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100+ datasets found
  1. f

    Data from: Poetry Translation and Performance: “Still I Rise” by Maya...

    Updated Mar 23, 2021
  2. P

    Gutenberg Poem Dataset Dataset

  3. Complete dataset

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  4. h


    Updated Nov 3, 2021
  5. Eververse data

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  6. f

    The Book of Hours - Sample Poems from Poetry Collection (open access)

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  7. POETRY SOCIETY OF AMERICA, fiscal year ending June 2020

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  9. Millennials poetry reading rate in the U.S. 2012-2017

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  10. MASSACHUSETTS POETRY OUTREACH PROJECT, fiscal year ending Dec. 2020

  11. THE POETRY PROJECT LIMITED, fiscal year ending June 2019

  12. f

    Dataset: What the Eyes Reveal about (Reading) Poetry

    Updated Dec 16, 2020
  13. Readership of poetry in the U.S. 2012-2017, by ethnicity

    Updated Feb 14, 2019
  14. w

    Other Poetry

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  15. w

    Data from: Wesleyan poetry

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  16. S

    A literary geography dataset of Nanjing poetries

    Updated Apr 26, 2021
  17. DAILY POETRY ASSOCIATION, fiscal year ending Dec. 2019

  18. P

    CCPM Dataset

  19. Number of books published in the U.S. in the category 'poetry/drama'...

    Updated Aug 5, 2014
  20. Poems from

    Updated Jun 27, 2017
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Carolina Paganine (2021). Poetry Translation and Performance: “Still I Rise” by Maya Angelou [Dataset].

Data from: Poetry Translation and Performance: “Still I Rise” by Maya Angelou

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Dataset updated
Mar 23, 2021
Dataset provided by
SciELO journals
Carolina Paganine

Attribution 4.0 (CC BY 4.0)
License information was derived automatically


Abstract: This paper presents an evaluation of five translations into Brazilian Portuguese of the poem “Still I Rise” by African-American author Maya Angelou (1928-2014). Also, I present and discuss my own translation of the same poem, in which I aimed at creating a text to be performed, i.e. that would work orally in Portuguese. The reasons behind this choice are: 1) this is one of Angelou’s most famous poems and one which she performed on many occasions; 2) Angelou’s poetry stands out for following the African-American tradition of oral literature and so the poem acquires a new aesthetical dimension when it is performed. My criticism on the translations as well as my translation are in debt to Paulo Henriques Britto’s work towards a more objective evaluation of poetic translations (2002).

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