At the height of their fame, revered by the likes of Kurt Cobain and Thom Yorke, The Breeders were seen as disaffected partying poetesses who provided the soundtrack for many a late-night car ride.
|
|
Houbraken also mentioned two poetesses; Gesina Brit and Catharina Questiers.
|
|
According to Caine's biographer, nothing more than 'a bit of flirting' had taken place. Robertson moved to Redhill Chislehurst and wrote English Poetesses, published by Cassell in September 1883. In 1884 Robertson acted as best man for his friend William Sharp.
|
|
Poets and musicians were held in high regard in society. Early Tamil texts are full of references about the lavish patronage extended to court poets. There were professional poets and poetesses who composed texts praising their patrons and were generously rewarded for this.
|
|
Al-Iṣfahānī confesses that he could not find any noteworthy poetess in the Umayyad period, because the people at that time were not impressed with the verses featuring tenderness and softness. Thus, he only records the ʿAbbāsid poetesses, with mention of the relevant fine verses or the pleasant tales, and arranges them in chronological order. There are 31 sections, addressing 32 poetesses, most of which are short and usually begin with al-Iṣfahānī’s summary of the subject. The Maqātil al-Ṭālibīyīn is a historical-biographical compilation concerning the descendants of Abū Ṭālib, who died under the following circumstances: being killed, poisoned to death in a treacherous way, on the run from the rulers’ persecution, or confined until death.
|
|
Ponaka Kanakamma and Dronamraju Lakshmibaiyamma were the first twin poetesses in Telugu. They wrote several philosophical poems on Ramana Maharshi - important ones are Aradhana and Nivedyam. They translated essence of Bhagavadgita into Telugu by name "Gnana Netram". She wrote the auto-biography of Sri Rama Yogi, both in Telugu and English.
|
|
Kala Prakash or (Kala Parkash) (2 January 1934 - 5 August 2018) was one of the best fiction writers and poetesses of Sindhi language. She was a novelist, short story writer, and poetess. She authored more than 15 books and won the prestigious Sahitya Academy Award in 1994 from the Government of India.
|
|
Sukhvinder Amrit (born 1963) is a Punjabi poet and Ghazal singer. In November 2017 she was among nine female poets who received a Sulabh Sahitya Akademi Award at the All-India Poetess Conference.60 poetesses receive awards, The Tribune, 11 November 2017.Swati Walia, 3-day All-India Poetess Conference concludes, 13 November 2017.
|
|
Pitești: Editura Paralela 45, 2004. Critical opinion of Negru's poetry has tended to be negative. Eugen Lovinescu placed her "in the unoriginality competition of Sămănătorist poetesses", noting she "concocted little sentimental exuberances" out of typical and already stale Sămănătorist material. Constantin Ciopraga found the poems in O primăvară "saturated with idyllism.... easily confused with analogous productions of the period".
|
|
Although Polonskaya was highly respected in the 1920s—in 1926 the critic D. S. Mirsky called her "the most gifted of the young poetesses"D. S. Mirsky, Contemporary Russian Literature, 1881-1925 (Kraus Reprint, 1972), p. 279.—she fell into obscurity, both because of the difficulty of keeping a career going as a single mother and for political reasons.Davis, Serapion Sister, pp.
|
|
In 1826, Brooks began a correspondence with the English Poet Laureate, Robert Southey, who praised her work heartily and gave her the pseudonym "Maria Del Occidente" (Maria of the West). He regarded her as "the most impassioned and imaginative of all poetesses", but time did not sustain this verdict. She also caught the attention of Edgar Allan Poe. He, too, praised her work, and often mentioned her favorably in his literary reviews.
|
|
An anthology of her poetry, Lays of the "True North" and Other Canadian Poems was published in 1899, and she coauthored six historical works. Machar was called the "first of Dominion poetesses" by Sir Edwin Arnold. In 1887, she won the prize offered by the Week for the best poem on Queen Victoria's Jubilee. As an essayist, Machar frequently wrote about challenges faced by Christianity in the face of rapidly advancing scientific knowledge.
|
|
Ambreen Salahuddin's second book of Urdu poetry, Sadyon Jaise Pal, was published in 2014. Ambreen Salahuddin's third book is her research work titled Feminism in Modern Urdu Poetesses was published in the year 2005 by West Pakistan Urdu Academy. The book discusses Urdu women poets from 1857 to 2000. Poets included in the book are Ze Khe Sheen, Ada Jafri, Kishwar Naheed, Fahmida Riaz, Zehra Nigah, Yasmeen Hameed, Parveen Shakir and others.
|
|
18 Lehms made his name with the collection Teutschlands Galante Poetinnen (Germany's Gallant Poetesses). The title page of Teutschlands Galante Poetinnen sums up the work thus: Lehms wrote libretti for operas and cantatas. The cantatas, while being religious works performed as part of the Lutheran services of the Darmstadt court, can be seen as influenced by secular poetry like the cantatas of Neumeister. They were set to music by Christoph Graupner, the Kapellmeister, and his assistant Gottfried Grünewald.
|
|
There are no extant eighteenth-century references to Urania. Study of the work resurfaces in the nineteenth century in Alexander Dyce's 1825 Specimens of British Poetesses, in which Dyce reproduces two poems from Pamphilia to Amphilanthus and lists Urania as their source. Later in the nineteenth century, Urania was referenced as an inferior version of the Arcadia in an 1890 history of the English novel by J. J. Jusserand.Paul Salzman, Reading Early Modern Women's Writing, (Oxford: Oxford University Press, 2006), 87.
|
|
She published three poetry books and was included in three anthologies of poems: "Poetesses of Kragujevac" (1991), "Lyrical humming of Sumadija" (2004), and "Singers of sleeping capital" (2006, 2007). She published poems and stories in literary magazines, daily and weekly newspapers. The books "The Earth a grove to the sky" and "At the time absent" got annual rewards from The Cultural-Educational Association of Kragujevac Municipality. She lived and worked in Kragujevac, and her son is the writer Zoran Spasojević.
|
|
Her three poems that survive were posthumously published: 'Ode to a Thrush', 'Ode to Morning' and 'The Copper Farthing'. All three became anthology pieces, and were published in collections such as Specimens of British Poetesses (1798) and Poems of Eminent Ladies (1780). Her poetry makes effective use of the burlesque mode, and shows the influence of John Philips's The Splendid Shilling. Her entry in the Oxford Dictionary of National Biography notes that her 'ability to write in a learned and heroic style, despite her limited opportunity for education, is remarkable'.
|
|
She cared for her mother and father until their deaths and supported them and herself by proceeds from her writing. From age 10 to 15 she attended a school in Hans Place, Knightsbridge, London, the successor to Reading Abbey Girls' School, which Austen had attended a few years earlier. Her father engaged Frances Arabella Rowden, formerly governess to the family of Frederick Ponsonby, 3rd Earl of Bessborough, to give her extra tuition. Rowden was not only a published poet, but according to Mitford, "she had a knack of making poetesses of her pupils".
|
|
It is like this that she introduced herself at the newspaper Última Hora, looking for a job as journalist. Hired by her well-written text and daring attitude, her recruitment caused bewilderment and admiration in a society hitherto accustomed to seeing females presented by the media only as poetesses, feuilletists, and columnists. A woman practicing journalism was even more unusual, up to the point that even the term "reportess" had to be coined to describe her role. Shortly after, the journal prematurely reported the end of her career as a young journalist, who had decided to seek refuge in a boarding school for girls in an orphanage called Asilo Bom Pastor.
|
|
One of her mother's brothers, Sir John Milley Doyle (1781–1856), led British and Portuguese forces in the Peninsular War and the War of the Two Brothers.Henry Morse Stephens, Doyle, John Milley from Dictionary of National Biography at Wikisource Rosina Doyle was educated in part by Frances Arabella Rowden, who was not only a poet, but, according to Mary Mitford, "had a knack of making poetesses of her pupils" This ties Rosina to others among Rowden's pupils, such as Caroline Ponsonby, later Lady Caroline Lamb; the poet Letitia Elizabeth Landon ("L.E.L."); Emma Roberts, the travel writer; and Anna Maria Fielding, who published as S.C. Hall.
|
|
At the age of five, Landon began attending Frances Arabella Rowden's school at 22 Hans Place, Knightsbridge. Rowden was an engaging teacher, a poet, and had a particular enthusiasm for the theatre. According to Mary Russell Mitford, "she had a knack of making poetesses of her pupils" Other Rowden's pupils were: Caroline Ponsonby, later Lady Caroline Lamb; Emma Roberts, the travel writer; Anna Maria Fielding, who published as Mrs S. C. Hall; and Rosina Doyle Wheeler, who married Edward Bulwer-Lytton and published her many novels as Rosina Bulwer Lytton. The Landons moved to the country in 1809, so that John Landon could carry out a model farm project.
|
|
Ambreen Salahuddin is the author of five books. Her first book of Urdu poetry was published in 2004 titled as "Sar-e-Dasht-e-GumaaN" and second book of Urdu poetry was published in 2014, titled as "Sadyon Jaise Pal". The second edition of "Sadyon Jaise Pal" is published by Sang-e-Meel publications in 2019. Her other books include a research work "Feminism in modern Urdu poetesses" (2005), a companion of Gender Studies in Urdu "Farhang-e-Sinfi Mutaleyat" (2018) and translation of Dawkins' Magic of Reality, "Haqeeqat ka Jadu" (2018) Ambreen Salahuddin has a PhD in Gender Studies from Department of Gender Studies at University of the Punjab.
|
|
Poems translated by Safa Khulusi, Journal of the Royal Asiatic Society of Great Britain and Ireland, 1950, 3–4, p.151-157Safa Khulusi, Contemporary poetesses of Iraq, Islamic Review, June 1950, p.40- 45 This was a period of significant social and political change, an era of wars and civil strife, and also a time when poetry was highly valued and influential in Arab society and particularly in Iraq. The appearance of a famous poet at a public meeting for example, would generate a large crowd, and mainstream daily newspapers regularly replaced their lead paragraph with poetic verses employing all manner of eloquence and rhetoric to win the affection of the reader and sway a political argument.
|
|
Anne Finch, Countess of Winchilsea, was the first to adapt the fable as a polemic against atheism, giving her poem the new title "The Atheist and the Acorn".Specimens of British Poetesses, London 1825, pp.134-6 In place of La Fontaine's introductory reassurance that "God's creation is well made", the poem begins with the opposite proposition, "Methinks this world is oddly made, And every thing’s amiss," as uttered by "a dull presuming atheist". A combative stance replaces genial irony and the piece ends with the grotesque image of a smashed skull letting out its false suppositions.Jayne Elizabeth Lewis, The English Fable: Aesop and Literary Culture, 1651-1740, Cambridge University 1996, pp.
|
|
Sen was born in 1961 and raised in a Bengali family in Raipur, Chhattisgarh. His father, the late Dr. Arun Kumar Sen, who was the Vice-Chancellor at Indira Kala Sangeet Vishwavidyalaya, Khairagarh, and mother late Dr. Aneeta Sen, were both renowned classical singers of Gwalior Gharana and Musicologists. He learned music from his parents, moved to Mumbai in 1979 to become music composer, and began singing in 1984. He started doing research oriented musical programs, such as Dushywant Ne Kaha Tha 1984 (ghazals of Dushyant Kumar), Madhya Yugeen Kaavya 1985 (sang medieval poets like Raskhan, Raheem, Lalitkishori, Bhooshan, Bihari, Kabir, Tulsidas, Sur Pakistan ka Hindi Kavya1986 (Hindi Geet, Dohe written in Pakistan), Meera Se Mahadevi Tak 1987 (Hindi songs by Poetesses) & many more innovative programmes.
|
|
Each Purananuru poem has a colophon attached to it giving the authorship and subject matter of the poem, the name of the king or chieftain to whom the poem relates and the occasion which called forth the eulogy are also found. It is from these colophons and rarely from the texts of the poems themselves, that we gather the names of many kings and chieftains and the poets and poetesses patronised by them. The task of reducing these names to an ordered scheme in which the different generations of contemporaries can be marked off one another has not been easy. To add to the confusions, some historians have even denounced these colophons as later additions and untrustworthy as historical documents.
|
|
It is from these colophons and rarely from the texts of the poems themselves, that we gather the names of many kings and chieftains and the poets and poetesses patronised by them. The task of reducing these names to an ordered scheme in which the different generations of contemporaries can be marked off one another has not been easy. To add to the confusions, some historians have even denounced these colophons as later additions and untrustworthy as historical documents. Any attempt at extracting a systematic chronology and data from these poems should be aware of the casual nature of these poems and the wide difference between the purposes of the anthologist who collected these poems and the historian’s attempts are arriving at a continuous history.
|
|
It is from these colophons and rarely from the texts of the poems themselves, that we gather the names of many Kings and chieftains and the poets and poetesses patronised by them. The task of reducing these names to an ordered scheme in which the different generations of contemporaries can be marked off one another has not been easy. To add to the confusions, some historians have even denounced these colophons as later additions and untrustworthy as historical documents. Any attempt at extracting a systematic chronology and data from these poems should be aware of the casual nature of these poems and the wide difference between the purposes of the anthologist who collected these poems and the historian’s attempts are arriving at a continuous history.
|
|
1920), Jalīla Riḍa (Egypt, 1920-2001), Salma Khadra Jayyusi (Palestine, 1926-), Lami'a 'Abbas 'Amara (Iraq, b. 1927). Saniya Salih's (Syria 1935-85) poetry appeared in many well-known magazines of her time, particularly Shi’r and Mawaqif, but remained in the shadow of work by her husband, the poet Muhammad al-Maghout. Her later poems often address her relationship with her two daughters, and many were written during her illness as she died of cancer. Moreover, other Arab post-war poetesses include: Zubayda Bashīr (Tunis, 1938-); Ghada al-Samman (Syria, 1942-), known not only for poetry but also for short stories and novels, Su'ad al-Sabah (Kuwait, 1942-) and Hamda Khamis (Bahrain, 1946-) who is regarded as Bahrain's first female free-verse poet.
|
|
Because of their social prominence, qiyān comprise one of the most richly recorded sections of pre-modern Islamicate female society, particularly female slaves, making them important to the history of slavery in the Muslim world. Moreover, a significant proportion of medieval Arabic female poets whose work survives today were qiyān. For a few qiyān, it is possible to give quite a full biography.Dwight F. Reynolds, 'The _Qiyan_ of al-Andalus', in _Concubines and Courtesans: Women and Slavery in Islamic History_ , ed. by Matthew S. Gordon and Kathryn A. Hain (Oxford: Oxford University Press, 2017), pp. 100-21 (pp. 100-101); . Important medieval sources of qiyān include a treatise by al-Jahiz (776–868/869 CE), al-Washsha's Kitab al-Muwashsha (The Brocaded Book), and anecdotes included in sources such as the Kitab al-Aghani (Book of Songs) and al-Ima al-shawa‘ir (The Slave Poetesses) by al-Isbahani (897–967 CE), Nisa al-khulafa (The Consorts of the Caliphs) by Ibn al-Sa‘i, and al-Mustazraf min akhbar al-jawari (Choice Anecdotes from the Accounts of Concubines) by al-Suyuti (c.
|
|
The style is late romantic. An anonymous reviewer of My Souvenir referred to the original verses as distinguished by "elegance, sweetness, and tenderness rather than power or passion", adding that the translations "are selected with taste and feeling; and those from German are not the least attractive portion of the volume".Anonymous: Tait’s Edinburgh Magazine, July 1844, vol II (127) p.469 Two further volumes of translations and original poems appeared in quick succession: The Enchanted Rose: A Romant In Three Cantos, a translation from Ernst Schulze: The Enchanted Rose: A Romant In Three Cantos: Translated from the German of Ernst Schulze (1844),A Romant or Romaunt is a poetic term attributed to romantic verse often in epic form and A Vision of Great Men (1848) which concentrated on translating the poems of German poetessesA .Vision Of Great Men With Other Poems as Translated from the Poetesses of Germany’ (1848) Whilst De Crespigny's own work remained hidden, her translations of poets such as Maciej Kazimierz Sarbiewski, Annette von Droste-Hülshoff and Justinus Kerner introduced these literary figures to a wider English-speaking audience.
|
|