Sonnets Research Papers - Academia.edu (original) (raw)

OS SONETOS COMPLETOS DE ANTERO DE QUENTAL PREFÁCIO: J. P. Oliveira Martins NOTA PRÉVIA , TRANSCRIÇÕES E POSFÁCIO: Patricio Ferrari CAPA: João Botelho REVISÃO: Susana Tavares Pedro Impresso na Guide para a Guimarães em Novembro de 2010... more

OS SONETOS COMPLETOS DE ANTERO DE QUENTAL
PREFÁCIO: J. P. Oliveira Martins
NOTA PRÉVIA , TRANSCRIÇÕES E POSFÁCIO: Patricio Ferrari
CAPA: João Botelho
REVISÃO: Susana Tavares Pedro
Impresso na Guide para a Guimarães em Novembro de 2010
Lisboa: Guimarães [Babel], 2010. ISBN: 978-972-665-651-7

An investigation of Love and Hate and their affect on the Artistic Condition

Shakespeare’s presence in contemporary culture is ubiquitous, yet his works seem to be tangled up in a sort of elitist, highbrow veneer, which teachers may struggle to brush off. As a consequence, educational practitioners often resort to... more

Shakespeare’s presence in contemporary culture is ubiquitous, yet his works seem to be tangled up in a sort of elitist, highbrow veneer, which teachers may struggle to brush off. As a consequence, educational practitioners often resort to rewritings, adaptations and appropriations of Shakespeare’s works in an attempt to reach their young audience. YouTube and other file-sharing platforms, such as Tumblr, Daily Motion and TED Talks, however, may prove extremely useful for designing new approaches to Shakespeare that rely on the manifold connections between the Bard and music. Accordingly, this essay proposes some teaching strategies drawing on hip-hop, rap and contemporary music to introduce Shakespeare's sonnets and plays in the classroom. Although it does not aim to provide an actual lesson plan, this essay explores some of the connections between the Bard and music that teachers may exploit. This may be done through warm-up, lead-in and wind-down activities, or through student-centred tasks. These affinities are investigated in both directions, from Shakespeare’s texts and contexts to music, and vice versa, paying specific attention to the work of the American poet Erik Didriksen and the British rapper Akala before dwelling on the role of music in "The Merchant of Venice".

"20 sonetos", de Luís de Camões. Introdução e edição comentada. Editora da Unicamp, 2018.

Canadian Review of Comparative Literature, 2002

"Carter's music poses struggles of opposition, for instance in timbre (Double Concerto), space (String Quartet No. 3) or pulse (String Quartet No. 5). His preference for the all-interval tetrachords, 4–Z15 [0, 1, 4, 6] and 4–Z29 [0, 1, 3,... more

Three Sonnets with similar themes are juxtaposed within this academic essay. Each is an allegorical representation in some aspect, and two of these sonnets share a title, while having been written six years apart. These sonnets were that... more

Three Sonnets with similar themes are juxtaposed within this academic essay. Each is an allegorical representation in some aspect, and two of these sonnets share a title, while having been written six years apart. These sonnets were that of Sir Philip Sidney's "Astrophil and Stella", Charlotte Smith's "Sonnet 4: To the Moon" and Helen Maria William's "To the Moon".

In my walk with my Holy Father the lover of my life; I do not always take pleasure in the ways He is remolding me, breaking me, though I trust Him in whatever He may decide to do with my life. For by my own free will I have given him... more

by Rainer Maria Rilke (my translation)

How to know a person is in love with someone body? It is usually through expressing one’s love towards the loved one. It will be considered a strong love towards a beloved but if not expressing it or exaggerating it. Shakespeare’s... more

How to know a person is in love with someone body? It is usually through expressing one’s love towards the loved one. It will be considered a strong love towards a beloved but if not expressing it or exaggerating it. Shakespeare’s sonnet, in the beginning, is misleading its readers due to the beginning 12 lines but the end is opposite to its start. As it is a true love between the lovers but not announced everywhere and yet not exaggerated. This paper aims to analyze one of Shakespeare’s great sonnets “Sonnet 130”, which is a satire of Petrarchan sonnets. The paper also looks at the form, and content of the “Sonnet 130” and analyses it to gain a broader insight into the sonnet. Finally, the study focuses on the literary devices used within the sonnet to comprehend Shakespeare’s portrayal of the women image in the sonnet, using the analytical approach.

There were four women that Edward de Vere, writing under the pen name of "William Shakespeare," addressed. Sonnet 130 is a satire on Petrarchan conceits of golden hair and angelic features, not a real description of his mistress. One... more

There were four women that Edward de Vere, writing under the pen name of "William Shakespeare," addressed. Sonnet 130 is a satire on Petrarchan conceits of golden hair and angelic features, not a real description of his mistress. One dark lady, who bore him a son in 1581, was brunette Ann Vavasor. The one with dark eyes is Elizabeth Tudor, of whom he wrote "in nothing art thou black save in thy deeds." Sonnets 110 and 117 are "penitent husband" sonnets to Anne Cecil when he reconciled with her in 1581. His playful sonnet 138 is probably to Elizabeth Trentham, his second wife, who was much younger than he.

An anslysis of the reaction of the Spanish to the anonymous publication of the first edition of Lorca's homosexual Sonetos de amor oscuro, which his heirs had not permitted to be published, objecting especially to the word "oscuro"... more

An anslysis of the reaction of the Spanish to the anonymous publication of the first edition of Lorca's homosexual Sonetos de amor oscuro, which his heirs had not permitted to be published, objecting especially to the word "oscuro" (dark).

The article examines feminist revision of the sonnet, which have delved deeply into the history of the form to challenge some of its most common themes and tropes. This chapter discusses some of these attempts to reclaim and revise the... more

The article examines feminist revision of the sonnet, which have delved deeply into the history of the form to challenge some of its most common themes and tropes. This chapter discusses some of these attempts to reclaim and revise the sonnet tradition. Following a short excursion into the history of the sonnet, it characterises revision as a literary strategy and discuss the sonnets of Patience Agbabi and Sophie Hannah, two contemporary poets who have put their own spin on this very oldold and contested form.

Much information about, and even the canon of Mikołaj Sęp Szarzyński’s works (? – 1580) still remain probable but not fully ascertained. The little book published twenty years after his death, Rytmy, a single copy of which survives – it... more

Much information about, and even the canon of Mikołaj Sęp Szarzyński’s works (? – 1580) still remain probable but not fully ascertained. The little book published twenty years after his death, Rytmy, a single copy of which survives – it was found accidentally in the early 1800s – represents his uncertain legacy. Yet not only Sęp is the greatest pre-modern Polish poet after Kochanowski, but, due to his sonnets and other compositions of his early maturity, he can be considered the creator of a new style that, under the influence of late Italian Petrarchism, brings Polish poetry closer to mannerism and, for some commentators, to baroque. This essay focuses in particular on sonnet 3, "To the Most Holy Virgin ". While revealing many connections with Dante and Petrarca, it takes on themes and styles of the Spanish Marian literature that was almost contemporary with the young author. This poem constitutes the cornerstone of a sonnet cycle (the first in Polish literature) that marks the artistic culmination of a “passage” to modernity, in which an attitude of doubt and the attendant "grammar of uncertainty" (J. Błoński) become the writer’s main stylistic and existential signature.

In this article, I address contemporary Hebrew translations of Shakespeare’s Sonnets, specifically those by the Israeli poet Anna Herman. My reading of Herman’s translation of Sonnet 18 contextualizes this translation in the Hebrew... more

In this article, I address contemporary Hebrew translations of Shakespeare’s Sonnets, specifically those by the Israeli poet Anna Herman. My reading of Herman’s translation of Sonnet 18 contextualizes this translation in the Hebrew translation history of the Sonnets. I discuss how Hebrew retranslations of the Sonnets illuminate and complicate our understanding of shifts in the development of modern Hebrew writing and translation from the nineteenth to twenty-first centuries. How do Herman’s translations ‘compare’, as it were, with the translations that have come before, particularly those by male translators? As part of a neoformalist turn in contemporary Hebrew poetry, I call attention to the ways in which Herman’s translations, which were published in 2006, revitalize our reading of the original Shakespearean English and the Hebrew translations that followed, thereby constituting an altogether contemporary text.

"""Critical essay on the collection "L'Hobby del Sonetto" that was published in Italy in 2003 when Pasolini's entire collection was released. The collection is about homosexual love sonnets dedicated to Ninetto Davoli. Inspired by... more

"""Critical essay on the collection "L'Hobby del Sonetto" that was published in Italy in 2003 when Pasolini's entire collection was released. The collection is about homosexual love sonnets dedicated to Ninetto Davoli. Inspired by Shakespeare the poems witness the poet's despair when Ninetto, his life partner, gets married.
Even if the sonnets were written from 1971 to 1973, the theme of an homosexual relation never accepted by society is still very current today"""

Heile livet skreiv Olav H. Hauge sonettar, men berre 16 står på prent i Dikt i samling, som tilsaman inneheld drygt 400 dikt. Så det er ikkje i tal sonettane ruvar i forfattarskapen. Men overalt et Olav H. Hauge kjend som ein meister i... more

Heile livet skreiv Olav H. Hauge sonettar, men berre 16 står på prent i Dikt i samling, som tilsaman inneheld drygt 400 dikt. Så det er ikkje i tal sonettane ruvar i forfattarskapen. Men overalt et Olav H. Hauge kjend som ein meister i sjangeren. Ein kan spørje seg korleis dette passer saman med at Olav H. Hauge er kjend som ein modernist som rørde seg bort frå dei tradisjonelle formane. Her skal vi prøve å sjå alle sonettane til Hauge under ei lupe og undersøke korleis de passar inn i forfattarskapen. Er dei framande fuglar, eller bidrar dei til å skape ein heilskap? Det blir ein etter måten stutt gjennomgang av sonetten si historie og av generell sonett-teori. Vi ser også på korleis Olav H. Hauge-resepsjonen har blitt farga av Jan Erik Vold. Alle Olav H. Hauge sine sonettar blir lesne og kommentert. Til slutt vonar eg å vise at sonettane er ein viktig del av forfattarskapen, som gjer at den blir heilstøypt og ikkje så tydeleg deilt inn i fasar som resepsjonen tradisjonelt skal ha det til.

This paper examines the self-reflection as an implicit discursive key in the «Salmo XVII» of Francisco de Quevedo, where our poet uses both the polysemy and the argumentative dispositio to confer several meanings to the textual content,... more

This paper examines the self-reflection as an implicit discursive key in the «Salmo XVII» of Francisco de Quevedo, where our poet uses both the polysemy and the argumentative dispositio to confer several meanings to the textual content, and to create textual couplings that assert further coincidences between the level of the enunciation and that of the poetic declaration. Based on these rhetorical devices, Quevedo establishes discursive analogies between human life and the sonnet to inscribe the poem with a later metaliterary sense.

Die deutsche Liebeslyrik des Barock knüpft nicht an den mittelhochdeutschen Minnesang an; sie greift vielmehr Formen und Motive der romanischen Liebeslyrik, vor allem aus dem Petrarkismus auf. In fünf exemplarischen Interpretationen fragt... more

Die deutsche Liebeslyrik des Barock knüpft nicht an den mittelhochdeutschen Minnesang an; sie greift vielmehr Formen und Motive der romanischen Liebeslyrik, vor allem aus dem Petrarkismus auf. In fünf exemplarischen Interpretationen fragt der Beitrag nach den Differenzen, die über diesen bekannten Tatbestand hinausgehen. Gibt es inhaltliche Unterschiede, die es erlauben, hierin einen relevanten Epochenwandel zwischen Mittelalter und Früher Neuzeit zu sehen? Vor allem: Verändern sich die Liebeskonzeptionen und nehmen die erotischen Spielräume innerhalb der Lyrik zu oder ab?

While an essential component of poetry, form has been frequently overlooked in research on poetry translation or has been addressed under rather prescriptivist approaches, with notable exceptions (Holmes 1994, Jones, 2011, among others).... more

While an essential component of poetry, form has been frequently overlooked in research on poetry translation or has been addressed under rather prescriptivist approaches, with notable exceptions (Holmes 1994, Jones, 2011, among others). This paper deals with the translation of the poetic form from a descriptivist perspective from a corpus of 69 Spanish translations of Shakespeare’s Sonnets published between 1877 and 2018. It addresses, particularly, the outer form or macrostructure of the poems using one sonnet of each translation as a prototype. This analysis will serve as a basis for classifying these translations according to James S. Holmes’ metapoem forms and for proposing a revision of this model. While there are certain forms or patterns repeated throughout, the diverse solutions show that there is no single favoured way of rendering these sonnets, not even during a specific period (beyond the preference for verse over prose).

The paper explores the intricacies of two of the most famous works of Elizabeth Barrett Browning. Popularly known as the intense poetess of love sonnets, this paper studies the aspects of strong feminism and bold individuality that... more

The paper explores the intricacies of two of the most famous works of Elizabeth Barrett Browning. Popularly known as the intense poetess of love sonnets, this paper studies the aspects of strong feminism and bold individuality that existed in Barrett Browning's works, alongside the sensuality.

RESUMEN: este artículo analiza el origen de los metros endecasílabos en su estrofa más característica, el soneto, a través de la obra de Francesco Petrarca (1304-1374). Se expondrán las diversas razones por las que el soneto es uno de los... more

RESUMEN: este artículo analiza el origen de los metros endecasílabos en su estrofa más característica, el soneto, a través de la obra de Francesco Petrarca (1304-1374). Se expondrán las diversas razones por las que el soneto es uno de los géneros más significativos de la poesía lírica, gracias a su versatilidad en la combinación de razón y sentimiento, logrado mediante la adecuada medida, ritmo, rima y disposición de sus estrofas.
PALABRAS CLAVE: soneto, endecasílabo, Petrarca, Cavalcanti, Garcilaso de la Vega.
ABSTRACT: this article analyzes the origin of hendecasyllabic meters in its most characteristic strophe, the sonnet, through the work of Francesco Petrarca (1304-1374). The various reasons why the sonnet is one of the most significant genres of lyrical poetry will be exposed, due to its versatility in the combination of reason and feeling, achieved through the appropriate measure, rhythm, rhyme and arrangement of its strophes.

Previous scholarship on the subject of early seventeenth century cosmetics in the works of William Shakespeare has tended towards a consideration of their use in his theatre, with little attention paid to the everyday attitudes... more

Previous scholarship on the subject of early seventeenth century cosmetics in the works of William Shakespeare has tended towards a consideration of their use in his theatre, with little attention paid to the everyday attitudes surrounding controversial beauty regimes of the period in Shakespeare’s Sonnets. Farah Karim-Cooper alludes to this lack of critical forethought in her book Cosmetics in Shakespearean and Renaissance Drama, wherein she determines the “contemporary culture of cosmetics extended beyond practice and vanity and into the domains of theatre, art, and poetry” (1 my emphasis). Despite this observation, Karim-Cooper dedicates the majority of her focus to Shakespeare’s dramatic works, interspersed with powerful yet insufficient references to the sonnet form. My contribution seeks to re-contextualize Karim-Cooper’s assertion that “early modern dramatists attempted to revalue the cosmetic” (2) within Shakespeare’s poetical framework, through a comparative reading of the ‘Procreation’ and ‘Dark Lady’ sequences; Shakespeare’s Sonnets “elevate” cosmetics not only by “reinvigorating their metaphorical uses” (Karim-Cooper 135) but by framing beauty, reproduction, and poetry as cosmetic devices.

A tanulmány Nemes Nagy Ágnes versformákhoz való viszonyát elemzi, majd a szonettjeit vizsgálja meg, kitérve a legújabb versgyűjteményben (szerk. Ferencz Gy., 2016) megtalálható, nemrég felfedezett versekre is. Alcímek: - Kimondás és... more