標(biāo)題: Titlebook: Elizabeth Bishop and the Music of Literature; Angus Cleghorn Book 2019 The Editor(s) (if applicable) and The Author(s), under exclusive li [打印本頁(yè)] 作者: AMUSE 時(shí)間: 2025-3-21 17:02
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作者: Eulogy 時(shí)間: 2025-3-21 21:53
,“Hearing Things”: Voice and Rhyme in the Poems of Elizabeth Bishop,作者: Encumber 時(shí)間: 2025-3-22 04:14
Introduction, to readers, while simultaneously intoning external soundscapes. The chapters in this volume meticulously display Bishop’s virtuosity with transforming traditional poetic and musical forms into her own innovative adaptations fitting contemporary experience. Seemingly natural voices become our own in作者: 平息 時(shí)間: 2025-3-22 05:49
,“I am in Need of Music”: Elizabeth Bishop and the Energies of Sound and Song,is chapter explores Bishop’s interest in repetition and rhythm. Focusing on a discussion of her early poem “Anaphora,” the chapter shows how Bishop, from an early stage, is using music to develop a social model for the lyric that also allows her to locate and embody herself temporally, and to engage作者: exhibit 時(shí)間: 2025-3-22 12:10 作者: 秘傳 時(shí)間: 2025-3-22 13:43 作者: 秘傳 時(shí)間: 2025-3-22 19:26
,Causes for Excess: Elizabeth Bishop’s Eighty-Eight Exclamations, review singles out her reticence and her careful measuring of emotion to cause. Yet no list of her most distinctive lines would be complete without her startling exclamations, lines that condense epiphanies and voltas, finally admitted wishes and self-injunctions. And any transcription of her varie作者: 有害 時(shí)間: 2025-3-23 00:02
,‘A Very Important Violence of Tone’: Bishop’s ‘Roosters’ and Other Poems,tending through the end of her career. In a college poem such as “A Word with You” (1933), as well as “Roosters” (1941), “The Fish” (1940), “The Armadillo” (1957), “Trouvée” (1968), “In the Waiting Room” (1971), and “Crusoe in England” (1971), Bishop carefully prepares for moments of violence that f作者: 連系 時(shí)間: 2025-3-23 02:10 作者: painkillers 時(shí)間: 2025-3-23 08:54
Elizabeth Bishop and Brazilian Popular Music: From Anonymous Sambas to Contemporary Composers,anifesting her will to make “a good collection” of sambas in translation. She writes: “I suspect [sambas] are some of the last folk poetry to be made in the world.” Besides the “anonymous four sambas” included in ., Bishop translated a selection of well-known Brazilian composers. This unpublished re作者: NEXUS 時(shí)間: 2025-3-23 10:13
,‘In Need of Music’: Musical Settings of Elizabeth Bishop,iter. This chapter will discuss the way each of these composers—Ned Rorem, Elliott Carter, John Harbison, Yehudi Wyner, and Luciana Souza—approached her writing. Special emphasis will be given to the two major song cycles (Carter and Harbison), which have been recorded and widely performed.作者: 符合國(guó)情 時(shí)間: 2025-3-23 13:57
Book 2019 considers Bishop’s reworking of metrical and rhythmic forms of poetry; the increasing presence of prosaic utterances into speech-soundscapes; how musical poetry intones new modes of thinking through aural vision; how Bishop transforms traditionally distasteful tones of violence, banality, and comme作者: 群島 時(shí)間: 2025-3-23 20:20 作者: 逢迎白雪 時(shí)間: 2025-3-23 23:30 作者: V洗浴 時(shí)間: 2025-3-24 02:45
,The Rhythm of Syntax in Elizabeth Bishop’s “At the Fishhouses”,comes more personal halfway through, arriving at a visionary conclusion. Since this grand ending is uncharacteristic for Bishop, the second half of the poem has received more critical attention than the first. But an intense emotional drama is already underway from the beginning, and her syntax registers it quietly.作者: xanthelasma 時(shí)間: 2025-3-24 09:58
,‘A Very Important Violence of Tone’: Bishop’s ‘Roosters’ and Other Poems,lash out from a seemingly settled verbal environment. Bishop’s technique profoundly influenced the work of her friend and poetic peer Robert Lowell. Despite Bishop’s reputation for calm restraint and fastidious perfection, her work is more powerful because of the violence of tone that flashes out of poems at their moments of greatest intensity.作者: acrobat 時(shí)間: 2025-3-24 14:29
https://doi.org/10.1007/978-1-4613-2361-7 with the unsayable losses of her early years. Several other of Bishop’s early poems in ., which invoke the musical study or song, particularly “Song—for the Clavichord,” “Little Exercise” and “Songs for a Colored Singer,” are also examined.作者: Modicum 時(shí)間: 2025-3-24 15:51 作者: agonist 時(shí)間: 2025-3-24 20:26
Mass Spectrometry of Priority Pollutantscomes more personal halfway through, arriving at a visionary conclusion. Since this grand ending is uncharacteristic for Bishop, the second half of the poem has received more critical attention than the first. But an intense emotional drama is already underway from the beginning, and her syntax registers it quietly.作者: Harrowing 時(shí)間: 2025-3-25 00:06
Basic Law of Fluid Flow in Fractured Media,lash out from a seemingly settled verbal environment. Bishop’s technique profoundly influenced the work of her friend and poetic peer Robert Lowell. Despite Bishop’s reputation for calm restraint and fastidious perfection, her work is more powerful because of the violence of tone that flashes out of poems at their moments of greatest intensity.作者: pantomime 時(shí)間: 2025-3-25 03:38 作者: 騷動(dòng) 時(shí)間: 2025-3-25 10:10
G. Pifferi,P. Ventura,C. Farina,A. Frigerio fluid range of tones to explore difference. Her poetic music from European and North American traditions extends to twentieth-century Brazilian genres. Furthermore, her literature’s musical settings have inspired diverse scores by twentieth-century composers and current songwriters around the globe.作者: Gourmet 時(shí)間: 2025-3-25 14:21
Introduction, fluid range of tones to explore difference. Her poetic music from European and North American traditions extends to twentieth-century Brazilian genres. Furthermore, her literature’s musical settings have inspired diverse scores by twentieth-century composers and current songwriters around the globe.作者: Contend 時(shí)間: 2025-3-25 17:20
ically, arrives only in precisely controlled circumstances. Bishop’s excess in eighty-eight exclamation marks reveals her attraction to personae and secondary voices, and her fascination with the expressive potential of animals and children. Ending on her exceptional “Sonnet,” I clarify how that vocal practice changed over her career.作者: 手榴彈 時(shí)間: 2025-3-25 23:04 作者: receptors 時(shí)間: 2025-3-26 02:26 作者: 殘酷的地方 時(shí)間: 2025-3-26 06:26 作者: BACLE 時(shí)間: 2025-3-26 10:13 作者: Coterminous 時(shí)間: 2025-3-26 13:26
Elizabeth Bishop and Brazilian Popular Music: From Anonymous Sambas to Contemporary Composers,op’s translations from the anonymous sambas to contemporary composers, this study discusses her critical views, cultural and political implications and resonances of Brazilian popular culture in her poetry.作者: mortgage 時(shí)間: 2025-3-26 19:11 作者: Original 時(shí)間: 2025-3-26 21:53
978-3-030-33182-5The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl作者: quiet-sleep 時(shí)間: 2025-3-27 01:51 作者: Factual 時(shí)間: 2025-3-27 06:41 作者: incubus 時(shí)間: 2025-3-27 09:33
Angus CleghornBrings together leading Bishop scholars.Explores a central yet understudied aspect of Bishop’s poetry.Contributes to discourse on the links between music and poetry作者: 過(guò)濾 時(shí)間: 2025-3-27 14:00 作者: reception 時(shí)間: 2025-3-27 20:22 作者: Myofibrils 時(shí)間: 2025-3-28 01:52 作者: 不易燃 時(shí)間: 2025-3-28 03:18 作者: 不給啤 時(shí)間: 2025-3-28 09:37
Mass Spectrometry of Priority Pollutantsl circumstances by reading her poetry autobiographically, which tends to overlook the linguistic resources Bishop uses to dramatize her description. One formal device that my chapter focuses on is syntax. “At the Fishhouses” begins with an objective description of a declining fishing town, but it be作者: facetious 時(shí)間: 2025-3-28 10:35
review singles out her reticence and her careful measuring of emotion to cause. Yet no list of her most distinctive lines would be complete without her startling exclamations, lines that condense epiphanies and voltas, finally admitted wishes and self-injunctions. And any transcription of her varie作者: 小樣他閑聊 時(shí)間: 2025-3-28 16:48 作者: Dissonance 時(shí)間: 2025-3-28 22:19 作者: observatory 時(shí)間: 2025-3-29 01:05 作者: 反對(duì) 時(shí)間: 2025-3-29 04:24 作者: 使糾纏 時(shí)間: 2025-3-29 11:00 作者: amplitude 時(shí)間: 2025-3-29 11:37
