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Conferences also provided important spaces for feminists to share and discuss ideas about the possibilities of poetry: for example a key moment for Canadian feminist poetry was the "Women and words / Les femmes et les motes" conference in 1983.
"Speak White" is a French-language poem written by Canadian poet Michèle Lalonde in 1968, and condemns the linguistic, cultural, and economic exploitation and oppression of French-speaking Canadians, especially the Québécois, by the English language and Anglo-American culture. [1]
At Cooloolah is a poem by Australian poet Judith Wright.It was first published in The Bulletin magazine on 7 July 1954, and later in the poet's poetry collection The Two Fires (1955). [1]
To be a 'school' a group of poets must share a common style or a common ethos. A commonality of form is not in itself sufficient to define a school; for example, Edward Lear, George du Maurier and Ogden Nash do not form a school simply because they all wrote limericks. There are many different 'schools' of poetry.
Poetry analysis is the process of investigating the form of a poem, content, structural semiotics, and history in an informed way, with the aim of heightening one's own and others' understanding and appreciation of the work.
Oral poetry differs from oral literature in general because oral literature encompasses linguistic registers which are not considered poetry. In most oral literature, poetry is defined by the fact that it conforms to metrical rules; examples of non-poetic oral literature in Western culture include some jokes, speeches and storytelling.
In his essay Poetry-Films and Film Poems in Film Poems, William C. Wees differentiates between poetry-film using a film to ‘illustrate’ a poem, and film poems in which ‘a synthesis of poetry and film that generates associations, connotations and metaphors neither the verbal nor the visual text could produce on its own.’ [9] [10]
Phanopoeia or phanopeia is defined as "a casting of images upon the visual imagination," [1] throwing the object (fixed or moving) on to the visual imagination. In the first publication of these three types, Pound refers to phanopoeia as "imagism."