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Vera Jewel is Late for School
by Nicola KentWhen Vera Jewel's bike breaks one morning, she takes matters into her own hands and comes up with some ingenious - and very funny! - ways to get to school. From jumping on her space hopper to making her own catapult, Vera's ideas get more and more adventurous, but nothing seems to get her there on time. It's a good thing that she's one determined little girl who never gives up . . . Vera Jewel is Late for School is a warm, funny and very original story about determination and creativity, perfect for learning about standing on your own two feet - and being rewarded for hard work and inventiveness! Nicola Kent’s catchy rhyming text, bright, jewel-like colours and eye-catching illustrations make this a truly stunning picture book.
The Verandah Poems (PDF)
by Jean Binta Breeze Tehron RoyesThese poems are both a departure and a return for Jean 'Binta' Breeze, who left her village in Jamaica to become an internationally renowned Dub poet and storyteller, and who returns home in this collection. With color photos.
Verbal Riddim: Dub Poetry
by VariousThis is dub poetry: bold and musical, funny and furious.This collection brings together the work of nine inventive and brilliant poets who defined and drove the dub poetry genre. From the Caribbean, Canada and the UK, the poetry in this collection spans forty years, as dub became a powerful cultural and creative force.With roots in the reggae culture of 1970s Kingston, dub poetry uses the vivid expressions of everyday spoken language to describe and challenge the experience of life on the margins. Early dub poetry took on police violence, slums and poverty. Later, as Caribbean migrants arrived in countries like Britain and Canada, dub poets faced new issues: racism, discrimination and hostility. Over four difficult decades, dub gave marginalised people a voice for their anger, defiance and creativity. It was the soundtrack to post-Windrush culture.Serious and humorous, alive and urgent, here is the very best of dub poetry.The poets included in this collection are: Oku Onuora, Mikey Smith, Mutabaruka, Jean 'Binta' Breeze, James Berry, Benjamin Zephaniah, Ahdri Zhina Mandiela, Lillian Allen and Afua Cooper.
The Verging Cities (Mountain West Poetry Series)
by Natalie Scenters-ZapicoFrom undocumented men named Angel, to angels falling from the sky, Natalie Scenters-Zapico’s gripping debut collection, The Verging Cities, is filled with explorations of immigration and marriage, narco-violence and femicide, and angels in the domestic sphere. Deeply rooted along the US-México border in the sister cities of El Paso, Texas, and Cd. Juárez, Chihuahua, these poems give a brave new voice to the ways in which international politics affect the individual. Composed in a variety of forms, from sonnet and epithalamium to endnotes and field notes, each poem distills violent stories of narcos, undocumented immigrants, border patrol agents, and the people who fall in love with each other and their traumas. The border in Scenters-Zapico’s The Verging Cities exists in a visceral place where the real is (sur)real. In these poems mouths speak suspended from ceilings, numbered metal poles mark the border and lovers’ spines, and cities scream to each other at night through fences that “ooze only silt.” This bold new vision of border life between what has been named the safest city in the United States and the murder capital of the world is in deep conversation with other border poets—Benjamin Alire Saenz, Gloria Anzaldúa, Alberto Ríos, and Luis Alberto Urrea—while establishing itself as a new and haunting interpretation of the border as a verge, the beginning of one thing and the end of another in constant cycle.
Vergleichende Weltliteraturen / Comparative World Literatures: DFG-Symposion 2018
by Dieter Lamping Galin TihanovDas Konzept der Weltliteratur ist über die Komparatistik hinaus zu einem grundlegenden Paradigma für die Erforschung der Literatur avanciert, das sich neben dem lange herrschenden nationalen etabliert hat. Die gerade durch neue literarische Entwicklungen komplexer gewordene Logik des Begriffs ‚Weltliteratur‘ reflektiert die verschiedenen Aspekte literarischer Internationalisierung. Sie verweist auch auf theoretische Differenzen, die zugleich eine historische und kulturelle Signatur haben und die deshalb nur komparativ-differenzierend beschrieben werden können. In diesem Sinn stellt die Pluralität der Weltliteratur als Begriff wie als Sache den Ausgangspunkt der Überlegungen des Symposions dar, die sich als in einem starken Sinn vergleichend verstehen und dabei auch über die europäische Literatur und den europäischen Kontext hinausgehen.
Vernacular Verse Histories in Early Medieval England and Francia: The Bard and the Rag-picker
by Catalin TaranuIn a provocative take on Germanic heroic poetry, Taranu reads texts like Beowulf, Maldon, and the Waltharius as participating in alternative modes of history-writing that functioned in a larger ecology of narrative forms, including Latinate Christian history and the biblical epic. These modes employed the conceit of their participating in a tradition of oral verse for a variety of purposes: from political propaganda to constructing origin myths for early medieval nationhood or heroic masculinity, and sometimes for challenging these paradigms. The more complex of these historical visions actively meditated on their own relationship to truthfulness and fictionality while also performing sophisticated (and often subversive) cultural and socio-emotional work for its audiences. By rethinking canonical categories of historiographical discourse from within medieval textual productions, Vernacular Verse Histories in Early Medieval England and Francia: The Bard and the Rag-Picker aims to recover a part of the wide array of narrative poetic forms through which medieval communities made sense of their past and structured their socio-emotional experience.
Vernacular Verse Histories in Early Medieval England and Francia: The Bard and the Rag-picker
by Catalin TaranuIn a provocative take on Germanic heroic poetry, Taranu reads texts like Beowulf, Maldon, and the Waltharius as participating in alternative modes of history-writing that functioned in a larger ecology of narrative forms, including Latinate Christian history and the biblical epic. These modes employed the conceit of their participating in a tradition of oral verse for a variety of purposes: from political propaganda to constructing origin myths for early medieval nationhood or heroic masculinity, and sometimes for challenging these paradigms. The more complex of these historical visions actively meditated on their own relationship to truthfulness and fictionality while also performing sophisticated (and often subversive) cultural and socio-emotional work for its audiences. By rethinking canonical categories of historiographical discourse from within medieval textual productions, Vernacular Verse Histories in Early Medieval England and Francia: The Bard and the Rag-Picker aims to recover a part of the wide array of narrative poetic forms through which medieval communities made sense of their past and structured their socio-emotional experience.
Veronica Forrest-Thomson: Poet on the Periphery
by Gareth FarmerThis study offers a comprehensive examination of the work of the young poet and scholar, Veronica Forrest-Thomson (1947-1975) in the context of a literary-critical revolution of the late sixties and seventies and evaluates her work against contemporary debates in poetry and poetics. Gareth Farmer explores Forrest-Thomson’s relationship to the conflicting models of literary criticism in the twentieth century such as the close-reading models of F.R Leavis and William Empson, postructuralist models, and the work of Ludwig Wittgenstein. Written by the leading scholar on Forrest-Thomson’s work, this study explores Forrest-Thomson’s published work as well as unpublished materials from the Veronica Forrest-Thomson Archive. Drawing on close readings of Forrest-Thomson’s writings, this study argues that her work enables us reevaluate literary-critical history and suggests new paradigms for the literary aesthetics and poetics of the future.
Veronica Forrest-Thomson: Poet on the Periphery
by Gareth FarmerThis study offers a comprehensive examination of the work of the young poet and scholar, Veronica Forrest-Thomson (1947-1975) in the context of a literary-critical revolution of the late sixties and seventies and evaluates her work against contemporary debates in poetry and poetics. Gareth Farmer explores Forrest-Thomson’s relationship to the conflicting models of literary criticism in the twentieth century such as the close-reading models of F.R Leavis and William Empson, postructuralist models, and the work of Ludwig Wittgenstein. Written by the leading scholar on Forrest-Thomson’s work, this study explores Forrest-Thomson’s published work as well as unpublished materials from the Veronica Forrest-Thomson Archive. Drawing on close readings of Forrest-Thomson’s writings, this study argues that her work enables us reevaluate literary-critical history and suggests new paradigms for the literary aesthetics and poetics of the future.
Verse: An Introduction to Prosody (Princeton Legacy Library #2809)
by Charles O. HartmanVerse is a seminal introduction to prosody for any student learning to read or write poetry, from secondary to graduate school. Discusses iambic pentameter and other kinds of metrical verse, scansion, rhythm and rhyme, free verse, song, and advanced topics such as poetic meter, linguistic approaches to verse, and the computer scansion of metrical poetry Written in a clear, engaging style by a poet and teacher with more than 30 years of experience teaching the subject Supplemented by a user-friendly website with student exercises and additional resources
Verse: An Introduction to Prosody
by Charles O. HartmanVerse is a seminal introduction to prosody for any student learning to read or write poetry, from secondary to graduate school. Discusses iambic pentameter and other kinds of metrical verse, scansion, rhythm and rhyme, free verse, song, and advanced topics such as poetic meter, linguistic approaches to verse, and the computer scansion of metrical poetry Written in a clear, engaging style by a poet and teacher with more than 30 years of experience teaching the subject Supplemented by a user-friendly website with student exercises and additional resources
Verse and Poetics in George Herbert and John Donne
by Frances CruickshankInnovative and highly readable, this study traces George Herbert's and John Donne's development of a distinct poetics through close readings of their poems, references to their letters, sermons, and prose treatises, and to other contemporary poets and theorists. In demonstrating a relationship between poetics and religious consciousness in Donne's and Herbert's verse, Frances Cruickshank explores their attitudes to the cultural, theological, and aesthetic enterprise of writing and reading verse. Cruickshank shows that Donne and Herbert regarded poetry as a mode not determined by its social and political contexts, but as operating in and on them with its own distinct set of aesthetic and intellectual values, and that ultimately, verse mattered as a privileged mode of religious discourse. This book is an important contribution to the ongoing scholarly dialogue about the nature of literary and cultural study of early modern England, and about the relationship between the writer and the world. Cruickshank confirms Donne's reputation as a fascinating and brilliant poetic figure while simultaneously rousing interest in Herbert by noting his unique merging of rusticity and urbanity and tranquility and uncertainty, allowing the reader to enter into these poets' imaginative worlds and to understand the literary genre they embraced and then transformed.
Verse and Poetics in George Herbert and John Donne
by Frances CruickshankInnovative and highly readable, this study traces George Herbert's and John Donne's development of a distinct poetics through close readings of their poems, references to their letters, sermons, and prose treatises, and to other contemporary poets and theorists. In demonstrating a relationship between poetics and religious consciousness in Donne's and Herbert's verse, Frances Cruickshank explores their attitudes to the cultural, theological, and aesthetic enterprise of writing and reading verse. Cruickshank shows that Donne and Herbert regarded poetry as a mode not determined by its social and political contexts, but as operating in and on them with its own distinct set of aesthetic and intellectual values, and that ultimately, verse mattered as a privileged mode of religious discourse. This book is an important contribution to the ongoing scholarly dialogue about the nature of literary and cultural study of early modern England, and about the relationship between the writer and the world. Cruickshank confirms Donne's reputation as a fascinating and brilliant poetic figure while simultaneously rousing interest in Herbert by noting his unique merging of rusticity and urbanity and tranquility and uncertainty, allowing the reader to enter into these poets' imaginative worlds and to understand the literary genre they embraced and then transformed.
The Verse Revolutionaries: Ezra Pound, H.D. and The Imagists
by Helen CarrThe Verse Revolutionaries tells the story of the Imagists, a turbulent and colourful group of poets, who came together in London in the years before the First World War. As T. S. Eliot was to say, appropriately re-invoking the Imagist habit of turning anything they admired into French, the imagist movement was modern poetry's point de repère, the landmark venture that inaugurated Anglo-American literary modernism. A disparate, stormy group, who had dispersed before the twenties began, these 'verse revolutionaries' received both abuse and acclaim, but their poetry, fragmented, pared-down, elliptical yet direct, exerted a powerful influence on modernist writers, and contributed vitally to the transformation of American and British cultural life in those crucial years.Among those involved were the Americans Ezra Pound, H.D., William Carlos Williams, Amy Lowell and John Gould Fletcher, and the British T.E. Hulme, F.S. Flint, Richard Aldington and D.H. Lawrence. On the edges of the story are figures such as W.B. Yeats, Ford Madox Ford, Wyndham Lewis and T. S. Eliot. They came from very different class backgrounds, a heterogeneous mélange then only possible in a great metropolis like London. The Verse Revolutionaries traces the passionate interactions, love affairs and bitter quarrels of these aspiring poets from 1905 to 1917. Helen Carr unpicks the story of how they came together, what they gained from each other in the heady excitement of those early days, and what were the fissures that eventually broke up the movement and their friendships in the dark days of the Great War. Her compelling account challenges the conventional view of Imagism, and offers an acute analysis of the poetry, of the psychology of the individuals involved, and of the evolution and emergence of a transformative cultural movement.
A Vertical Art: On Poetry
by Simon ArmitageFrom the UK Poet Laureate and bestselling translator, a spirited book that demystifies and celebrates the art of poetry todayIn A Vertical Art, acclaimed poet Simon Armitage takes a refreshingly common-sense approach to an art form that can easily lend itself to grand statements and hollow gestures. Questioning both the facile and obscure ends of the poetry spectrum, he offers sparkling new insights about poetry and an array of favorite poets.Based on Armitage’s public lectures as Oxford Professor of Poetry, A Vertical Art illuminates poets as varied as Emily Dickinson, Walt Whitman, Marianne Moore, W. H. Auden, Ted Hughes, Thom Gunn, A. R. Ammons, and Claudia Rankine. The chapters are often delightfully sassy in their treatment, as in “Like, Elizabeth Bishop,” in which Armitage dissects—and tallies—the poet’s predilection for similes. He discusses Bob Dylan’s Nobel Prize, poetic lists, poetry and the underworld, and the dilemmas of translating Sir Gawain and the Green Knight. Armitage also pulls back the curtain on the unromantic realities of making a living as a contemporary poet, and ends the book with his own list of “Ninety-Five Theses” on the principles and practice of poetry.An appealingly personal book that explores the volatile and disputed definitions of poetry from the viewpoint of a practicing writer and dedicated reader, A Vertical Art makes an insightful and entertaining case for the power and potential of poetry today.
A Vertical Art: On Poetry
by Simon ArmitageFrom the UK Poet Laureate and bestselling translator, a spirited book that demystifies and celebrates the art of poetry todayIn A Vertical Art, acclaimed poet Simon Armitage takes a refreshingly common-sense approach to an art form that can easily lend itself to grand statements and hollow gestures. Questioning both the facile and obscure ends of the poetry spectrum, he offers sparkling new insights about poetry and an array of favorite poets.Based on Armitage’s public lectures as Oxford Professor of Poetry, A Vertical Art illuminates poets as varied as Emily Dickinson, Walt Whitman, Marianne Moore, W. H. Auden, Ted Hughes, Thom Gunn, A. R. Ammons, and Claudia Rankine. The chapters are often delightfully sassy in their treatment, as in “Like, Elizabeth Bishop,” in which Armitage dissects—and tallies—the poet’s predilection for similes. He discusses Bob Dylan’s Nobel Prize, poetic lists, poetry and the underworld, and the dilemmas of translating Sir Gawain and the Green Knight. Armitage also pulls back the curtain on the unromantic realities of making a living as a contemporary poet, and ends the book with his own list of “Ninety-Five Theses” on the principles and practice of poetry.An appealingly personal book that explores the volatile and disputed definitions of poetry from the viewpoint of a practicing writer and dedicated reader, A Vertical Art makes an insightful and entertaining case for the power and potential of poetry today.
A Vertical Art: Oxford Lectures
by Simon ArmitageThis edition gathers the expansive and spirited public lectures delivered by Simon Armitage during his 'conscientious and often amusingly self-conscious tenure' (TLS) as Oxford University Professor of Poetry. Armitage tries to identify a 'common sense' approach to an artform that can lend itself to grand statements and vacuous gestures, questioning both the facile and obscure ends of the poetry spectrum, asserting certain fundamental qualities that separate the genre from near-neighbours such as prose and song lyrics, examining who poetry is written for and its values in contemporary society. Above all, these are personal essays that enquire into the volatile and disputed definitions of poetry from the point of view of a dedicated reader, a practising writer and a lifelong champion of its power and potential.
Vertical Readings in Dante's Comedy: Volume 2
by George Corbett Heather WebbThis collection – to be issued in three volumes – offers an unprecedented repertoire of vertical readings for the whole poem. As the first volume exemplifies, vertical reading not only articulates unexamined connections between the three canticles but also unlocks engaging new ways to enter into core concerns of the poem. The three volumes thereby provide an indispensable resource for scholars, students and enthusiasts of Dante. The volume has its origin in a series of thirty-three public lectures held in Trinity College, the University of Cambridge (2012-2016) which can be accessed at the Cambridge Vertical Readings in Dante’s Comedy website.
Vertical Readings in Dante's Comedy: Volume 2
by George Corbett And Heather WebbVertical Readings in Dante’s Comedy is a reappraisal of the poem by an international team of thirty-four scholars. Each vertical reading analyses three same-numbered cantos from the three canticles: Inferno i, Purgatorio i and Paradiso i; Inferno ii, Purgatorio ii and Paradiso ii; etc. Although scholars have suggested before that there are correspondences between same-numbered cantos that beg to be explored, this is the first time that the approach has been pursued in a systematic fashion across the poem. This collection – to be issued in three volumes – offers an unprecedented repertoire of vertical readings for the whole poem. As the first volume exemplifies, vertical reading not only articulates unexamined connections between the three canticles but also unlocks engaging new ways to enter into core concerns of the poem. The three volumes thereby provide an indispensable resource for scholars, students and enthusiasts of Dante.
Vertical Readings in Dante's Comedy: Volume 3
by George Corbett And Heather WebbVertical Readings in Dante’s Comedy is a reappraisal of the poem by an international team of thirty-four scholars. Each vertical reading analyses three same-numbered cantos from the three canticles: Inferno i, Purgatorio i and Paradiso i; Inferno ii, Purgatorio ii and Paradiso ii; etc. Although scholars have suggested before that there are correspondences between same-numbered cantos that beg to be explored, this is the first time that the approach has been pursued in a systematic fashion across the poem. This collection in three volumes offers an unprecedented repertoire of vertical readings for the whole poem. As the first volume exemplifies, vertical reading not only articulates unexamined connections between the three canticles but also unlocks engaging new ways to enter into core concerns of the poem. The three volumes thereby provide an indispensable resource for scholars, students and enthusiasts of Dante. The volume has its origin in a series of thirty-three public lectures held in Trinity College, the University of Cambridge (2012-2016) which can be accessed at the Cambridge Vertical Readings in Dante’s Comedy website.
Vertical Readings in Dante’s Comedy: Volume 1 (PDF)
by George Corbett Heather WebbVertical Readings in Dante's Comedy is a reappraisal of the poem by an international team of thirty-four scholars. Each vertical reading analyses three same-numbered cantos from the three canticles: Inferno i, Purgatorio i and Paradiso i; Inferno ii, Purgatorio ii and Paradiso ii; etc. Although scholars have suggested before that there are correspondences between same-numbered cantos that beg to be explored, this is the first time that the approach has been pursued in a systematic fashion across the poem. This collection - to be issued in three volumes - offers an unprecedented repertoire of vertical readings for the whole poem. As the first volume exemplifies, vertical reading not only articulates unexamined connections between the three canticles but also unlocks engaging new ways to enter into core concerns of the poem. The three volumes thereby provide an indispensable resource for scholars, students and enthusiasts of Dante.
Vertical Readings in Dante’s Comedy: Volume 3 (PDF)
by George Corbett Heather WebbVertical Readings in Dante’s Comedy is a reappraisal of the poem by an international team of thirty-four scholars. Each vertical reading analyses three same-numbered cantos from the three canticles: Inferno i, Purgatorio i and Paradiso i; Inferno ii, Purgatorio ii and Paradiso ii; etc. Although scholars have suggested before that there are correspondences between same-numbered cantos that beg to be explored, this is the first time that the approach has been pursued in a systematic fashion across the poem. This collection in three volumes offers an unprecedented repertoire of vertical readings for the whole poem. As the first volume exemplifies, vertical reading not only articulates unexamined connections between the three canticles but also unlocks engaging new ways to enter into core concerns of the poem. The three volumes thereby provide an indispensable resource for scholars, students and enthusiasts of Dante. The volume has its origin in a series of thirty-three public lectures held in Trinity College, the University of Cambridge (2012-2016) which can be accessed at the Cambridge Vertical Readings in Dante’s Comedy website.