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Nineteenth-Century Literature Vol. 54, No. 1 (Jun., 1999) , pp. 1-26 (26 pages) Published By: University of California Press https://doi.org/10.2307/2902995 https://www.jstor.org/stable/2902995 Read and download Log in through your school or library With a personal account, you can read up to 100 articles each month for free. Get StartedAlready have an account? Log in Monthly Plan
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Abstract Wordsworth's account in the "Preface" to Lyrical Ballads of the groundbreaking nature of his rustic poetics has long served as foundational to our understanding of Romanticism. Yet his representation of "the public taste in this country" in 1800 elided the presence of a decades-long tradition of "peasant" and "working-class" poetry in Britain. Figures like Stephen Duck ("The Thresher Poet"), Robert Burns, and Ann Yearsley ("The Bristol Milkwoman") had been the focus of fashionable critical interest because they were seen as embodying the very values of simplicity and rustic authenticity that Wordsworth claimed were absent from the contemporary scene. Though a review of this context exposes Wordsworth to charges of solipsism and historical repression, it also helps us to imagine how the pervasiveness of peasant verse complicated his efforts to establish himself as a legitimate conduit for rusticism and "the real language of men." While Wordsworth did not have to create a taste for rural subjects and pseudo-humble diction, he faced the more difficult task of creating a vital rustic verse that was distinct from peasant poetry. In staging confrontations between educated narrators and uneducated subjects, several poems of the 1798 Lyrical Ballads, including "The Thorn" and "Simon Lee," dramatize Wordsworth's historical dilemma as a gentlemanly chronicler of "low and rustic life." Through these experiments in narratorial perspective, class identification, and social sympathy, Wordsworth establishes both the contemporaneity and the innovation of his poetic project. Journal Information Scholars of literary history and theory turn to Nineteenth-Century Literature for the newest research and thought on all English-language writers of the nineteenth century. First published in 1945 as The Trollopian, and later as Nineteenth-Century Fiction, the journal has earned a legendary reputation for innovative scholarship, scrupulous editing, and distinguished book reviews. Articles focus on a broad spectrum of significant figures in fiction, philosophy, and criticism such as Austen, Carlyle, Dickens, Thackeray, the Brontes, Tennyson, Browning, Arnold, Emerson, Hawthorne, Thoreau, Whitman, Twain, and Henry James. Every issue offers 150 pages of important articles, a convenient section of article abstracts, review essays, and an annotated bibliography of recent books published in the field of nineteenth-century literature. Publisher Information Founded in 1893, University of California Press, Journals and Digital Publishing Division, disseminates scholarship of enduring value. One of the largest, most distinguished, and innovative of the university presses today, its collection of print and online journals spans topics in the humanities and social sciences, with concentrations in sociology, musicology, history, religion, cultural and area studies, ornithology, law, and literature. In addition to publishing its own journals, the division also provides traditional and digital publishing services to many client scholarly societies and associations. Rights & Usage This item is part of a JSTOR Collection. journal article Writing Class: Workers and Modern Egyptian Colloquial Poetry (Zajal)Poetics Today Vol. 15, No. 2, Cultural Processes in Muslim and Arab Societies: Modern Period II (Summer, 1994) , pp. 191-215 (25 pages) Published By: Duke University Press https://doi.org/10.2307/1773164 https://www.jstor.org/stable/1773164 Read and download Log in through your school or library Purchase article $15.00 - Download now and later Purchase a PDFPurchase this article for $15.00 USD. Purchase this issue for $26.00 USD. Go to Table of Contents. How does it work?
Abstract Zajal, colloquial Arabic poetry in strophic form, was primarily an oral art until it was appropriated by the Egyptian nationalist literati in the late nineteenth century. The work of Yaʿqub Sannuʿ (1839-1912),ʿAbd Allah al-Nadim (1844-1896), Mahmud Bayram al-Tunisi (1893-1961), and Ahmad Fuʾad Nigm (b. 1929) established the genre as a literary form identified with populist Egyptian patriotism and comprising a poetic anti-canon which, through its language, subject matter, and mode of publication, constituted a discourse of popular opposition to the hegemonic form of Egyptian national literary culture expressed in standard Arabic. By the 1940s, the expansion of large-scale industry and capitalist relations of production had made it possible for a distinctive class of urban wage laborers to emerge. Workers who composed zajal usually thought of themselves and their art as a component of the national-popular political and cultural project. Most composers of zajal in this tradition and the leftist intellectuals who encouraged them viewed the form as a pristine expression of popular national sensibility. But zajal by and about workers reveals a range of poetic discourse that reflects the evolving political debate over the appropriate representation of workers and diverse political positions. While the ideologically privileged image of workers in zajal is as nationalists, the style and content of the poems exhibit significant cosmopolitan-internationalist elements. Thus, zajal is not a primordial expression of the essential character of the Egyptian people. Like all popular culture, its historical evolution has been formed by a matrix of forces constituted by changing relations of production and consumption, political power, and cultural hegemony. Journal Information Poetics Today brings together scholars from throughout the world who are concerned with developing systematic approaches to the study of literature (e.g., semiotics and narratology) and with applying such approaches to the interpretation of literary works. Poetics Today presents a remarkable diversity of methodologies and examines a wide range of literary and critical topics. Several thematic review sections or special issues are published in each volume, and each issue contains a book review section, with article-length review essays. Publisher Information Duke University Press publishes approximately one hundred books per year and thirty journals, primarily in the humanities and social sciences, though it does also publish two journals of advanced mathematics and a few publications for primarily professional audiences (e.g., in law or medicine). The relative magnitude of the journals program within the Press is unique among American university presses. In recent years, it has developed its strongest reputation in the broad and interdisciplinary area of "theory and history of cultural production," and is known in general as a publisher willing to take chances with nontraditional and interdisciplinary publications, both books and journals. What situation most likely caused the sentiments expressed above?What situation most likely cause the sentiments expressed above? Americans grew angry when French officials demanded a large loan to the French government and the payment of a £50,000 bribe in order to receive American diplomats.
Which of the following was most likely a significant cause of the sentiments depicted in the poster?Which of the following was MOST likely a significant cause of the sentiments depicted in the poster above? Increased opportunities for American women to assist in the war effort of World War II.
Which of the following was most likely a significant cause of the sentiments depicted in the cartoon above?Which of the following was most likely significant cause of the sentiments depicted in the cartoon above? Corporate consolidation and abuse of power during Gilded Age.
What is the theme of the poem Harlem written by Langston Hughes quizlet?theme of overcoming. The speaker of the poem does not allow the racism and mistreatment to define him. Hughes reminds his audience of a continual theme in his writing, that being black is beautiful.
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The sentiments expressed in the poem are best understood in the context of which of the following?
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