The Go-Betweens: Leah Goldberg, Yehuda Amichai and the Figure of the Poet Translator by Jacobs, A

Egy óhindi költő elfeledett művei (Forgotten works of an Old Hindi poet) by Bangha, I

‘Un traict à la comparaison de ces couples’: Seneca’s Poets and Epicurean Senecanisms in Montaigne’s Essais by O'Sullivan, L

Irrational panegyric in Augustan poetry by Heyworth, SJ

“…In offering praise the Augustan poets exaggerate, fantasize and lie; but they describe themselves as inspired and beyond reason — like the Sibyl in Aeneid 6 (affected by Apollo, but n.b. bacchatur uates). …”

Poem-titles in Simonides, Pindar, and Bacchylides by Prodi, E

“…Particular attention is given to the poets Tyrtaeus, Solon, Theognis, Sappho, Alcaeus, Stesichorus, Pindar, and Timotheus. …”

Invoking Beckett: Samuel Beckett’s legacy in Northern Irish poetry by Simpson, H

“…While Beckett’s more generalised influence on the lyrical form and language of contemporary poets has received some scholarly attention, the act of invocation more specifically has been less fully explored, particularly within an explicitly Northern Irish context. …”

Talk and text: the pre-Alexandrian footnote from Homer to Theodectes by Nelson, T

“…I explore this question here by considering the early Greek precedent for the so-called ‘Alexandrian footnote’, a device often regarded as one of the most learned and bookish in a Roman poet’s allusive arsenal. Ever since Stephen Hinds opened his foundational Allusion and Intertext with this device, it has been considered the preserve of Hellenistic and Roman scholar-poets. …”

‘El mundo iluminado, y yo despierta’: screening Sor Juana in the films of Bemberg and Pereda by Bollig, B

“…As Speranza (2002) argues, it is perfectly possible to screen such a story — particularly that of a colourful or controversial poet — without producing a ‘poetic’ film, in any understanding of the term. …”

Emerging poetic forms by Sullivan, H

“…By the 1920s, it is contended, poetry was at a three-way stand-off between modish <i>vers libre</i>, the consoling traditional poetic forms of the soldier poets, and the increasingly complex experiments and pastiches of the avant-garde.…”

Meter and music by D'Angour, A

“…Most ancient Greek lyric poetry was composed to be sung to melody, and was regularly accompanied by the poets themselves on stringed instruments such as lyre, barbitos, and kithara, or by fellow-performers playing double-pipes. …”

The Consolatio ad Liuiam and literary history by Heyworth, SJ

“…The poem may thus take a central place in Augustan literary history, alluding to several poets and the early works of Ovid, but itself alluded to by Ovid in exile. …”

The elegiac book: patterns and problems by Heyworth, SJ

“…A significant part of the Hellenistic heritage of the Latin poets of the first century BCE was a concern for the arrangement of their poems in books. …”

Performance and rivalry: Homer, Odysseus and Hesiod by Kelly, A

“…This article will argue that his decision should be understood within the broader context of the relationship between the poet and Odysseus.3 Seen in this light, the recapitulation can reveal much about Homer’s conception of his craft, and his attitude towards other (competing) aoidoi.…”

Meter and music by D'Angour, A

“…Most ancient Greek lyric poetry was composed to be sung to melody, and was regularly accompanied by the poets themselves on stringed instruments such as lyre, barbitos, and kithara, or by fellow-performers playing double-pipes. …”

Excavations in Homer: speculative archaeologies in Alice Oswald’s and Barbara Köhler’s responses to the Iliad and the Odyssey by Paul, G

“…The essay offers a comparative examination of Alice Oswald’s Memorial (2011), which re-works material from the Iliad, and the German poet Barbara Köhler’s poem cycle Niemands Frau (Nobody’s Wife, 2007), which responds to the Odyssey. …”

Achilles in control? by Kelly, A

“…Though great poets may appreciate the artistry and interest of the Funeral Games in Book 23 of the Iliad, it must be admitted that the entire episode can seem an interlude between the death of Hector in Book 22 and the final, pathetic meeting between Achilles and Priam in Book 24. …”

With, or without, Homer: hearing the background in Sappho by Kelly, A

“…In sum, we are told that we should use the same strategies of the Augustan poets in Rome as the model to understand the visible beginnings of Greek literature.3…”

Classics by Sullivan, H

“…<br> In an essay on John Milton – the most classically educated and classicising of English poets – Eliot again withholds the label: his style is baroque, ‘peculiar’, and too divorced from common speech, ‘it is a style of a language still in formation’ (OPP, 58). …”

Listening to many voices: Athenian tragedy as popular art by Kelly, A, Allan, W

“…Although the idea that the poet expresses his personal opinions through the chorus or his characters is now rightly seen as old-fashioned and naïve, it is still legitimate to ask how the poet uses his heroic characters and their voices to speak to his contemporary audience—using ‘speak to’ in the broadest sense, that is, how the poet engages, provokes, and entertains his diverse and demanding audience, with the ultimate aim of winning the prize for the best production in the tragic competition. …”

Sappho in Propertius? by Heyworth, SJ

“…As a consequence the Propertian puella appears not only as a beloved in the poetic corpus of Propertius, but arguably also as a figure that may be associated with a poet in her own right such as Sappho, which intriguingly yet necessarily reflects back on essential qualities of the poet Propertius himself. …”