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Copyright of Nuova Rivista di Letteratura Italiana is the property of Edizioni ETS s.r.l. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bulletin of Hispanic Studies (1475-3839) is the property of Liverpool University Press / Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nova Tellus is the property of Instituto de Investigaciones Filologicas - UNAM and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

After Jesuit priest Robert Southwell's execution in February 1595, his letters and poems surged in popularity, and demand for his newly printed works quickly outstripped supply. Moeoniae, a collection of twenty-two poems 'both Diuine and Wittie' printed as an addendum to his popular Saint Peter's Complaint, had two editions in 1595 alone, and at least one more before the end of the century. Poem number 18 in Moeoniae, 'Upon the Image of Death', also appears in the seventeenthcentury Waferer Commonplace Book (British Library Add. MS 52585) but only in one other manuscript collection with the rest of his poems. Modem Southwell editions have quarantined the poem under headings such as 'Poem of Dubious Authorship'. And yet the poem, a meditative confession and plea for grace in the face of mortality, does display some elements of Southwell's style, and is particularly compelling if in fact it was written in the years Southwell struggled to provide spiritual guidance to his loyal congregation while evading capture and execution. This paper investigates the relationship between the commonplace book, the Moeoniae print editions, and the manuscript poetry collections from which 'Upon the Image of Death' is conspicuously absent, and offers a new annotated edition of the poem. [ABSTRACT FROM AUTHOR]

The article reviews the book "Romantic Fiat: Demystification and Enchantment in Lyric Poetry," by Eric Reid Lindstrom.

The purpose of this paper is to show the cognitive metaphors present in this poem by P.B. Shelley. [ABSTRACT FROM AUTHOR]

The article focuses on sonnets by English poet William Shakespeare. A letter received by the editor of Belles Letters stated some facts in the peculiar history of Shakespeare's sonnets: that they were first published in 1609, in London, apparently without the cooperation of the author; that there was no known contemporary response to the publication, even though at the time Shakespeare's fame during his life was at its height. The letter pointed out that there are thirteen known copies of the 1609 volume, none in private hands. The sonnets were being offered to Belles Letters, which could subject them to whatever tests were necessary to establish their authenticity.

This article offers a detailed reading of the surviving sonnets of the poet known as the Compiuta Donzella di Firenze, paying particular attention to her performance of a feminine subject and critical engagement with common lyric tropes. A lack of biographical information about the Compiuta Donzella, the first woman to whom literary texts in the Italian vernacular are attributed, has led to speculation over her identity and ‘authenticity’, or to biographical readings of her texts. Acknowledging the same sorts of playful, ironic, and performative lyric subject and content in the Compiuta Donzella’s work that are commonly ascribed to other lyric voices allows us to appreciate the technical and thematic artifice in her sonnets. Comparative close readings of her surviving texts and some responses to them (by Guittone d’Arezzo, Maestro Rinuccino or Guido Guinizzelli, and an anonymous poet) provides a broader perspective on her work as engaged in active dialogue with the lyric context of thirteenth-century Italy. [ABSTRACT FROM PUBLISHER]

Reviews the book "Collected Poems of Thomas Hardy."

The article offers poetry review of the poem "The Brothers Poem" by Sappho. It explores the gender and genre used and mentions that it belongs to subgenre of the epic "Nostos." Comparisons have been made with poet Homer's poem "Odyssey." The poet has also created a lyric medium in her own image.

In illuminating a diverse array of poetry and archival documents by leftist artists, Ehlers revisits material previously considered overtly propagandistic and challenges flat, utilitarian views of political poetry by unfurling its technical and stylistic innovations. In addition to providing close readings of some of I The Book of The Dead i 's most riveting passages, Ehlers charts Rukeyser's efforts to convert the experimental poem sequence into a documentary film. [Extracted from the article]

This article analyses how Friedrich Schelling’s account of ancient didactic poetry in The Philosophy of Art is derived from a fundamental distinction between epic and lyric as kinds of poetic consciousness. It then uses Schelling’s theorization of didactic poetry as a subjective inflection of Homeric epic to investigate three didactic poems that make lyric knowledge the generative condition of their own existence: the Theriaca of Nicander, the Cynegetica of pseudo-Oppian, and the anonymous Latin Aetna. Finally, it considers how Schelling’s distinction between epic and lyric consciousness might yet be useful in understanding the role of scientific vocabulary in the poetry of J. H. Prynne and Paul Celan. [ABSTRACT FROM PUBLISHER]

Scholars have traditionally acknowledged Francis Petrarch's indebtedness to the amorous poetic schools; however, they have overlooked the influence of comic-realistic verse on him. Yet sonnet 136 of Rerum Vulgarium Fragmenta demonstrates its impact. Rvf 136 is the first of three sonnets decrying the corruption of Avignon. In it, Petrarch depicts Avignon as if a disgusting woman, illustrating the impact of Vituperium in Vetulam, a sub-genre of comic poetry that inveighs against a stereotyped old woman. [ABSTRACT FROM AUTHOR]

The article reviews the book "Odes for Victorious Athletes," by Pindar and translated by Anne Pippin Burnett.

The article reviews the book "The Hidden Chorus: Echoes of Genre in Tragic Lyric," by L.A. Swift.

Reviews the book "Lyric Powers," by Robert von Hallberg.

The article offers poetry criticism of the poem "Rare poemes aske rare friends" by Ben Jonson. It explores the representations of manuscript composition and circulation in the lyric poetry. The author provides the social context and offers information on the different meaning of the several elements.

The article critiques a Christian ballad composed in the Faroese language. The author discusses the depiction of the annunciation, the birth of Jesus and stasis within the ballad and compares the lyrics with the passage about the birth of Jesus based on the Old Testament. Other topics include he metaphors of the stillness of the night during the birth of Jesus, the psychological effects of singing the ballads among Faroese fishermen, and the ballad's structure.

Reviews the book "Pindar's Paeans," by I. C. Rutherford.

The article offers criticism on the anonymous Elizabethan lyric poem "Zepheria" featuring canzonets. The author looks at the poem's literary significance, the history of the publication of the poem, and the publication of the modern-spelling/punctuation edition of the poem. The article also discusses the lack of proficiency in the poem.

The article examines John Milton's and George Wither's view of the vocal charms portrayed in their religious lyric poetry of "Hymnes and Songs of the Church," "Schollers Purgatory," "Nativity Ode," and "Areopagitica" in the context of the Reformation. The author provides background information on both poets, discusses their use of hymn in their poetry, and interprets each poem.

A critique is presented of the American long poem "Articulation of Sound Forms in Time" by Susan Howe, focusing on her use of lyric poetry structure and her depiction of U.S. history in poetry. Themes of ecstasy, nation formation, and postmodernism are discussed, as well as Howe's depiction of the history of Reverend Hope Atherton, a discredited historical figure who claimed to witness the 1626 Falls Fight, or battle between English settlers and Native Americans.

The article provides observations on the Chinese lyric poetry titled "The Book of Songs." It presents historical and cultural information on the text of "The Book of Songs," addresses comparison between "The Book of Songs" and epic Latin poem "The Aeniad," by Virgil, and notes the historical background on the poems of "The Book of Songs."

The article reviews the book "Too Many Songs by Tom Lehrer With Not Enough Drawings by Ronald Searle."

The article discusses the anonymous sixteenth-century lyric "Westron Wynde," with particular focus given to its popularity and the ambiguous nature of its syntax and the relationship between the first and second lines. The symbolic significance of the west wind is also commented on

The article analyzes the collection of poems known as "Canzoniere" by Francesco Petrarca, also known as Petrach. It focuses on the philosophical concept of self as a theme in the poem, as well as self-making and the moral ambiguity in the poetic language. In addition, the poet's lyrical voice and lyric as a literary form are examined.

The article discusses the work of the Greek lyric poet Sappho, with particular focus given to the author's argument that her poetic style is a type of Romanticism. Comparisons between Sappho and other Greek lyric poets are presented, and the themes of love and sexuality in her work are commented on.

A critique is presented of pre-World War I circular poem-paintings, such as the poem "Lettre-Océan" by French poet Guillaume Apollinaire and the painting "Festa patriottica" or "Manifestazione interventista" by Italian Futurist painter Carlo Carrà, which incorporates text. The 20th century avant-garde movement, lyric poetry styles, and action in art are also discussed.

Reviews the book "Body of This Death," by Louise Bogan.

Reviews the book "The Sleeping Fury," by Louise Bogan.

A review of the book "Speaking to You: Contemporary Poetry and Public Address," by Natalie Pollard is presented.

The article reviews the book "The Cambridge Companion to Greek Lyric," edited by F. Budelmann.

The article reviews the book "Άϵίδϵτ#x03BF; πάν τέμϵνος. Οι χορικές παραστάσϵις και το κοινό τους στην αρχαϊκή και πρώιμη κλασική πϵρίοδο," by L. Athanassaki.

Reviews the book "White Spaces in Shakespeare: The Development of the Modern Text," by Paul Bertram.

The article reviews the book "The Hills Give Promise, Lyrics, and Carmus: A Symphonic Poem," by Robert Silliman Hillyer.