In the context of a diversified and pluralistic arena of contemporary literature embodying previously marginalized voices of region, ethnicity, gender, and class, black poets living in Britain developed a distinct branch of contemporary poetry. Having emerged from a struggle to give voice to marginalized groups in Britain, the poetry of Linton Kwesi Johnson, David Dabydeen, and Fred D'Aguiar helped define national identity and explored racial oppression. Motivated by a sense of responsibility towards their communities, these poets undertook the task of transmitting black history to young blacks who risked losing ties to their roots. They also emphasized the necessity of fighting racism by constructing an awareness of Afro-Caribbean national identity while establishing black cultural heritage in contemporary British poetry. In this book, Turkish literary scholar Dilek Bulut Sar?kaya examines their works. Linton Kwesi Johnson's Voices of the Living and the Dead (1974), Inglan is a Bitch (1980), and Tings an Times (1991) open the study, followed by David Dabydeen's Slave Song (1984), Coolie Odyssey (1988), and Turner (1994) and, finally, Fred D'Aguiar's Mama Dot (1985), Airy Hall (1989) and British Subjects (1993).

Hua Yan (1682-1756) and the Making of the Artist in Early Modern China explores the relationships between the artist, local society, and artistic practice during the Qing dynasty (1644-1911). Arranged as an investigation of the artist Hua Yan's work at a pivotal moment in eighteenth-century society, this book considers his paintings and poetry in early eighteenth-century Hangzhou, mid-eighteenth-century Yangzhou, and finally their nineteenth-century afterlife in Shanghai. By investigating Hua Yan's struggle as a marginalized artist-both at his time and in the canon of Chinese art-this study draws attention to the implications of seeing and being seen as an artist in early modern China.

In Language and Meter, Dieter Gunkel and Olav Hackstein unite fifteen linguistic studies on a variety of poetic traditions, including the Homeric epics, the hieratic hymns of the Rgveda, the Gathas of the Avesta, early Latin and the Sabellic compositions, Germanic alliterative verse, Insular Celtic court poetry, and Tocharian metrical texts. The studies treat a broad range of topics, including the prehistory of the hexameter, the nature of Homeric formulae, the structure of Vedic verse, rhythm in the Gathas, and the relationship between Germanic and Celtic poetic traditions. The volume contributes to our understanding of the relationship between language and poetic form, and how they change over time.

As the University of Erfurt collapsed in the early 1520s, Hessus faced losing his livelihood. To cope, he imagined himself a shape-changing Proteus. Transforming first into a lawyer, then a physician, he finally became a teacher at the Nuremberg academy organized by Philip Melanchthon. Volume 5 traces this story via Hessus's poems of 1524-1528: "Some Rules for Preserving Good Health" (1524; 1531), with attached "Praise of Medicine" and two sets of epigrams; "Three Elegies" (1526), two praising the Nuremberg school and one attacking a criticaster; "Venus Triumphant" (1527), with poems on Joachim Camerarius's wedding; "Against the Hypocrisy of the Monastic Habit" (1527), with four Psalm paraphrases; and "Seventeen Bucolic Idyls" (1528), updating the "Bucolicon" of 1509 and adding five idyls.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1981.

The Silvae by Statius dethroned Virgil from the Studio in Naples, fostered the creation of a new genre, offered a model for court poetry, and seduced the most prestigious Humanists in the most vibrant centres of Renaissance Italy and the Netherlands. The collection preserves magnificent buildings otherwise lost; speaks of stones otherwise unknown; and memorializes people, rituals, and social relationships that would have passed into oblivion in silence. This volume offers a fresh look into approaches to the Silvae by editors and commentators, both at the time of the rediscovery of the poems and today.

Written in the late-twelfth century, the Old French Romance of Tristran by Beroul is one of the earliest surviving versions of the story of Tristran and Iseut. Preserved in only one manuscript, the poem records the tragic tale that became one of the most popular themes of medieval literature, in several languages. This volume is a comprehensive and up-to-date presentation of the story, including the first ever diplomatic edition of the text, replicating the exact state of the original manuscript. It also contains a new critical edition, complemented by extensive notes and a brief analytic preface. Edited by noted medievalist Barbara N. Sargent-Baur, The Romance of Tristran by Beroul and Beroul II: A Diplomatic Edition and a Critical Edition will be an essential resource for specialists interested in the study of this important text. An English translation of the Old French text appears in The Romance of Tristran by Beroul and Beroul II: Student Edition and English Translation.

While the legacy of Black urban rebellions during the turbulent 1960s continues to permeate throughout US histories and discourses, scholars seldom explore within scholarship examining Black Cultural Production, artist-writers of the Black Arts Movement (BAM) that addressed civil unrest, specifically riots, in their artistic writings. Start a Riot! Civil Unrest in Black Arts Movement Drama, Fiction, and Poetry analyzes riot iconography and its usefulness as a political strategy of protestation. Through a mixed-methods approach of literary close-reading, historical, and sociological analysis, Casarae Lavada Abdul-Ghani considers how BAM artist-writers like Amiri Baraka (LeRoi Jones), Ben Caldwell, Gwendolyn Brooks, Sonia Sanchez, and Henry Dumas challenge misconceptions regarding Black protest through experimental explorations in their writings. Representations of riots became more pronounced in the 1960s as pivotal leaders shaping Black consciousness, such as Malcolm X and Martin Luther King Jr., were assassinated. BAM artist-writers sought to override the public's interpretation in their literary exposes that a riot's disjointed and disorderly methods led to more chaos than reparative justice. Start a Riot! uncovers how BAM artist-writers expose anti-Black racism and, by extension, the United States' inability to compromise with Black America on matters related to citizenship rights, housing (in)security, economic inequality, and education-tenets emphasized during the Black Power Movement. Abdul-Ghani argues that BAM artist-writers did not merely write literature that reflected a spirit of protest; in many cases, they understood their texts, themselves, as acts of protest.

In ancient didactic poetry, poets frequently make use of imagery - similes, metaphors, acoustic images, models, exempla, fables, allegory, personifications, and other tropes - as a means to elucidate and convey their didactic message. In this volume, which arose from an international conference held at the University of Heidelberg in 2016, we investigate such phenomena and explore how they make the unseen visible, the unheard audible, and the unknown comprehensible. By exploring didactic poets from Hesiod to pseudo-Oppian and from Vergil and Lucretius to Grattius and Ovid, the authors in this collective volume show how imagery can clarify and illuminate, but also complicate and even undermine or obfuscate the overt didactic message. The presence of a real or implied addressee invites our engagement and ultimately our scrutiny of language and meaning.

The rediscovery in the fifteenth century of Lucretius' De rerum natura was a challenge to received ideas. The poem offered a vision of the creation of the universe, the origins and goals of human life, and the formation of the state, all without reference to divine intervention. It has been hailed in Stephen Greenblatt's best-selling book, The Swerve, as the poem that invented modernity. But how modern did early modern readers want to become? This collection of essays offers a series of case studies which demonstrate the sophisticated ways in which some readers might relate the poem to received ideas, assimilating Lucretius to theories of natural law and even natural theology, while others were at once attracted to Lucretius' subversiveness and driven to dissociate themselves from him. The volume presents a wide geographical range, from Florence and Venice to France, England, and Germany, and extends chronologically from Lucretius' contemporary audience to the European Enlightenment. It covers both major authors such as Montaigne and neglected figures such as Italian neo-Latin poets, and is the first book in the field to pay close attention to Lucretius' impact on political thought, both in philosophy - from Machiavelli, through Hobbes, to Rousseau - and in the topical spin put on the De rerum natura by translators in revolutionary England. It combines careful attention to material contexts of book production and distribution with close readings of particular interpretations and translations, to present a rich and nuanced profile of the mark made by a remarkable poem.

In this book, Heather McAlpine argues that emblematic strategies play a more central role in Pre-Raphaelite poetics than has been acknowledged, and that reading Pre-Raphaelite works with an awareness of these strategies permits a new understanding of the movement's engagements with ontology, religion, representation, and politics. The emblem is a discursive practice that promises to stabilize language in the face of doubt, making it especially interesting as a site of conflicting responses to Victorian crises of representation. Through analyses of works by the Pre-Raphaelite Brotherhood, Christina Rossetti, Dante Gabriel Rossetti, Gerard Manley Hopkins, A.C. Swinburne, and William Morris, Emblematic Strategies examines the Pre-Raphaelite movement's common goal of conveying "truth" while highlighting differences in its adherents' approaches to that task.

Drawing extensively on archival research, The Late Cantos of Ezra Pound critically explores the textual history of Pound's late verse, namely Section: Rock-Drill (1955) and Thrones (1959). Examining unpublished letters, draft manuscripts and other prepublication material, this book addresses the composition, revision and dissemination of these difficult texts in order to shed new light on their significance to Pound's wider project, his methods and techniques, and the structures of authority -literary and political-that govern the meaning of his poetry. Illustrated by reproductions of archival documents, The Late Cantos of Ezra Pound is an innovative new study of one of the most important poets of the 20th century.

This groundbreaking book attempts a fully contextualized reading of the poetry written by Pindar for Hieron of Syracuse in the 470s BC. It argues that the victory odes and other occasional songs composed by Pindar for the Sicilian tyrant were part of an extensive cultural program that included athletic competition, coinage, architecture, sanctuary dedication, city foundation, and much more. In the tumultuous years following the Persian invasion of Greece in 480, elite Greek leaders and their cities struggled to capitalize on the Greek victory and to define themselves as free peoples who triumphed over the threat of Persian monarchy. Pindar's victory odes are an important contribution to Hieron's goal of panhellenic pre-eminence, redescribing contemporary tyranny as an instantiation of golden-age kingship and consonant with best Greek tradition. In a delicate process of cultural legitimation, the poet's praise deploys athletic victories as a signs of more general preeminence. Three initial chapters set the stage by presenting the history and culture of Syracuse under the Deinomenid tyrants, exploring issues of performance and patronage, and juxtaposing Hieron to rival Greek leaders on the mainland. Subsequent chapters examine in turn all Pindar's preserved poetry for Hieron and members of his court, and contextualizes this poetry by comparing it to the songs written for Hieron by Pindar's poetic contemporary, Bacchylides. These odes develop a specifically "tyrannical " mythology in which a hero from the past enjoys unusual closeness with the gods, only to bring ruin on him or herself by failing to manage this closeness appropriately. Such negative exemplars counterbalance Hieron's good fortune and present the dangers against which he must (and does) protect himself by regal virtue. The readings that emerge are marked by exceptional integration of literary interpretation with the political/historical context.

John Kasper was a militant far-right activist who first came to prominence with his violent campaigns against desegregation in the Civil Rights era. Ezra Pound was the seminal figure in Anglo-American modernist literature and one of the most important poets of the 20th century. This is the first book to comprehensively explore the extensive correspondence - lasting over a decade and numbering hundreds of letters - between the two men. John Kasper and Ezra Pound examines the mutual influence the two men exerted on each other in Pound's later life: how John Kasper developed from a devotee of Pound's poetry to an active right-wing agitator; how Pound's own ideas about race and American politics developed in his discussions with Kasper and how this informed his later poetry. Shedding a disturbing new light on Ezra Pound's committed engagement with extreme right-wing politics in Civil Rights-era America, this is an essential read for students of 20th-century literature.

The Barret Browning volume in the 21st Century Oxford Authors series offers a comprehensive selection of the works of one of the nineteenth-century's most famous poets. The revaluation of Elizabeth Barrett Browning's work by feminist scholars has made her an established (indeed standard) author in university syllabuses in Britain and in America. Yet the emphasis upon her contribution to a female tradition has tended to rigidify Barrett Browning's contribution to English literary culture in the nineteenth century, just as her popular image as ringleted-invalid-turned-romantic-heroine served sentimentally to eclipse her role as a literary pioneer. This edition complements or corrects these emphases by being the first edition dedicated to witnessing the progress and growth of the poet's creative direction - from her juvenilia through to her major achievements and beyond. In keeping with the aims of the series, the selection honours the original sequencing of the published works as the best means of indicating the contours of Barrett Browning's poetic career. Thus, following fairly limited selections from published juvenilia, The Battle of Marathon (1820) and 'An Essay on Mind' and Other Poems (1826) and from 'Prometheus Bound' and Miscellaneous Poems (1833), there are more extensive selections from 'The Seraphim' and Other Poems (1838), from Poems 1844 and from Poems 1850 including the full text of Sonnets from the Portuguese. Substantial excerpts from Casa Guidi Windows (1851) is followed by the full text of Aurora Leigh (1857) and by selections from the posthumous Last Poems (1862). These individual sections are supplemented by careful selections (also chronologically ordered) from the correspondence, including the courtship letters with Robert Browning, and, where applicable, from poetry unpublished in the nineteenth century. The edition comes with full scholarly apparatus (introduction, chronology, explanatory notes), though it follows the series policy of recording only significant variants between editions.