Modern Poetry

The most original and shocking interpretation of Lucretius in the last 40 years.

Thomas Nail argues convincingly and systematically that Lucretius was not an atomist, but a thinker of kinetic flux. In doing so, he completely overthrows the interpretive foundations of modern scientific materialism, whose philosophical origins lie in the atomic reading of Lucretius' immensely influential book De Rerum Natura.

This means that Lucretius was not the revolutionary harbinger of modern science as Greenblatt and others have argued; he was its greatest victim. Nail re-reads De Rerum Natura to offer us a new Lucretius--a Lucretius for today.

Death is one of the significant and recurrent themes in the poetry of Sylvia Plath. This paper aims at showing the poet's attitudes towards death. Certain poems are selected to show the poet's different attitudes to death: death as a rebirth or renewal, and death as an end. Most obvious factors shaped her attitudes towards death were the early death of her father that left her unsecured, and the unfaithfulness of her husband, Ted

The theme of loneliness and alienation is widespread throughout the poem The Love song of J. Alfred Prufrock. Prufrock spends the span of the poem contemplating on some sort of o e hel i g uestio hi h he eeds to ask a o a at a so ial gathe i g. P uf o k ei g

As I Walked Out One Evening by W.H. Auden. " As I Walked Out One Evening " , a poem written by W.H. Auden, presents multifarious universal themes-love, time and death. It comes under the genre of dramatic literary ballad, for it is embellished with figurative language and written in quatrains, but also shares some features of sonnet, as it is rhymed. Death, one of the most significant theme, is metaphorically presented in the first stanza. " Fields of harvest wheat " delineates that wheat has fully-grown and is ready to reap just like the crowd wandering in the streets are oblivious to their approaching death. This imagery has been used to conjure up that golden hue one might expect at sunset and captures a sense of movement—the swaying wheat mirroring the movement of the crowd. The poet has rigorously juxtaposed two different images to articulate his views about death. Auden rhymes street with wheat. The rhyme strengthens the connection between the urban and the rural environments by making them sound connected. The strengthened connection reinforces the idea that the people on the street, like the wheat in the field, are doomed. Brimming river " represents time; the way river gushes in a continuous manner, time also passes by and waits for none. Here, Auden has shown the viciousness of time. No matter how hard we may try we could never stop the river from flowing. Similarly, the imagery of the bells of the clock tower remind us of the Time that is passing-the time that will not stop for us. "Whirr and chime" signifies that time is more powerful than anything human, even love. In addition, the clocks also uphold that Time is the triumphant force since it is a race that can never be won by humanity and there are never any exceptions to its limits nor are there any survivors of its boundaries.

's ekphrastic poem, " Musee des Beaux Arts " meaning The Museum of Fine Arts, showcases the indifference with which humans perceive suffering. This title, though fancy, is quite ironic in that, the subject it outlines does not reflect anything that of which is fine. Auden, through an unnoticed persona or third person, critically recaptures , with careful poetic dexterity, Pieter Brueghel's painting which outlines a farmer, a sailing ship, a shining sun and a drowning boy. Auden illustrates this same scenario in his poem. After careful observation, he paints a general picture of how suffering is common – placed to the daily practices of human beings. The painting done by Brueghel seems to be the inspiration for Auden's poem. The poem, written in third person, starts off by giving general views about suffering and how it happens while humans and animals are carrying on with their day to day routines: " how it takes place/ while someone else is eating or opening a window or just/ walking dully along/ where the dogs go on with their doggy life... " (Lines 4, 5, 13). This speaks directly to how universal the subject of the poem is. Auden gives his personal conviction when he suggests that " The Old Masters " , written in capital letters, this suggests experts of the past like Brueghel, who is the only one who knows about and understands the hardship and suffering people face. The persona also speaks about how nonchalantly children react to suffering as opposed to elderly folks who await another birth while turning a blind eye to human suffering. In addition, the second section of the poem moves away from a general commentary to an analogy, narrowing its focus to " Brueghel's Icarus ". This further concretizes and exemplifies the situational irony of how " the plowman "-an ordinary person-and " the expensive delicate ship " –

Vulnerable realism can imply two different understandings: one presenting weak realism as incomplete, and mixed with other literary styles; the other bringing realistic vulnerable experience into narration. The second is the key meaning for this work, but it does not exclude the first since the book asks questions about realism as such, entering into a polemic with the tradition of literary realism. Realism, then, is not primarily understood as a narrative style but a narration that tests the probability of nonhuman vulnerable experience and makes it real. 

The book consists of three parts. The first presents examples of how realism has been redefined in trauma studies and how it may refer to animal experience. The second explores that which is added to the narrative by literature, including the animal perspective (a zoonarrative) and how it is done (zoocriticism). The third analyses cultural texts (such as painting, circuses, and memorials) which realistically generate animal vulnerability and provide non-anthropocentric frameworks, anchoring our knowledge in the experience of fragile historical reality.

In this paper, I analyze the actions of the titular character of TS Eliot's poem "The Love Song of J. Alfred Prufrock" in the context of modern-day existentialism. I argue that Prufrock's social anxiety is an external manifestation of his deep internal conflict with the existential concerns, especially those of meaninglessness and loneliness.

This essay will discuss modern literature and the role of Eliot in the modern period. It will also point out those who influenced the poet, such as the influence of the French writers. It is very crucial for the argument of this study to examine the role of T.

Humano demasiado humano puede describirse como la lucha por un nuevo ideal de cultura y la afirmación de una voluntad de poder capaz de transmutar todos los valores que informan la cultura occidental, los cuales niega, considerándolos formas de una moral que debe ser superada por oponerse a la consecución de otros que sean más acordes con la vida y sus exigencias de salud y verdad. Marca también un período fecundo en el pensamiento de Nietzsche, la defensa del espíritu de la ilustración, libre de prejuicios y opuesto a toda metafísica, y es todo esto lo que abre un futuro de posibilidades y pujanza. Un libro que Nietzsche subtituló «Un libro dedicado a los espíritus libres», debe ser leído para una mejor comprensión de la obra del gran filósofo, cuya importancia se acrecienta cada vez más. Friedrich Nietzsche Humano demasiado humano Un libro para espíritus libres ePUB v1.1 boterwisk 18.07.12 Título original: Menschliches, Allzumenschliches. Ein Buch für freie Geister Friedrich Nietzsche, 1984 Traducción: Carlos Vergara Diseño/retoque portada: boterwisk Editor original: boterwisk (v1.0 a v1.1) ePub base v2.0

This study emphasizes on the use of literary texts as a key technique in pedagogy of language skills; i.e. reading, writing, listening and speaking and language areas such as; vocabulary, grammar and pronunciation. Factors for using literary writings in foreign language classroom and main criteria for choosing suitable literary manuscripts in foreign language classes are focused on to familiarize the reader with the underlying reasons and criteria for language teachers' using and selecting literary texts. Moreover, literature and the teaching of language skills, benefits of different genres of literature to language teaching and some problems encountered by language teachers within the area of teaching English through literature (i.e. lack of preparation in the area of literature teaching in TESL / TEFL programs, absence of obvious objectives in explaining the role of literature in ESL / EFL, language teachers' not having the background and training in literature, lack of pedagogically-designed appropriate materials that can be used by language instructors in a classroom context) are taken into consideration.

Ad Angelo Mai, quand'ebbe trovato i libri di Cicerone della Repubblica 11 Bruto minore 21 Alla primavera, o delle favole antiche 30 Ultimo canto di Saffo 36 Il primo amore 42 Il passero solitario 47 L'infinito 53 La sera del dì di festa 63 Alla luna 67 Il sogno 70 La vita solitaria 77 Alla sua donna 83 Il risorgimento 87 A Silvia 95 Le ricordanze 103 Canto notturno di un pastore errante dell'Asia 115 La quiete dopo la tempesta 126 Il sabato del villaggio 131 Il pensiero dominante 138 Amore e morte 147 A se stesso 153 Aspasia 155 Palinodia al marchese Gino Capponi 164 Il tramonto della luna 176 La ginestra o il fiore del deserto 180 Bibliografia 197 Premessa Queste riflessioni sui Canti di Giacomo Leopardi non hanno pretese di scientificità, né intendono porsi quale meditato e maturo contributo critico. Esse nascono da una mia personale lettura dei Canti (o meglio, di alcuni di essi), e si pongono perciò come contributo individuale, ma sentito, alla conoscenza di questo autore. È un tentativo di dar voce a Leopardi stesso, sia leggendo le sue poesie, sia le sue opere, tra le quali spicca lo Zibaldone, che è il contraltare degli altri scritti da lui composti. Per questo, alla riflessione sui Canti accompagnerò spesso ampi stralci dello Zibaldone e, in misura minore, delle Operette morali; non si tratterà di citazioni estrinseche, bensì della volontà di dar conto del continuo gioco di rimandi tra i testi in versi e quelli in prosa. Sovente, infatti, le pagine del "diario" di Giacomo contengono, in forma più ampia ed esaustiva, temi e pensieri che sono alla base delle sue composizioni poetiche. Naturalmente ho cercato di tenere presenti alcuni contributi critici di rilievo, per evitare il rischio di "lanciarmi" in interpretazioni azzardate e senza senso. Credo infatti sia impossibile trascurare del tutto tali studi, peraltro sterminati, sulla poesia e sul pensiero di Leopardi. Tuttavia, come ho accennato all'inizio, non sarebbe stata possibile, né era mia intenzione condurla a termine, una ricognizione di tale immensa mole di analisi letterarie. Spero che chi leggerà potrà gradire la genuinità delle parole, l'abbondanza di citazioni in versi e il continuo gioco di rimandi con lo Zibaldone. Qualunque inesattezza e imprecisione non sarà dovuta alla volontà di affermare qualcosa di inedito sulla poesia di Leopardi, bensì solo a disattenzione e umana distrazione. Non ho commentato tutti i Canti, ma ho cercato di scegliere quelli che, per tradizione e conoscenza consolidata, risultano i più rappresentativi della sua produzione poetica. Si tratta perciò di una scelta personale, tesa a mostrare quale sia stata l'evoluzione della poesia di Leopardi, sia in relazione alla sua autobiografia, 11 W. Binni, Leopardi. Scritti 1964-1967 Durante il soggiorno romano, Leopardi scrive una lettera al fratello Carlo il 15 febbraio 1823, dove dice: "Venerdì … fui a visitare il sepolcro del Tasso e ci piansi. Questo è il primo e unico piacere che ho provato in Roma. … Tu comprendi la gran folla di affetti che nasce dal considerare il contrasto tra la grandezza del Tasso e l'umiltà della sua sepoltura". Cfr. altresì lo Zibaldone a p. 141. 13 Nella lettera a Pietro Giordani del 21 marzo 1817 per esempio si legge: "Io ho grandissimo, forse smoderato e insolente desiderio di gloria".

The purpose of this work is to comprehend the importance and scope of chance in the poetry of Mallarmé. In order to do that, we will proceed according to a three-pronged approach; recompose the political, poetic and philosophical context that made possible the emergence and establishment of chance as an event both revolutionary, creative and conceptual. Since Baudelaire, poetry sings the failed revolutions, but willing to preserve the desire for a different world. Chance in this context is the unpredictable bursts, lightning and transient of a desire that can not find its place within the social life, to keep alive and vivid the dream of a different world, poetry must: provide evidence that its action, even restricted, counts; make last chance doomed to fade, constituting a space where it can remain, multiply itself and thus find the consistency to remain.  Prolonging a contingency that creates novelty is the task that Mallarmé attributes to his poetry.  Philosophically, this approach requires a radical critique of reason and representation. In this context, Mallarmé has not only announced chance, but he sought to discover the logic of what escapes from reason composing a work capable of making real, visible and intelligible, the unpredictable and inexhaustible power that chance grips.

RESUMEN:
Este trabajo se propone desplegar una mirada metafísico-existencial -y por ello también arquitectónica- sobre el habitar, entendido éste como un acto de resonancias espirituales mediante el cual el hombre afianza su identidad y se reconoce en el trato que establece con las cosas.  Esta mirada se corresponde con la tesis heideggeriana del habitar poético del hombre en el mundo, entendiendo este habitar en el sentido tanto físico-residencial de la morada, como espiritual de la moral. El Artículo expone la tesis de Heidegger de la palabra como morada del ser, teniendo como fundamento del análisis la Conferencia “Construir, Habitar, Pensar” [1951], como el escrito Hölderlin y la esencia de la poesía [1944] ambos de Martin Heidegger.
Palabras claves: Heidegger, poesía, construir, habitar, pensar, residencia, casa, no-lugar, calle, plaza, pasado, pertenencia, tierra, memoria, origen, poética del espacio, arquitectura, tierra, historia.
Dr. Adolfo Vásquez Rocca
- Vásquez Rocca, Adolfo,  "La arquitectura de la memoria: Espacio e identidad" pp.163 – 176 Revista Cuadernos de Filosofía - Nº 22 - 2004 [Publicación anual]. Universidad de Concepción – Chile. ISSN 0716-9884
y En A Parte Rei Revista de la Sociedad de Estudios Filosóficos de Madrid Nº 37 – 2005.
Adolfo Vásquez Rocca PHD.

Ever since the arrival of colonialism gained momentum in the country, Somali literature has been approached narrowly from the tutelage of the pastoral culture. Colonial as well as early Somali writers have taken the comfort of disdaining the study of anthological themes related to the non-nomadic cultures and literatures. That restricted notion of one culture, as purported by colonial writers and later politically enshrined by the state and a section of Somali scholars, has obscured the wealth of the various non-nomadic cultures in this Horn of Africa nation. Therefore, contrary to the notion of a homogenous Somali nation of the same nomadic culture, this essay aims to produce a non-nomadic version of Somali literature as practised by a section among the agrarian communities in Somalia; those known as Bantu or Jareer. Because the Bantu is an ethnically oppressed community, all what is related to their culture and literature in particular has been deemed valueless and, as a consequence, an institution unworthy studying. In particular, the essay argues that despite the degradation by the Somali state and neglect by Somalia scholarship often obsessed with the apocryphal ideology of a self-same Somalia, the agrarian wordsmith is bestowed with rich cultural and literary wisdom which makes him view his environment with sharp consciousness.

Michelangelo wrote over 300 poems during his lifetime, mostly addressed to himself or to his friends. He was a great admirer of Dante, however, and so deep imbued with the poetic spirit. What is little known is the fact that he wrote 43 poems dedicated to Vittoria Colonna, his great love in later life. She was a poet herself, so they had much in common. They were also deeply pious. Michelangelo was in his late fifties when Vittoria entered his life. Her early death left a void for him, and he never quite recovered. My book explores this relationship in detail, as well as presently the 43 poems newly translated into modern poetry. It is the first time that these poems have been extracted from the artist's literary opus.

The topic of this paper is the poet Ted Hughes and, in particular, his group of poems drawn from various publications, generally known under the name of 'animal poems'. Like the name itself suggests, the focus of these literary compositions turns around animals: crows, hawks, foxes, jaguars, pikes, otters and many others inhabit the poetry of Ted Hughes, as well as his volcanic imagination. Hughes’ beasts are generally predators (in some rare cases preys and predators at the same time) and their task is to celebrate the law of nature: only the strongest survives. Images portraying violence, brutality and ferocity dominate the scene but, totally immersed in this imaginary world, they do not disgust but fascinate the reader. The brutality of the pike – which is a cannibal, too –, or the intimidating and sinister glance of the jaguar in a cage at the zoo, for example, highlight the strength and the vital principle of the animals rather than a shocking aspect. Their celebration of the law of survival is rendered through a dry and elegant language that sometimes has even mystical reverberations. However, generally Ted Hughes’ animal poems end up fascinating the reader also for (at least) two more reasons: the first is that a clear link between animal and man is often inferred, and it is seen through the magic practice of shamanism, of which Ted Hughes was a staunch advocate. Hughes’ animals in a way or another create connections with a human subject – reminding one of the typical symbiosis between animal helper and shaman – and offer him their vital power. In this way mysticism becomes related to the world of magic. The second – but not in order of importance – is that Hughes’ poems can also be read metaphorically: the poet’s vision of the world and of human society is strongly characterized by a destructive power but, since it would be immoral to celebrate it in this perspective, the poet makes recourse to the expedient of glorifying the brutal instinctual force in animals instead. Animals, one should also stress, that have a strong anthropomorphic characterization.

This handbook answers the need for fresh and informative readings of canonical and non-canonical poems. The thirty-one chapters engage revisionary trends in poetry scholarship. They unfold a critical history of American poetry that challenges conventional interpretations and provide insightful new readings of well-known poems and writers as well as introductions to poets and texts that may be more unfamiliar. Each chapter focuses on two poets set into dialogue with each other, presenting paired readings of one representative text from each author. In addition to a number of familiar texts and names that are necessary for students to understand basic developments in American poetry, the handbook offers chapters on multilingual colonial poetry, nineteenth-century Native American poetry, and contemporary experimental poetry.
The paired readings of poems in each chapter also invite interconnected lessons that make readers compare, for example, the communal conventions of colonial poetry to the collective poetics of contemporary performance poetry. The handbook encourages readings across and against literary periods, while annotated paired readings and additional reading suggestions should inspire students to analyze poems as particular sites of historical and political meaning. Being both a manual in terms of current theoretical directions in literary studies and a guide to practical criticism, A History of American Poetry helps students to further explore the diversity and multiple poetic traditions that make up American poetry in its intersections with historical contexts and other literatures.

DOI: https://doi.org/10.7301/Z0XS5SMV
Date Issued: Fall 2016

In October of 1977 Brown University had the honor to host the first International Symposium on Fernando Pessoa. At that time, referring to Pessoa’s English output, Edwin Honig pointed out that much remained to be said about the poet’s bilingualism. No one more than George Monteiro has committed himself to exploring this largely ignored aspect of one of the greatest Modernist poets. Almost two decades ago, in his ground breaking Fernando Pessoa and Nineteenth- Century Anglo-American Literature (MONTEIRO, 2000), he discussed at length the complex web of implications regarding Pessoa’s role as a voracious reader and writer of English.

The publication of Inside the Mask: The English Poetry of Fernando Pessoa, conceived and organized in that same pioneering spirit and coming full-circle almost forty years later, wishes to celebrate George Monteiro—the renaissance scholar, the man.

E m textos como o Timeu, o Livro X da República, e no seu último e inacabado diálogo, As leis, acompanhamos Platão realizando um cerceamento radical ao que chamamos, hoje, de "liberdade do escritor". A condenação da poesia decorre do desenvolvimento de um moralismo estético de matriz pitagórica, que encontra em Xenofonte uma síntese exemplar. Segundo o historiador e tratadista, para Sócrates todas as coisas que servem aos homens são ao mesmo tempo belas e boas na medida em que são de boa utilidade. De acordo com essa concepção original, a poesia interessava como propedêutica à filosofia, e não como valor absoluto. A concepção de satisfação desinteressada é completamente estranha ao pensamento socrático, em cujo âmbito a poesia se subordinava a outros valores, de ordem moral, para ter a sua existência justificada. Uma vez distante da ética estatal, portanto rebelde às intenções 1 UNGARETTI, 2005. A estrofe completa: In nessuna / parte / di terra / mi posso

The most prominent feature of Ted Hughes's poetry that draws average readers' attention is violence. But the poet equates instances of violence in his Hawk, Jaguar and Crow poems with the emission of cosmic energy in the raw stratum of animal life. Beneath the surface of violent animal poetry a dissatisfaction with contemporary civilization can be discerned which is densified, somewhat equivocally, with the poet's venture in the reincarnation of lively vigour. Similarly, his war poems, like "Six Young Men" and "Bayonet Charge" are exemplification in the power of endurance and will to live in the precinct of lurking death. Violence is not the sole preoccupation of the poet; rather he is concerned with vitality of life that resonates with the indomitable life-force. This article is an attempt to scrutinize Hughes's fabled concern with violence and to examine how far Hughes becomes successful in proclaiming the dominance of vitality over violence.

History in Four Quartets is revealed through the images of time and space. The image of time in Eliot, especially, in Four Quartets is, so to speak, a dramatis persona, one of the main characters of the poem. Mikhail Bakhtin in his seminal The Forms of Time and Chronotope in the Novel applies chronotope only to prose disregrading other genres, or arts, or culture in general. Bakhtin states that genre and genre varieties are determined by chronotope and that the most essential and leading part of it in literature is that of time. However, time-space, or chronotope, is perhaps even more important in poetry, even in lyric poetry, than in prose since poetry is much more condensed than prose and can be defined as time-space condensed in images.
This is certainly the case of Four Quartet. The chronotopes of the road and of the quest, to use Bahktin’s formula, are dominant in Four Quartets, and it is evident that time plays the most crucial part in it. This interrelation between time and space is already reflected in the titles themselves alluding to the places meaningful for Eliot.
The philosophical and musical integrity of Four Quartets is a contrapuntual integrity of tensions and contradictions where each new movement denies the previous one, each fifth movement, a coda, is a solution and resolution of the entire quartet while the first movement of the next quartet reveals new contradictions — point counter point. “Little Gidding” reveals its own contradictions and at the same time is a coda, a denouement of the whole cycle; its fifth part in a circular movement unites the themes of the rose and of the yew-tree, the end and the beginning.
There is another characteristic feature of the ‘dialogic imagination’ in Four Quartets: according to Bakhtin, “dialogic imagination” is seeking the truth, while ‘monologism’ pretends to know it. The whole composition of Four Quartets, its architectonics, is built, as I tried to show, according to the principle of investigation, that is to say, of seeking the truth: each movement reveals its tensions and contradictions of being, the last movement of each "Quartet" is usually a denouement while the first movement of the next "Quartet" denies or develops the previous and reveals new contradictions.

It is the aim of this paper to offer a comprehensive account of Heidegger’s approach to language and to Trakl’s work. There are, however, three features found in the Heidegger literature that stand in the way of a comprehensive account, namely exegetical internalism, exegetical subsumption, and exegetical oppositionalism. In the first part of this paper, I will explain what I mean by these three features. In the second part, I will offer an account of Heidegger’s approach to language and Trakl’s poems as they appear in the first two essays of On the Way to Language.

THE USE OF THE GAP IN ALICE OSWALD’S POETRY - Masters dissertation informed by my interview with Oswald in 2013, examining the structural, metaphorical and epistemological uses of gaps in Alice Oswald's poetry, with reference to Lacan, Wyatt, Homer and David Jones.

"From http://www.mv.helsinki.fi/home/pprasane/:
The dissertation is divided into two main parts: (1) "Problems With Metaphor? Prolegomena for Reading Otherwise", and (2) "Crossing the Troposphere: Paul Celan's Poetry and Poetics at the Limits of Figurality". The first main part consists of five Prolegomena, each of which can be read separately. The first of these introductory chapters deals with The Second Commandment, or the prohibition of image-making (Bildverbot, as Kant calls it) which is, paradoxically, superceded by another moment, the prohibition of "bowing down and serving them" (i.e. the images that were not to be made in the first place): how can you "bow down and serve" the images, or abstain from doing that, if you obeyed the first moment and did not even make them?

In the centre of the second Prolegomenon is Aristotle's ambivalent relationship with the "natural talent" (euphuia) for using metaphor, and the third Prolegomenon considers Aristotle's heritage among the modern "metaphoricians and metaphysicians", as well as the anti- or countermetaphoricians, such as Paul de Man and Murray Krieger. Prolegomenon IV contains readings of Shakespeare and Emily Dickinson, with a certain critical reference to modern cognitivism. The fifth, concluding Prolegomenon not only serves as a transitory passage to the second main part, namely the essay on Celan, but also contains a central argument with regard to the whole thesis. It is intended not only as a contribution to the understanding of Heidegger's denouncement of the concept of metaphor as a metaphysical concept, but also as an analysis of a certain relation between Heidegger's early lectures on Aristotle and the concept of "being-towards-the end" (Sein zum Ende) in Sein und Zeit, a developent which bears an implicit critical reference to Aristotle's notion of metapherein.

Also many of the chapters in "Part II" can be read as if they were independent articles. For a reader specially interested in Paul Celan's poetry and its "antimetaphoric resistance", I would recommend the chapters entitled "Squalls. A Reading of 'Ein Dröhnen'", and "The Tropic of Circumcision", revolving between the poem "Einem, der vor der Tür stand" and its reading in Jacques Derrida's book Schibboleth - pour Paul Celan."

Yeats and Eliot are two chief modernist poet of the English Language. Both were Nobel Laureates and both of them were critics of Literature and Culture expressing similar disquietude with Western civilization. Also, both prompted by the Russian revolution perhaps, or the violence and horror of the First World War, pictured a Europe that was ailing, that was literally falling apart, devoid of the logical sense of rational purpose that fuelled post-Enlightenment Europe and America. All these similar experiences make their poetry more valuable to compare and to contrast since their thoughts were similar yet one called himself Classicist (Eliot) who wrote objectively and the other considered himself "the last Romantic" because of his subjective writing and his interest in mysticism and the spiritual. For better understanding of these two poets it is necessary to mention some facts and backgrounds on them which influenced them to incorporate similar (to some extent) historical motif in their poetry.

Eliot’s   visionary   poem   The   Waste   Land   gnaws   at   the   bones   of   twentieth-­century   Anglo-­American   society   to   reveal   the   alienation   of   the   modern   west   from   the   non-human   world,   alongside   a   desperate   but   convoluted   longing   to   re-­commune   with   organic   elements   and   forces.   The   poem’s   arid   world   of   shattered   and   scattered   images   conveys   the   fragmented   state   of   the   urbanized   soul   as   well   as   its   desacralized   environment.  Eliot’s  wasteland  succeeds  in  displaying  modernity’s  failure,  existing  both   within   the   psyche   and   without   it,   in   the   world,   illuminating   the   existential   dilemma   of   twentieth century   life   as   well   as   anticipating   the   ecological   crisis   looming   from   within   the   shadows  of  the  very  project  of  urban  civilization  itself.  

O objectivo desta dissertação consiste em avaliar a relação entre Fernando Pessoa e Walt Whitman, através da análise do impacto que o autor de "Leaves of Grass" tem no heterónimo, Álvaro de Campos. Esta influência é estudada a partir do impulso que Emerson dá ao que virá a ser dos mais conceituados poetas americanos. Nenhum deles foi compreendido na sua época, porém acreditaram em si mesmos e concretizaram os seus projectos poéticos, mesmo considerando que Fernando Pessoa não tenha chegado a publicar a maioria da sua poesia. Álvaro de Campos é, dos heterónimos, o mais abertamente moderno. Tenta chegar à força e ao optimismo de Whitman, mas acaba por expor a sua fragilidade. O Sensacionismo é a expressão exagerada da vida e do corpo e Campos não aguenta as suas explosões enérgicas por muito tempo. Na realidade, o engenheiro descobre a sua imensa dificuldade em coabitar na solidão da cidade. Álvaro de Campos encontra ainda, em Whitman, a visão para a morte que lhe seria fácil integrar na vida. Ao aceitar e até amar a morte, como parte da vida, tudo se torna mais simples. Contudo, até aí, o autor de “Ode Marítima” nunca chegará.

The essays that follow derive from these two events. The first one was held at the Fernando Pessoa House in Lisbon on 3 July 2014 and the second on 17 and 18 April 2015 at Brown University. Major sponsorship for this event came from the Department of Portuguese and Brazilian Studies. «Among the many things they cover, the essays gathered in this important and highly original volume, sometimes individually but certainly cumulatively, make the case for taking seriously Fernando Pessoa’s large body of poetry written in English. Moreover, they suggest, if only by implication, that Pessoa deserves a place in the long and distinguished traditions of English poetry. Few if any have hitherto had the courage to make the claim for his inclusion in the illustrious group of English poets» [George Monteiro].

Inside the Mask: The English Poetry of Fernando Pessoa
[A printed edition of Pessoa Plural—a Journal of Fernando Pessoa Studies, nº. 10]
Gávea-Brown Publications at Brown University
Department of Portuguese and Brazilian Studies
© 2018 Brown University
All rights reserved
Manufactured in the United States of America
Various authors
Editor: Patricio Ferrari
Editors-in-Chief of Pessoa Plural: Onésimo Almeida, Paulo de Medeiros, and Jerónimo Pizarro
Copyeditor: Mark Streeter
Design and cover art: Gabriela Lissa Sakajiri
Typeset: Perpetua by Eric Gill; Josefin Sans by Santiago Orozco
ISBN: 978-0-943722-42-9 (paperback)
Library of Congress Control Number: 2017945064

Il film Invictus (2009), con la sceneggiatura di Anthony Peckham e la regia di Clint Eastwood ispirata al romanzo di John Carlin (2009), The Human Factor: Nelson Mandela and the Game that Changed the World, ha determinato una forte attenzione del pubblico alla poesia Invictus di William Ernest Henley. Ciò si è tradotto in una proliferazione di traduzioni spontanee del componimento poetico citato in una scena chiave del film: la poesia viene, infatti, fatta propria da Nelson Mandela (Morgan Freeman nel film) prima per rafforzare il proprio morale negli anni della prigionia durante l'apartheid e successivamente per incoraggiare il capitano della squadra sudafricana di rugby, François Pienaar (interpretato da Matt Damon), quando nel corso dei mondiali del 1995 sulla scena internazionale ritornano gli Springboks, la nazionale sudafricana di rugby, dagli anni Ottanta esclusa dai campi di tutto il mondo a causa dell'apartheid.

Christopher Buck, “Robert Hayden.” Oxford Encyclopedia of American Literature. Edited by Jay Parini. New York: Oxford University Press, 2004. Vol. 2, 177–181.

ABSTRACT
Robert Hayden was made poet laureate of Senegal in 1966 and ten years later became America's first black poet laureate. Acclaimed as "People's Poet" early in his career, later he was severely criticized for refusing to call himself a "Negro poet," even though he wrote some of the most powerful "black history" poems in the English language. Hayden transcended the identity politics of what W. E. B. Du Bois called "art as propaganda"-something that elite African-American artists (the Talented Tenth) were expected to produce. On the principle that race divides while a higher identity unifies, Hayden presented himself as an American poet rather than as a black poet. His greatness is that he was really both, and that his art was a fusion music of the American experience.

For Hayden, craftsmanship was essential — a marriage between matter and manner, as Gwendolyn Brooks once described it. With missionary zeal, Hayden experimented with forms and techniques in an effort to arrive at what he characterized as something distinctively individual, patterned, yet wild and free. This even included expanding the language itself, with such neologisms as "soulscape," "snowlight," "lifeswawk," "mimosa's fancywork," and "Absolute Otherwhere." The reader encounters such expressions as "moonstruck trees," "auroral dark," "famine fields," "jazzbo strutting of a mouse," "totemic flowers," "paleocrystic ice," "elegiac lace," "glaucous poison jewels," and "blazonry of farewell scarlet."

Adaptation was Hayden's primary method of innovation. Form flowed from content. Protean in his technique, Hayden employed a range of poetic and rhetorical devices to evoke each experience he sought to create. He was a virtuoso of rhythm, tonality, repetition, irony, oxymoron, paradox, and symbolism. Using sense to intensify, Hayden primarily relied on visual and auditory images. His gift for visual imagery grew out of his handicapped sight. Sensitivity to sound, tone, and cadence sprang from a keen sense of hearing, which Hayden developed to compensate for his poor vision. His work is full of dramatic tension, edged by irony, and tempered by religious emotions as echoes of the human spirit.

As an American shaman, Hayden was an oracle mediating between gods and mortals. His poetry was medicinal. On a personal level, it provided psychic therapy, self-medication. Although he was not a confessional poet, his reminiscence poems were cathartic. Those Winter Sundays is the best example; at a number of his readings, people in the audience would be brought to tears by it. On a social level, his poems promoted racial healing.

The first African-American poet laureate, Hayden was decidedly transracial in that role at the American bicentennial. This is poignantly exemplified in the deliciously wry title poem of his last book, American Journal, in which the poet assumes the mask of an extraterrestrial, reporting his anthropological observations of Americans to his superiors, the Counselors. More human than racial, Hayden truly was an "alien, at home."

See also: Christopher Buck, “Robert Hayden’s ‘[American Journal]’: A Multidimensional Analysis.” Online Journal of Baha’i Studies 2 (2008): 1–37. 

https://www.academia.edu/29603808/_Robert_Hayden_s_American_Journal_A_Multidimensional_Analysis_2008_