Our national political conversation has recently seen some rather unpoetic lurches to the right.
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Mr. Adès's nod to tradition begins with the title of the piece — unadorned and unpoetic.
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"I'm very proud of that line even though it does seem quite innocuous, saying almost unpoetic things," Wagner asserts.
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The DAP already existed, so Hitler did not have to found his own group — something he would have found tiresome and unpoetic.
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Here's what happens, in an unpoetic nutshell: Lena discovers that the version of her husband who had returned home was actually a double.
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Sharif's lexical bent manifests a somewhat similar sensibility, but she remains less sanguine, more suspicious, about naming due to its more insidious uses in unpoetic contexts.
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He's not a huge fan of the lyrics, of course, which tend to include impassioned calls for justice and equality rather than unpoetic reimaginings of Ayn Rand's greatest hits from BrainyQuote.com.
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But as he demonstrated with his daringly unpoetic take on "A Streetcar Named Desire," seen last year at St. Ann's Warehouse in Brooklyn with Gillian Anderson, Mr. Andrews understands the primal instincts that animate this great playwright's work.
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Taking love poems from different cultures and ceaselessly translating them over and over again into different language until most meaning is lost in the cracks, the artist displayed the resulting unpoetic-poetic lines on five iPads, which display scrolling lines of the newly formed semi-gibberish in 12 different languages.
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A prominent venture capitalist had declared in the op-ed pages of an international business newspaper that software was eating the world, a claim that was subsequently cited in countless pitch decks and press releases and job listings as if it were proof of something—as if it were not just a clumsy and unpoetic metaphor, but evidence.
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Though Bradley has sometimes been criticised for writing of Shakespeare's characters as though they were real people, his book is probably the most influential single work of Shakespearean criticism ever published.Gauntlett, Mark. "The Perishable Body of the Unpoetic: A. C. Bradley Performs Othello." Shakespeare Survey Volume 47: Playing Places for Shakespeare.
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A song which is - musically at least - not that startling. Just > another four-chord churnaround based loosely on those Pachelbel changes > N-Dubz used for 'We Dance On'. But given the benefit of Dev's precision > wordplay, and his urgent delivery, it's transformed into something darkly > optimistic, quietly brilliant, and poetic in a really unpoetic way. .
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The reviewer also called "Swing Life Away" the best song on the album. Sputnikmusic's Davey Boy characterized the lyrics as simple but effective, while Justin Donnelly of Blistering felt that "Swing Life Away" was one of three songs that ended the album in "huge style". By contrast, Marc Hogan of Pitchfork gave a much more unfavorable review, describing it as a "drearily unpoetic acoustic weeper".
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Leung's paintings in Cloudy Fairy-tales《陰天的童話》(2010) were inspired by figures from famous fairy tales in the Western world like Snow White, Cinderella as a way to comment on her observations of city life and its people. This is followed by her Garden of Hesitation 《猶豫園》 (2012) and Unpoetic Poems 《不詩意詩集》 (2014) at Grotto Fine Art, Hong Kong.
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Chiaro was also influenced by the fables Aesop and Phaedrus, containing elements of both, c.f. Kenneth McKenzie (1898), "A Sonnet Ascribed to Chiaro Davanzati and Its Place in Fable Literature", Periodical of the Modern Languages Association, 13:2, p. 214-20. has been criticised as dry, unpoetic, and overused. In the fourteenth century his reputation declined considerably, as his method of elaborating old lyrics fell out of favour.
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Looney's Shakespeare Identified (1920) began the modern Oxfordian movement and made Oxford the most popular anti-Stratfordian candidate. Looney's book begins by outlining many of the familiar anti-Stratfordian arguments about Shakespeare of Stratford's supposedly poor education and unpoetic personality. He also criticises the methods adopted by many previous anti-Stratfordians, especially the Baconian tendency to search for ciphers. Looney considers it unlikely that an author who wished to conceal his identity would leave such messages.
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To the former corresponds the Apokopos, a satire of the dead on the living; to the latter the Piccatores, a metrical piece decidedly lengthy but rather unpoetic, while the former has many poetical passages (e.g. the procession of the dead) and betrays the influence of Italian literature. In fact Italian literature impressed its popular character on the Greek popular poetry of the 16th and 17th centuries, as French literature had done in the 13th and 14th.
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He preferred nazm over more popular ghazal as a mean of poetic expression. Akhtar ul Iman's language is "coarse and unpoetic". He uses "coarse" and mundane poetic expressions to make his message effective and realistic.Modern Indian Literature: An Anthology, by K. M. George, various, Sahitya Akademi He left behind a substantial legacy for new generation of poets to follow which explores new trends and themes in modern Urdu poetry giving a new direction to the modern and contemporary Urdu nazm with emphasis on philosophical humanism.
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Jane Austen's novel Pride and Prejudice had already been the subject of numerous television and film adaptations, including BBC television versions in 1938, 1952, 1958, 1967 and 1980. In the autumn of 1986, after watching a preview of Austen's Northanger Abbey, Sue Birtwistle and Andrew Davies agreed to adapt Pride and Prejudice, one of their favourite books, for television.Birtwistle and Conklin 1995, pp. v-viii. Birtwistle in particular felt that a new adaptation on film would serve the drama better than the previous videotaped Pride and Prejudice television adaptations, which looked too "undernourished" and "unpoetic".
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Even Stevens' experimentation with perspective, coolly executed in "The Snow Man", is presented with bawdy humor in a poem like "A High-Toned Old Christian Woman". One vein of Stevens' poetic humour expresses his reaction against the conventions of the Victorian tradition. "Depression Before Spring" for instance refuses to gush about spring as a season of renewal; it compares a fair maiden's flaxen hair to cow spit; and it introduces such "unpoetic" lines as "Ho! Ho!" and > But ki-ki-ri-ki Briings no rou-cou No rou-cou-cou.
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The Metaphysical poets went out of favour in the 18th century but began to be read again in the Victorian era. Donne's reputation was finally fully restored by the approbation of T. S. Eliot in the early 20th century. Influenced by continental Baroque, and taking as his subject matter both Christian mysticism and eroticism, Donne's metaphysical poetry uses unconventional or "unpoetic" figures, such as a compass or a mosquito, to reach surprise effects. For example, in "Valediction: Forbidding Mourning", one of Donne's Songs and Sonnets, the points of a compass represent two lovers, the woman who is home, waiting, being the centre, the farther point being her lover sailing away from her.
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Image from Mayakovsky's Как делать стихи ("How to Make Poems"). Mayakovsky's early poems established him as one of the more original poets to come out of the Russian Futurism, a movement rejecting the traditional poetry in favour of formal experimentation, and welcoming the social change promised by modern technology. His 1913 verses, surreal, seemingly disjointed and nonsensical, relying on forceful rhythms and exaggerated imagery with the words split into pieces and staggered across the page, peppered with street language, were considered unpoetic in literary circles at the time. While the confrontational aesthetics of his fellow Futurist group members' poetry were mostly confined to formal experiments, Mayakovsky's idea was creating the new, "democratic language of the streets".
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Oehlenschläger's poem about The Golden Horns (Guldhornene) is probably the most famous example of this issue but Hans Christian Andersen's fairytale The Bell (Klokken) depicted the materialistic fixation of the period with humour, irony and gravity. In the chapter about A Folk Tale in My Theatre Life (Mit Teaterliv), Bournonville makes his attitude to the present and the past clear: he indicates that our practical and rather unpoetic times (which seem about to precipitate a period of literary and artistic crop failure on the very lands that were once the richest soil of the imagination) art has fallen by the wayside. The poetic past has been replaced by a 'hypercritical' present, as Bournonville himself writes, and it is the duty of the artist to restore the spiritual, the poetry. The artist saw himself as endowed by God with the ability to sense the true values and perspective in life.
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In 1892 he was finally able to relocate to the capital, where he got a job teaching mathematics, started writing what would become his most famous novel, The Petty Demon, and began frequenting the offices of Severny Vestnik, which published much of his writing during the next five years. There, in 1893, Minsky, who thought Teternikov was an unpoetic name, suggested that he use a pseudonym, and the aristocratic name Sollogub was decided on, but one of the ls was omitted as an attempt (unavailing, as it turned out) to avoid confusion with Count Vladimir Sollogub. In 1894 his first short story, "Ninochkina oshibka" (Ninochka's Mistake), was published in Illustrirovanny Mir, and in the autumn of that year his mother died. In 1896 he published his first three books: a book of poems, a collection of short stories, and his first novel, Tyazhelye sny (Bad Dreams), which he had begun in 1883 and which is considered one of the first decadent Russian novels.
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That poetic identity that has the same characteristics of migration, supremacy, and prophethood in an immoral, miserable, and unpoetic world that represents the ugly face of the world . . . [the poet’s] overwhelming sense of prophethood, together with the image of a crucified prophet, is similar to the image of Jesus in its universal imagination. This is what the poet proclaims in the headline that prefaces his collection: (O my heart, crucified on the pole of dream, / you look at them from above, in renunciation / they see you crucified, / void of will / but you see them an emptiness, / a mere illusion)’. Egyptian poet and critic Yasser Uthman says about his poem 'Under the Cross of Spartacus': ‘This poem has what satisfies the desire of interpretation and answers the reader’s instinct as he searches for the three dimensions of the poem’s words. . . . The text, selected here, is fond of employing signs and infatuated for playing the game of symbols and persona’.
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Shakespeare died on 23 April 1616 in Stratford, leaving a signed will to direct the disposal of his large estate. The language of the will is mundane and unpoetic and makes no mention of personal papers, books, poems, or the 18 plays that remained unpublished at the time of his death. Its only theatrical reference—monetary gifts to fellow actors to buy mourning rings—was interlined after the will had been written, allowing suspicion to be cast on the authenticity of the bequests.. The effigy of Shakespeare's Stratford monument as it was portrayed in 1656, as it appears today, and as it was portrayed in 1748 before the restoration Any public mourning of Shakespeare's death went unrecorded, and no eulogies or poems memorialising his death were published until seven years later as part of the front matter in the First Folio of his plays., cites James Lardner, "Onward and Upward with the Arts: the Authorship Question", The New Yorker, 11 April 1988, p.
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" For Bloom, this should not follow the principles of an existing school of criticism, such as New Criticism, but rather should involve students reading Shakespeare "naively." "[O]nly when Shakespeare is taught as though he said something can he regain the influence over this generation which is so needed." Yet there is another problem within Bloom's solution: Shakespeare's plays can only really be understood as their author intended them to be if the "authentic intellectual tradition in which they were written" is recovered. For Bloom, this means knowing how Shakespeare's Renaissance audience would have understood the historical and political context of the plays' settings, as well as understanding that its conception of political life was not the bourgeois, unpoetic subject as modernity understands it, but "the stage on which the broadest, deepest, and noblest passions and virtues could be played, and [where] the political man seemed to be the most interesting theme of poetry.
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