
Author(s):  
Simos Zenios
Keyword(s):  
Eighteenth Century ◽  
Intellectual History ◽  
The Political ◽  
New Order ◽  
Political Event ◽  
Poetic Voice ◽  
Starting Point ◽  
Testing Site ◽  
State Of Affairs ◽  
The Voice

In this article I read the figurations of poetic voice in Solomos’s early lyric ‘Spiligga’ as a testing site for the conceptualization of the Greek Revolution as a modern political event. Perusing its thematic, intertextual and formal strategies, I argue that two distinct poetic voices are operative in the poem. The first model is commensurate with the voice of nature. The second is a medium of reflective and expressive human speech able to herald the revolution. In order to ascertain the political significance of this juxtaposition, I procure insights from seminal studies in intellectual history that outline the transformations of the term ‘revolution’ at the turn of the eighteenth century (Arendt, Koselleck). The period’s new understanding of the term as an absolute and inaugurating break from an existing state of affairs (which supplanted the previous meaning of revolution as quasi-natural experience that precludes innovation) illuminates the juxtaposition by Solomos of the two models of voice: they represent the revolutionary fissure as an exit from the state of nature and as the innovation of a new order. This reading not only elucidates the encounter of modern revolution and poetry in ‘Spiligga’ but also establishes the latter as a necessary starting point for the examination of this encounter in Solomos’s later works.

The poetic self

2003 ◽  
Author(s):  
Katharine Hodgson
Keyword(s):  
Literary Culture ◽  
Lyric Poetry ◽  
Literary Tradition ◽  
Early Writing ◽  
Poetic Voice ◽  
Russian Literary ◽  
The Voice ◽  
Conflicting Discourses

This chapter looks at the poetic self in Berggol′ts's writing as a literary construct, informed not purely by biographical experience, but by literary tradition and other texts. An outline of Berggol′ts's views on lyric poetry is followed by a discussion of how the poetic self is constituted in her work, and an exploration of the multiple and conflicting discourses which construct the ‘I’ in her early writing, as well as of the preoccupation with contrast and contradiction in her poetic self-representation during the 1930s and 1940s. The rest of the chapter focuses on Berggol′ts's exploration of the possibilities for creating a unified poetic self which is capable of assuming a representative role as the voice of a generation. The whole discussion is informed by the question of the female poetic voice and its associations within Russian literary culture.

Sign in / Sign up

Export Citation Format

Share Document