Arguing for a reconsideration of William Butler Yeats’s work in light of contemporary studies of world literature, Barry Sheils makes a strong case for reading Yeats’s work in the context of a broad comprehension of its global modernity. He shows how Yeats enables a fuller understanding of the relationship between the extensive map of world literary production and the intensities of poetic practice.
Excerpt from A Library of Poetry and Song: Being Choice Selections From the Best Poets, With an Introduction The Publishers take pleasure in believing that many readers will find in this volume inducements to seek complete editions of favorite American poets, in order to become better acquainted with those authors whose writings have made this compilation so complete in the poetical literature of our own land. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Ideas, culture, and capital flow across national borders with unprecedented speed, but we tend not to think of poems as taking part in globalization. Jahan Ramazani shows that poetry has much to contribute to understanding literature in an extra-national frame. Indeed, the globality of poetry, he argues, stands to energize the transnational turn in the humanities. Poetry in a Global Age builds on Ramazani’s award-winning A Transnational Poetics, a book that had a catalytic effect on literary studies. Ramazani broadens his lens to discuss modern and contemporary poems not only in relation to world literature, war, and questions of orientalism but also in light of current debates over ecocriticism, translation studies, tourism, and cultural geography. He offers brilliant readings of postcolonial poets like Agha Shahid Ali, Lorna Goodison, and Daljit Nagra, as well as canonical modernists such as W. B. Yeats, Wallace Stevens, T. S. Eliot, and Marianne Moore. Ramazani shows that even when poetry seems locally rooted, its long memory of forms and words, its connections across centuries, continents, and languages, make it a powerful imaginative resource for a global age. This book makes a strong case for poetry in the future development of world literature and global studies.
Learn how to process your own grief--as well as family, community, and global grief--with this fierce and openhearted guide to healing in an unjust world. In unsettling and uncertain times, the individual and collective heartbreak that lives in our bodies and communities can feel insurmountable. Many of us have been conditioned by the dominant culture to not name, focus on, or wade through the difficulties of our lives. But in order to heal, we must make space for grief and prioritize our wholeness, our humanity, and our inherent divinity. In Finding Refuge, social justice activist, social worker, and yoga teacher Michelle Cassandra Johnson offers those who feel brokenhearted, helpless, confused, powerless, and desperate the tools they need to be present with their grief while also remaining openhearted. Through powerful personal narrative and meditation and journaling practices at the end of each chapter that explore being present with your heart, Michelle empowers us to see that each of us has a role to play in building enough momentum to take intentional action and shift what is unsettled and unjust in the world. Finding Refuge is an invitation to pick up the shattered parts of yourself and remember your strength, wholeness, and sacredness through this practice of presence and attending to your grief.
The present book, entitled, ‘The Poetry of World Literature’ is especially prepared for the students of B. A and M.A English literature. The book deals with some of the world-famous poets and their selected poems which have universal appeal. The book is unique in the sense that the famous poets of world literature and their major poetical works have been collected together in one place. In this book, the term, World Literature is well defined in easy language and its characteristics have also been discussed in detail and a lucid manner.
Poetry. Italian Studies. Translated by Geoffrey Brock. An essential new translation of one of Italian literature's most celebrated poets. Giovanni Pascoli stands as a towering figure at the threshold of modern Italian poetry, yet he is little known in English. He wrote his best poems in the last decade of the nineteenth century and the first few years of the twentieth, in an extraordinary burst that included his three most important collections, Myricae, Canti di Castelvecchio, and Primi poemetti. In this volume, translator Geoffrey Brock offers a personal anthology that conveys the wide-eyed spirit and formal beauty of the originals. "This collection is a revelation. In Geoffrey Brock's impeccable versions, Pascoli becomes a poet who demands to be read out loud. Time and again I found myself stopping to savor a phrase, a line break, a rhyme, a stanza. And then reading the poem over from the start. 'The Sleep of Odysseus' is heart-stopping. It's difficult to overstate my admiration for that tact, grace, and formal imagination that shape these remarkable translations."--Clare Cavanagh "A champion of childlike intuition, muted tones, and 'small things,' Pascoli has until now been confined to his corner of the map. In this personal anthology, poet and translator Geoff Brock conveys to us the best of Pascoli. His Pascoli is the author of subtle, bewitching poems that look both inward and outward, celebrating the natural world and the inner life of humble objects: kites, walking sticks, the little nests of spring. Brock has kept the rhymes and meters, and his deeply intelligent remakings breathe new life into the old idiom."--Will Schutt
The horrors of the First World War released a great outburst of emotional poetry from the soldiers who fought in it as well as many other giants of world literature. Wilfred Owen, Rupert Brooke and W B Yeats are just some of the poets whose work is featured in this anthology. The raw emotion unleashed in these poems still has the power to move readers today. As well as poems detailing the miseries of war there are poems on themes of bravery, friendship and loyalty, and this collection shows how even in the depths of despair the human spirit can still triumph.
When Orhan Pamuk won the Nobel Prize for Literature in 2006, he was honored as a builder of bridges across a dangerous chasm. By rendering his Turkish characters and settings familiar where they would otherwise seem troublingly foreign, and by speaking freely against his authoritarian state, he demonstrated a variety of literary greatness that testified also to the good literature can do in the world. Gloria Fisk challenges this standard for canonization as “world literature” by showing how poorly it applies to Pamuk. Reading the Turkish novelist as a case study in the ways Western readers expand their reach, Fisk traces the terms of his engagement with a literary market dominated by the tastes of its Anglophone publics, who received him as a balm for their anxieties about Islamic terrorism and the stratifications of global capitalism. Fisk reads Pamuk’s post-9/11 novels as they circulated through this audience, as rich in cultural capital as it is far-flung, in the American English that is global capital’s lingua franca. She launches a polemic against Anglophone readers’ instrumental use of literature as a source of crosscultural understanding, contending that this pervasive way of reading across all manner of borders limits the globality it announces, because it serves the interests of the Western cultural and educational institutions that produce it. Orhan Pamuk and the Good of World Literature proposes a new way to think about the uneven processes of translation, circulation, and judgment that carry contemporary literature to its readers, wherever they live.
Poetry. Asian & Asian American Studies. Women's Studies. Translated by Fiona Sze-Lorrain. In this remarkable English debut, award-winning Chinese contemporary poet Ye Lijun offers readers a lyrical diorama of nature and the inner world. By turns intimate and profound, Ye's poems in Fiona Sze-Lorrain's masterful translations make music of everyday silences, and illuminate the invisible openings in our lives. In this vital collection by one of China's essential literary voices, each encounter is an invitation, wherein a village, a nest, a telescope, or a book proves to be a transient guide to the unknown. "Fiona Sze-Lorrain brings her sense of immediacy, and her lucid control of tone, to these inspired translations of Ye Lijun which capture, with unerring musicality, the rhythms of the original Chinese."--Martha Kapos "Ye Lijun's quiet, powerful poems accrete from places, memories, affect, and ideas unique to the poet. The distinctiveness of Ye's diction, metaphors, and associations make her imagination and intelligence anchor in ours. We come away from Ye's mountain, her house, her books, her loves, and return to those of our own with our senses made more acute. Translator Fiona Sze-Lorrain, a gifted poet herself, creates an English-language voice for Ye Lijun that has all the grace and surprise of the original."--Thomas Moran "[T]he joys revealed in MY MOUNTAIN COUNTRY, which bring together a selection of poems from her three books, elegantly translated by Fiona Sze-Lorrain, suggest that for an acute observer of the natural world every hour, secret or not, may become an occasion for opening, 'in clarity,' to the beloved, to nature, to the invisible--leaves and roses and flowering trees that at a moment's notice may awaken in her soul, alerting her once again to the mysterious bounty of life on earth."--Christopher Merrill
What could be the common points between the Literature produced at the imperial court of 9th-10th century in Japan with the one composed in Italy under the rule of Frederick II of Hohenstaufen? Why the Kokinwakashū in Japan and the Sicilian School of Poetry in Italy have been acknowledged as canons for later literary traditions? How did the political power influence the production of court poetry and the role of poets in the court environment? Why two particular poetic forms like the sonnet in Europe and the waka in Japan succeeded to survive until modern times?
