"This manual closes a circle which began almost thirty-five years ago (November, 1954) with the beginning of work an a doctoral dissertation defended at the Pontifical Biblical Institute in April, 1957 (published in Spanish in 1962). During three decades of teaching and writing the author has kept an active interest in poetics and stylistics and the resulting accumulated knowledge has been concentrated in the present manual. The primary purpose of the book is not to serve as a source of Information about facts and authors but rather to initiate the reader into the stylistic analysis of poetry. To obtain Information and to classify it the reader can turn to recent works (Watson), earlier works (Knig, Hempel), or reprinted works (Bullinger). Among the poetic techniques discussed are Sound and sonority, rhythm, imagery, figures of Speech, dialogue and monologue, development and composition"--Page 4 of cover.

In spite of debatable issues, such as metre, we now know enough about classical Hebrew poetry to be able to understand how it was composed. This large-scale manual, rich in detail, exegesis and bibliography, provides guidelines for the analysis and appreciation of Hebrew verse. Topics include oral poetry, metre, parallelism and forms of the strophe and stanza. Sound patterns and imagery are also discussed. A lengthy chapter sets out a whole range of other poetic devices and the book closes with a set of worked examples of Hebrew poetry. Throughout, other ancient Semitic verse has been used for comparison and the principles of modern literary criticism have been applied.

Media are poetic forces. They produce and reveal worlds, representing them to our senses and connecting them to our lives. While the poetic powers of media are perceptual, symbolic, social and technical, they are also profoundly moral and existential. They matter for how we reflect upon and act in a shared, everyday world of finite human existence. The Poetics of Digital Media explores the poetic work of media in digital culture. Developing an argument through close readings of overlooked or denigrated media objects – screenshots, tagging, selfies and more – the book reveals how media shape the taken-for-granted structures of our lives, and how they disclose our world through sudden moments of visibility and tangibility. Bringing us face to face with the conditions of our existence, it investigates how the ‘given’ world we inhabit is given through media. This book is important reading for students and scholars of media theory, philosophy of media, visual culture and media aesthetics.

"In this unparalleled study of the forms of Hebrew poetry, preeminent authority Benjamin Harshav examines Hebrew verse during three millennia of changing historical and cultural contexts. He takes us around the world of the Jewish diaspora, comparing the changes in Hebrew verse as it came into contact with the Canaanite, Greek, Arabic, Italian, German, Russian, Yiddish, and English poetic forms. Harshav explores the types and constraints of free rhythms, the meanings of sound patterns, the historical and linguistic frameworks that produced the first accentual iambs in English, German, Russian, and Hebrew, and the first discovery of these iambs in a Yiddish romance written in Venice in 1508/09. In each chapter, the author presents an innovative analytical theory on a particular poetic domain, drawing on his close study of thousands of Hebrew poems"--

This volume explores the aesthetic dimensions of biblical poetry, offering close readings of poems across the Hebrew Bible/Old Testament. Composed of essays by fifteen leading scholars of biblical poetry, it offers creative and insightful close readings of poems from across the canon of the Hebrew Bible/Old Testament (Psalms, wisdom poetry, Song of Songs, prophecy, and poetry in biblical narrative). The essays build on recent advances in our understanding of biblical poetry and engage a variety of theoretical perspectives and current trends in the study of literature. They demonstrate the rewards of careful attention to textual detail, and they provide models of the practice of close reading for students, scholars, and general readers. They also highlight the rich aesthetic value of the biblical poetic corpus and offer reflection on the nature of poetry itself as a meaningful and enduring form of art.

On Biblical Poetry considers the characteristics of biblical Hebrew Poetry beyond its currently best-known feature, parallelism. F.W. Dobbs-Allsopp demonstrates the many interesting and valuable interpretations that yield from a series of programmatic essays on major facets of biblical verse, careful attention to prosody, and close reading.

Almost 75 percent of the Old Testament is made up of poetic passages, yet for many readers (lay Christians, even seminary students and pastors), biblical poetic passages remain the greatest challenge. Being unfamiliar with poetry in general and biblical poetry in particular, their reading and preaching are limited to selected poetic passages. This in turn limits their understanding of God's word. To help readers overcome these problems, the first four chapters of this book aim to get them familiarized with the literary techniques of biblical poets. To demonstrate how the techniques work to bring across the biblical theological message, the last three chapters offer poetic analyses of three passages of different kinds. In the process, we hope to draw attention to the beauty of the Hebrew poetic art and to the creative skill of biblical poets' versification. The ultimate aim, however, is to help readers discover the rich message of the Bible.

In Dead Sea Media Shem Miller offers a groundbreaking media criticism of the Dead Sea Scrolls. Although past studies have underappreciated the crucial roles of orality and memory in the social setting of the Dead Sea Scrolls, Miller convincingly demonstrates that oral performance, oral tradition, and oral transmission were vital components of everyday life in the communities associated with the Scrolls. In addition to being literary documents, the Dead Sea Scrolls were also records of both scribal and cultural memories, as well as oral traditions and oral performance. An examination of the Scrolls’ textuality reveals the oral and mnemonic background of several scribal practices and literary characteristics reflected in the Scrolls.

Since its emergence in the seventeenth century as a distinctive cultural system, children's literature has had a culturally inferior status resulting from its existence in a netherworld between the literary system and the educational system. In addition to its official readership—children—it has to be approved of by adults. Writers for children, explains Zohar Shavit, are constrained to respond to these multiple systems of often mutually contradictory demands. Most writers do not try to bypass these constraints, but accept them as a framework for their work. In the most extreme cases an author may ignore one segment of the readership. If the adult reader is ignored, the writer risks rejection, as is the case of popular literature. If the writer utilizes the child as a pseudo addressee in order to appeal to an adult audience, the result can be what Shavit terms an ambivalent work. Shavit analyzes the conventions and the moral aims that have structured children's literature, from the fairy tales collected and reworked by Charles Perrault and the Brothers Grimm—in particular, “Little Red Riding Hood”—through the complex manipulations of Lewis Carroll in Alice's Adventures in Wonderland, to the subversion of the genre's canonical requirements in the chapbooks of the eighteenth century, and in the formulaic Nancy Drew books of the twentieth century. Throughout her study Shavit, explores not only how society has shaped children's literature, but also how society has been reflected in the literary works it produces for its children.

Willis Barnstone has augmented his widely used anthology of the Greek lyric poets with eleven newly attributed Sappho poems, making this the most complete offering of Sappho in English. Two new sections -- "Sources and Notes" and "Sappho: Her Life and Poems" -- provide the student with the classical sources and an appraisal of this greatest of Western women poets. Barnstone's lucid, elegant translations include a representative sampling of all the significant Greek lyric poets, from Archilochus, in the seventh century B.C., through Pindar ("prince of choral poets") and the other great singers of the classical age, down to the Hellenistic, Roman, and Byzantine periods. William McCulloh's introduction illuminates the forms and development of the Greek lyric. Barnstone introduces each poet with a brief biographical and literary sketch. The critical apparatus includes a glossary, index, bibliography, and concordance. Willis Barnstone is professor of Spanish and comparative literature at Indiana University. He is co-editor of A Book of Women Poets from Antiquity to Now, and has translated poetry of Mao Zedong, Antonio Machado, and St. John of the Cross.