Segundo livro de poesia que eu faço.

En 1993, a la edad de 68 años, Ernesto Cardenal plasmó en Telescopio en la noche oscura una experiencia interior que comenzó en 1956, año en que él aún joven nicaragüense padeció una convulsión espir

The book explores the significance and dissemination of monstrous anatomies in British and German culture by investigating how and why scientific and literary representations and descriptions of abnormal bodies were proposed in the late Enlightenment, during the Romantic and the Victorian Age. Since the investigations of late 18th-Century natural sciences, the fascination with monstrous anatomies has proved crucial to the study of human physiology and pathology. Featuring essays by a number of scholars focusing on a wide range of literary texts from the long nineteenth century and foregrounding the most important monstrous anatomies of the time, this book intends to offer a significant contribution to the study of the representations of the abnormal body in modern culture.

Ten experts in premodern literature and history examine the style, genre, and performance of sixteenth century Ottoman poetry. A large number of poems, including a newly discovered imperial poem collection and the work of a poet fallen into oblivion, are discussed with regard to their multifarious functions and their contemporary lyrical appeal. Though most of these poets worked in conventional settings many of the articles in this volume point out how they broke taboos, glossed over violence, and promoted or questioned political rule, even as they appealed to their listeners on an emotional level. The authors provide ample evidence for the importance attributed to certain cities and places, as well as local affiliations and networks. These analyses show how premodern poetry operated as a tool of communication and formed an integral part of premodern social and political life.

Este libro analiza el papel desempeñado por las baladas citadas en la prosa de los dos Quijotes (Madrid 1605, 1615) de Miguel de Cervantes y la continuación apócrifa (Tarragona, 1614) de Alonso Fernández de Avellaneda. El romancero es el genero poetico mas representado en las tres novelas, un predominio hasta cierto punto natural dado que las baladas eran un genero de moda y el complemento logico de las lecturas que obsesionan a don Quijote. Por su caracter intertextual y su condicion de poesia citada, los romances no se presentan aislados, sino interpolados en la prosa o equiparados a esta. En los pasajes en los cuales figura, el romancero esta intimamente relacionado con otros aspectos: convenciones y modas literarias, cultura material, erotismo, estratificacion social, intertextualidad, nacionalismo, oralidad y escritura, nexos poesia-teatro y un largo etcetera. El analisis de las baladas de los Quijotes y la continuacion apocrifa no solo ilumina areas de estudio diversas, tambien expone claves de la escritura cervantina y avellanediana y de las visiones que Cervantes y Avellaneda tenian de su tiempo, amen de completar el panorama de la lectura que cada escritor hizo del rival.

Neste livro, o Brasil mostra a sua cara em poesias. Eu mostro minha alma. Este livro saúda o Brasil e é também um recorte da minha vida. Tem muito recheio, como qualquer coisa à brasileira. Eu tento,

O meu propósito com este livro é inspirar e encorajar aqueles que buscam um amor verdadeiro e transformador, baseado nos princípios de Cristo. Desejo que cada página seja uma oportunidade de reflexão

Instead of the cross, the Albatross About my neck was hung.Samuel Taylor Coleridges famous poem "The Rime of the Ancient Mariner" is often regarded as having heralded the beginning of the Romantic era in British literature. The poem narrates the story of a sailor who has returned home from a long voyage having suffered great loss, yet survived.In this Studies in Theology and the Arts volume, poet and theologian Malcolm Guite leads readers on a journey with Coleridge, whose own life paralleled the experience of the mariner. On this theological voyage, Guite draws out the continuing relevance of this work and the ability of poetry to communicate the truths of humanitys fallenness, our need for grace, and the possibility of redemption.The Studies in Theology and the Arts series encourages Christians to thoughtfully engage with the relationship between their faith and artistic expression, with contributions from both theologians and artists on a range of artistic media including visual art, music, poetry, literature, film, and more.

Por la ciudad del fuego es un verso tomado de un terceto que describe el paso de Dante y Virgilio por un espacio del Infierno, cuando los poetas peregrinos avanzan entre una lluvia de fuego. Edgard Collazos Cordoba, al escoger este verso como titulo del presente libro, pretende desde su inicio crear en el lector la percepcion de sufrimiento no solo de las almas que padecen el castigo, tambien la odisea de los dos poetas; la de Virgilio, por conducir a Dante hacia el camino correcto, y la de Dante, por alcanzar el camino que lo llevara hacia el empireo, hacia Beatriz y hacia la salvacion.Este libro explica la controvertida aventura que narra la Divina comedia imaginada por un genio llamado Dante Alighieri, solo comparable con Cervantes y Shakespeare; es vital para aquellos lectores que deseen conocer la obra del poeta florentino. Sus paginas estan pobladas de necesaria informacion sobre ese periodo que fue llamado la Edad Media. En este libro no sobra una palabra, cada frase es informacion para entender la que es quizas una de las maravillas creacionales de la cultura de Occidente.

Ampliando o Método Paulinyi sobre Poesia e Versificação, este tratado ensina 180 figuras de linguagens, tropos e esquemas que enriquecem a expressividade literária. Dezenas destas figuras são explica

Este tratado sobre poesia e versificação, destinado a jovens de espírito, estabelece um método progressivo de ensino à arte da composição de poemas. Definem-se e explicam-se as três condições necessá

Por la ciudad del fuego es un verso tomado de un terceto que describe el paso de Dante y Virgilio por un espacio del Infierno, cuando los poetas peregrinos avanzan entre una lluvia de fuego. Edgard Collazos Cordoba, al escoger este verso como titulo del presente libro, pretende desde su inicio crear en el lector la percepcion de sufrimiento no solo de las almas que padecen el castigo, tambien la odisea de los dos poetas; la de Virgilio, por conducir a Dante hacia el camino correcto, y la de Dante, por alcanzar el camino que lo llevara hacia el empireo, hacia Beatriz y hacia la salvacion.Este libro explica la controvertida aventura que narra la Divina comedia imaginada por un genio llamado Dante Alighieri, solo comparable con Cervantes y Shakespeare; es vital para aquellos lectores que deseen conocer la obra del poeta florentino. Sus paginas estan pobladas de necesaria informacion sobre ese periodo que fue llamado la Edad Media. En este libro no sobra una palabra, cada frase es informacion para entender la que es quizas una de las maravillas creacionales de la cultura de Occidente.

The Divine Comedy by Dante AlighieriA masterpiece of Italian literature, this epic poem follows Dantes journey through Hell, Purgatory, and Paradise. Rich in allegory, theology, and medieval philosophy, it explores themes of sin, redemption, and divine justice while offering vivid imagery and moral reflection on the afterlife.

Kings Gold Medal for Poetry Winner of the Jhalak Poetry Prize 2025 A Guardian Book of the Year 2024 A London Review Bookshop Book of the Year 2024Mimi Khalvati, one of our best-loved poets, was born in Tehran, Iran, and sent away to boarding school on the Isle of Wight at the age of six, only returning to her family in Iran when she was seventeen. The loss of her native country, culture and mother tongue formed the bedrock of her adoptive love of the English language and its lyric tradition. But, she says, whether drawing on my few memories of Iran, my long years in London and travelling in the Mediterranean, or on that central void always facing me, I have celebrated the richness of a life that can be lived without a clear sense of heritage, family history or personal biography.That wealth is reflected in the wide variety of style, tone and architecture in her Carcanet poetry collections over thirty-three years free and metrical verse, ranging from short, fixed forms to extended lyrical sequences, from ghazals to the heroic corona or book-length series of sonnets. I hope, she writes, the poems speak especially to those who have made their homes wherever the tide has brought them, sometimes in language itself, and to those who have no story but place their trust in the flux and flow, the vision of the lyric moment.

Winner of the Warwick Prize for Women in Translation 2024 Winner of the Schlegel-Tieck Prize 2024The Jewish poet Nelly Sachs (18911970) writes in direct response to the Holocaust. She is uniquely a prophetic poet, one of the greatest of that species in the twentieth century.Her first book appeared in the immediate wake of the Second World War, in 1946. Since that time, Hans Magnus Enzensberger declared, she has been writing fundamentally a single book. That book is represented in this volume which reveals her whole progression rendered into English. Unlike earlier translators, Andrew Shanks calls his versions translations/imitations, moving away from the doggedly literal to render more faithfully the sense and intention of the originals.Sachs escaped Berlin in May 1940. She found refuge in Sweden. Her major work is an evolving response to the trauma of the Holocaust. In 1966 she received the Nobel Prize for Literature. This book includes all the lyric poetry Sachs published in her lifetime and adds the posthumous collection Teile dich Nacht, an introductory essay, and notes.Her poetry begins as a monumental lament for the victims of the Holocaust. Other themes develop: biblical, Kabbalist and religious allusions, personal bereavement, mental breakdown. And there are reflections on poetic vocation in the darkness of recent history.

Letters Home gives access to the last major archive of Larkins writing to remain unpublished: the letters to members of his family. These correspondences help tell the story of how Larkin came to be the writer and the man he was: to his father Sydney, a conservative anarchist and admirer of Hitler, who died relatively early in Larkins life; to his timid depressive mother Eva, who by contrast, lived long, and whose final years were shadowed by dementia; and to his sister Kitty, the sparse surviving fragment of whose correspondence with her brother gives an enigmatic glimpse of a complex and intimate relationship- But it was the years during which he and his sister looked after their mother in particular that shaped the writer we know so well: a number of poems written over this time are for her, and the mood of pain, shadow and despondency that characterises his later verse draws its strength from his experience of the long, lonely years of her senility. One surprising element in the volume, however, is the joie de vivre shown in the large number of witty and engaging drawings of himself and Eva, as Young Creature and Old Creature, with which he enlivens his letters throughout the three decades of her widowhood.This important edition, meticulously edited by Larkins biographer, James Booth, is a key piece of scholarship that completes the portrait of this most cherished of English poets.

Stephen Spender, along with his friends W. H. Auden, Louis MacNeice and C. Day Lewis, rose to prominence in the 1930s, writing powerfully of the fear and paranoia of a continent heading towards war. By the time of his death in 1995 he had established a distinguished reputation as a poet, critic, editor and translator. This New Collected Poems, edited by Michael Brett, gathers seven decades of verse from Poems (1933) to Dolphins (1994) and the late uncollected work. Reordering the thematic principle of the 1985 Collected Poems, this edition returns to a book-by-book chronology and allows the reader to experience, for the first time, the full development and range of his career.

This entirely new edition brings together all of Philip Larkins poems. In addition to those in Collected Poems (1988), and in the Early Poems and Juvenilia (2005), some unpublished pieces from Larkins typescripts and workbooks are included, as well as verse (by turns scurrilous, satirical, affectionate, and sentimental) tucked away in his letters. The manuscript and printed sources have been scrutinized afresh; more detailed accounts than hitherto available of the sources of the text and of dates of composition are provided; and previous accounts of composition dates have been corrected. Variant wordings from Larkins typescripts and the early printings are recorded.For the first time, the poems are given a comprehensive commentary. This draws critically upon, and substantially extends, the accumulated scholarship on Larkin, and covers closely relevant historical contexts, persons and places, allusions and echoes, and linguistic usage. Due prominence is given to the poets comments on his poems, which often outline the circumstances that gave rise to a poem, or state what he was trying to achieve. Larkin played down his literariness, but his poetry enrichingly alludes to and echoes the writings of many others; Archie Burnetts commentary establishes him as a more complex and more literary poet than many readers have suspected.

Audelays idiosyncratic devotional tastes, interesting personal life history, and declared political affiliations-loyalty to king, upholder of estates, anxiety over heresy-make him worthy of careful study beside his better-known contemporaries. Of particular note: MS Douce 302 preserves Audelays own alliterative Marcolf and Solomon, a poem thought to be descended from Langlands Piers Plowman. The Audelay Manuscript also contains unique copies of other alliterative poems of the ornate style seen in Gawain and the Green Knight and The Pistel of Swete Susan. These pieces are Paternoster and Three Dead Kings, both set at the end of the book. Whether or not they are Audelays own compositions, they seem certain to be his own selections. Audelay also displays a persistent habit of sequencing materials in generic and devotionally affective ways. His is a pious sensibility delicately honed by reverence for the liturgy and by an awe of God. That Audelays poetry can awaken us to new poetic sensitivities in medieval devotional verse is reason enough to bring him into the ambit of canonical fifteenth-century English poets.

Since its rediscovery by nineteenth-century scholarship, Oxford, Bodleian Library MS Ashmole 61 has never been ignored, though it has also not gained a great deal of notoriety beyond the scholars of Middle English romance. It is hoped that the present volume will encourage study of the entire manuscript as a valuable witness to the devotional habits, cultural values, and popular tastes of late medieval England.