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Zeitschriftenartikel zum Thema "Cynicism – Poetry"
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Croitoru, Corina. „Censure communiste et dérision poétique“. Caietele Echinox 39 (01.12.2020): 50–60. http://dx.doi.org/10.24193/cechinox.2020.39.04.
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"The study proposes a rereading of the Romanian poetry written during Communist regime, in order to see how practices of derision are used in a subversive manner in relation to political power and the realities of that era. The humor, irony, sarcasm or cynicism shown by this poetry are seen as means to circumvent censorship, entering, from this perspective, the field of a particular commitment against historical events."
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Widyaningsih, Lisa. „ANALISIS GAYA BAHASA DALAM KUMPULAN PUISI KEKASIHKU KARYA JOKO PINURBO: KAJIAN STILISTIKA“. Academica : Journal of Multidisciplinary Studies 5, Nr. 1 (01.11.2021): 105–20. http://dx.doi.org/10.22515/academica.v5i1.4135.
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Poetry still exists today, through poetry the author can express his feelings and thoughts. In addition to being written, poetry can also be read, made into musicals, inserted in short stories, novels, and films. There are various studies that can be used to analize poetry, one of which is stylistics studies. Tyhrough this study, it can be seen the style of language used by the author in making poetry. The purpose of this study is to find the style of language in the collection of poems My Firl by Joko Pinurbo. This study uses a qualitative method. Data analysis was carried out using Miles and Huberman analysis techniques, namely data reduction, data presentation, and drawing conclusions. The result of the research on the use of language styles in the collection of poems My Girl by Joko Pinurbo, namely parable language style, metaphor language style, personification language style, cynicism style, and anaphoric language style.Keywords: literary works; poetry; stylistics
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Hinduan, Najmah Al, Achmad Tohe und Ibnu Samsul Huda. „Karakteristik dan Fungsi Puisi Arab pada Masa Transisi Pemerintahan Dinasti Umayyah ke Dinasti Abbasiyah“. Alsina : Journal of Arabic Studies 2, Nr. 1 (17.07.2020): 51. http://dx.doi.org/10.21580/alsina.2.1.5127.
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<p class="ABSTRACT">The transition period of the Umayyad dynasty to the Abbasid dynasty occurred in a span of 100 years. There are fifteen great poets whose poetry represents the study of this research. The results of this study indicate that there are seven types of poetry found in the transition period, namely madh, hija, naqaidh, zuhud, gazal, khamriyyat, and fakhr. These seven poems have different characteristics to fulfill different functions. Among them are diction which uses connotative words, strong imagination, uses a lot of simile/tasybih, cynicism, sarcasm, personification, and metaphor/istia'rah.</p>
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J.Aziz, Javeria Aziz. „An important star of women's literature in Haripur“. Rashhat-e-Qalam 2, Nr. 1 (14.02.2022): 35–43. http://dx.doi.org/10.56765/rq.v2i1.60.
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Sayyeda Bakhtawar shah Shafaq’s collection of poems has a lot of good traits and many characteristics of effective poetry. In Haripur, there is a dire need of an experienced poetess like her before. This essential necessity was fulfilled by her beautiful poetry having the qualities of thought provoking subjects creativity and impact on messes. The different aspect of her poetry are about the relationship of life with this material world, exploring the mysteries of humanity prevailed throughout the global and separation of the cherished people as well as of the things and how much impressive their separation is for the inhabitants here. Her poetry also deals with human social issues and their recognition in a unique way. Melody and cynicism are also presented by her verses. Her innocence and simplicity of nature shine through her work. She portrays ups and down and many bitter realities of human life but not in a convention way aspeactised by others.
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Awhefeada, Sunny. „Motherhood and Sundry Preoccupations in Hope Eghagha's“. Matatu 40, Nr. 1 (01.12.2012): 81–101. http://dx.doi.org/10.1163/18757421-040001006.
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A significant motif in African poetry which critics have ignored over the years is that of motherhood. This theme has been explored by many an African writer, depicting its various manifestations – physically, psychologically, and spiritually. However, the metaphoric aggregation of the many aspects of maternity has not been met with the appropriate critical response. The aim of this study is to examine the foregrounding of motherhood in Hope Eghagha's . What is revealed is not a romanticization of motherhood, but a tear-glazed threnodic articulation of a mother's last moments on earth, though with telling glances at the past which poeticize the essence of motherhood. Also discernible in this collection are other sundry themes which, often with a certain cynicism, re-create the nature of humanity, complementing Eghagha's versification of motherhood. These themes – greed, wickedness, love, betrayal – are largely ignored in the evaluation of African poetry. The present study excavates them, arguing that they deserve critical articulation for African poetry to be seen as representing life as it is lived and experienced.
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A'yun, Loita Kurrota. „Gaya Bahasa Kiasan Dalam Puisi “Mansyūrātun Fidāiyyatun ‘Alā Judrāni Isrāīl”“. Arabiyatuna : Jurnal Bahasa Arab 2, Nr. 2 (26.12.2018): 161. http://dx.doi.org/10.29240/jba.v2i2.549.
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A poet often uses the style of language in composing poetry in order to achieve the desired beauty. Likewise with one of the famous Arab poets in the modern era, namely Nizar Qabbani. He often uses language styles, one of which is the figurative language style, to compose verses in his poems. One of his works which contains a lot of this style of figurative language is his poem entitled "Mansyūrātun Fidāiyyatun ā Al Judrāni Isrāīl". This study aims to analyze the style of figurative language used in the poem. In this study, researchers used stylistic analysis, to be able to find out the types of figurative language used by poets. The results of this study indicate that poets use several kinds of figurative language styles, namely equation or simile (tasybīh), metaphor or isti’ārah, antonomasia or kināyah, pars pro toto (majāz mursal juz’iyyah), irony and cynicism. The most figurative style of speech used by poets is the style of equality or simile (tasybīh), irony and cynicism. This is because the poem is a criticism and representation of expressions of bitterness, anger, and disappointment of the Palestinian people both towards Israel, America, and other world communities.
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Laxmiprasad, P. V. „The Poetry of T.VASUDEVA REDDY: A Critique on Bucolic Representation“. American Research Journal of English and Literature 7, Nr. 1 (28.05.2021): 1–8. http://dx.doi.org/10.21694/2378-9026.21008.
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ndian English Poetry is replete with both ancient and modern elements. Pre-independent and post-independent India marked two different phases in poetry. Poets predominantly dealt with conventional themes in the past. But, one distinguishing feature of Post –independent poetry has been to portray a diversified representation of multiple themes. A careful analysis of thoughts, feelings, and psyche of the poets not only genuinely but eloquently reveals urban ‘cynicism and anguish’ and reveals ‘hope and anticipation’ quite aptly. Poets differed according to the age in which they had lived but ultimately, their poetry became a subject matter of anguish and agony. There have been obvious expressions of urban life in the beginnings but as the poets emerged in the early twentieth century, rural side of the life figured prominently in their writings. PCK Prem observes, “Poetry depicting rural background and the inner world of man is also conscious of the collapse of human bonds and aspirations even as sufferings, struggles, and failures dishearten but carry elements of hope, and thus, infuse a spirit to live life persuasively”. (2006: 21) Poetry is not only a study of thoughts or emotions but it also involves reading of a huge poetic landscape, literary yield, political thought process and its evolution, and the social and economic environment. From 1920, after taking into consideration various social and historical facts, one assumes that contemporary Indian English Poetry begins its ambitious journey --- in rising cities and other rural areas, developing towns of various regions to be more specific Indian English Poetry begins its journey. One such element is the delineation of bucolic elements in poetry. India is predominantly a rural country side with 60% of population living in villages. The countryside is a geographic area located outside the cities and towns. Indian villages have low population density and small settlements. The poetry of T.V. Reddy is rooted in bucolic elements. In fact, all his poetry collections carry the hallmarks of rural life, pastoral panorama and idyllic nature. They beautify his poetry against rural background. Rural life in India forms the very basis of economy and essential living conditions. In fact, it is the backbone of development in diversity. Life in cities is always different from life in rural areas.
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France, Peter. „Scott Moncrieff's First Translation“. Translation and Literature 21, Nr. 3 (November 2012): 364–82. http://dx.doi.org/10.3366/tal.2012.0088.
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C. K. Scott Moncrieff, famous as the translator of Proust, began his translating career in 1918 with La Chanson de Roland. Knowing nothing of Old French, he encountered this classic text while recovering from a war wound; the work of translation was a ‘solace’ in time of war, but also a homage to his friend Wilfred Owen and others who had ‘met their Rencesvals’ as the war drew to a close. Scott Moncrieff was no jingoist, but against the cynicism of Siegfried Sassoon's war poetry, he used the Old French epic to celebrate the positive values embodied in the idea of vassalage. Like his Proust, his Song of Roland sought to bring another world to life in English-speaking culture, in all its specific difference. Here this led him to adopt an archaizing and purportedly oral style, notably in the imitation of the assonanced laisses of the original.
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Anemone, Anthony. „Konstantin Vaginov and the Death of Nikolai Gumilev“. Slavic Review 48, Nr. 4 (1989): 631–36. http://dx.doi.org/10.2307/2499787.
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In his “Poetic Responses to the Death of Gumilev,” Ivan Martynov has chronicled the repercussions of Gumilev's execution by the Cheka in August 1921 in the poetry of his contemporaries. Martynov recalls those poets who remained faithful to Gumilev and marked his death with memorable poems as well as the opportunists who publicly and loudly praised his executioners. Among those who betrayed Gumilev for selfish reasons, Martynov cites such former close friends as Elizaveta Polonskaia, Mikhail Zenkevich, Larisa Reisner, and Sergei Gorodetskii. Their cynicism and cowardice were, however, more than offset by the loyalty and resourcefulness of, among others, Anna Akhmatova, Georgii Adamovich, Nikolai Otsup, Ida Nappel'baum and Irina Odoevtseva. Despite the very real danger, these poets refused to renounce Gumilev in public. Because the Soviet censor would allow no overt references to Gumilev, much less poems in commemoration of his death, his friends were able to refer to him only obliquely in the months following his execution.
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LOCHMELIS, E. R. „REINTERPRETATION OF IMAGES FROM DOSTOEVSKY’S NOVEL CRIME AND PUNISHMENT IN RUSSIAN ROCK POETRY“. Lomonosov Journal of Philology, Nr. 2, 2024 (16.06.2024): 166–76. http://dx.doi.org/10.55959/msu0130-0075-9-2024-47-02-11.
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Russian rock poets focus on Dostoevsky’s novel Crime and Punishment and its characters: the old woman pawnbroker, Svidrigailov and Raskolnikov. The hero of rock poetry lives in the initially given anti-space, where the state is a well-organized structure that exists due to the suppression of personality. The classic interpretation of the novel’s idea - the fall and subsequent resurrection of the human soul - is impossible for the rock poet, who is painfully focused on the root cause of social injustice, symbolically embodied in the ‘eternal’ image of the old woman pawnbroker. The emphasized motive of her immortality makes the conflict of personality and the existing system tragically insoluble. The ‘self’ of the lyrical hero coincides with the consciousness of Raskolnikov. The main character of the novel turns out to be only ‘one of many’, any of those who decide to challenge the system - and lose. The moral meaning of the novel is reinterpreted: it only maintains the existing order, showing the impossibility of struggle, because the crime turns against the rebel himself, who is not able to withstand the torment of conscience. There is a redistribution of the ‘weight’ between the characters. The heightened experience of the meaningless struggle with the existing world order and social injustice pushes rock poets to Dostoevsky’s anti-heroes, in particular to Svidrigailov, who becomes an independent tragic figure. He, like everyone, is sinful, in his extreme cynicism he is even deprived of the opportunity to deceive himself - and the last thing remaining for him is bitter irony of himself, life and even the existential problem of human afterlife. At the same time, Sonya Marmeladova - the moral antipode of Raskolnikov - is mentioned in the texts only once, since she is not included in the conflict of personality and society, but acts as its victim, like Raskolnikov himself (therefore, this place in the system of characters is already occupied by a hero, whose nature is identical to that of the rock poet, more expressive, and similar to the demonic images of gloomy, gothic romanticism).
Dissertationen zum Thema "Cynicism – Poetry"
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Kaplan, Sara Esther. „Magazine“. Miami University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=miami1086450926.
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Marcinnò, Micol. „Luciano di Samosata e la civiltà ellenistica : imitazione e “ri-creazione“. Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC002.
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Comme le titre le suggère, la thèse s’inspire du "Lucien écrivain. Imitation et création de Jacques Bompaire". Dans l’introduction nous reparcourons l’histoire de l’Hellenismus de Droysen et nous surlignons le poids du mélange culturel gréco-oriental dans la vie et dans l’œuvre de Lucien. Le premier chapitre consiste en un corpus commenté de passages lucianesques contenant des éléments hellénistiques évidents. Dans le deuxième chapitre nous analysons plusieurs aspects de la civilisation hellénistique présents dans l’œuvre de Lucien comme la politique, l’art, le mythe, les programmes littéraires. Dans le troisième chapitre nous étudions l’influence de la poésie alexandrine dans l’œuvre de l’A., alors que le quatrième chapitre analyse l’influence que des formes littéraires relevant d’un substrat culturel de sagesse populaire ont eue sur l’A. L’approche textuelle et philologique adoptée permet d’affirmer que Lucien connaissait la civilisation hellénistique et sa littératureAs the title suggests, the thesis takes inspiration from Jacques Bompaire’s Lucien écrivain. Imitation et creation. In the introduction we retrace the history of Droysen’s Hellenismus and we detect the importance of the greco-oriental cultural fusion in Lucian’s life and works. The first chapter consists of a commented corpus of lucianic passages containing evident hellenistic elements. In the second chapter we analyse different aspects of the hellenistic civilisation which are detectable in Lucian’s works such as politics, arts, myth or literary programs. In the third chapter we compare Lucian’s literary production with Alexandrian poetry, while the forth chapter focuses on the literary influence that hellenistic philosophical and historiographical productions had on Lucian’s composition. This research makes it possible to state that the author of Samosata had a deep knowledge of hellenistic civilisation and that hellenistic literature influenced his way of writing
Bücher zum Thema "Cynicism – Poetry"
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Cruces, Juan L. López. Les Méliambes de Cercidas de Mégalopolis: Politique et tradition littéraire. Amsterdam: A.M. Hakkert, 1995.
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Theophrastus. Characters. 2. Aufl. Cambridge, Mass: Harvard University Press, 1993.
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Paracelsus. Caratteri. Milano: Mondadori, 1989.
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Paracelsus. Characters. 2. Aufl. Cambridge, Mass: Harvard University Press, 1993.
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1927-, Ussher R. G., Hrsg. The characters of Theophrastus. [Bristol]: Bristol Classical Press, 1993.
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Paracelsus. Los caracteres morales. Madrid: Centro de Estudios Constitucionales, 1985.
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Paracelsus. Characters. 3. Aufl. Cambridge, Mass: Harvard University Press, 2002.
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Paracelsus. Characters. 2. Aufl. Cambridge, MA: Harvard University Press, 1992.
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James, Diggle, Hrsg. Characters. Cambridge: Cambridge University Press, 2004.
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Lewis, C. S. Poetry. Standard Ebooks, 2022.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Cynicism – Poetry"
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Bollig, Ben. „Poetry-Value-Film in the Cinema of Raúl Perrone“. In Moving Verses, 127–54. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859784.003.0005.
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Critical approaches to the work of Raúl Perrone have, to date, focussed mostly on its DIY ethos and his reworking of international genres, from Italian Neorealism to the US slacker comedy, in a local Argentine context. However, despite his reputation, and indeed the immediate impression given by many of his early films, as a creator of no-budget Argentine slacker comedies, much of his cinema features or is underpinned by poetic concerns. Chapter Four therefore aims to explore his use of and interaction with poetry – how he screens it, and how it informs the aesthetics and ethics of his cinema. I draw on the work of Theodor Adorno and Franco “Bifo” Berardi, as well as Michel Foucault’s ideas about cynicism and free speech (parrhēsia). Here I develop arguments about how the use of poetry questions contemporary understandings of cultural and financial value – in short, the political implications of intermediality.
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Havard, John Owen. „Byron’s Opposition“. In Disaffected Parties, 229–63. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198833130.003.0006.
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This chapter examines Byron’s poetry in relation to his continuing attachment to an oppositional ‘party’ role, on the one hand, and his cultivated detachment from English politics, on the other. Byron wrote The Vision of Judgment, his 1821 riposte to Robert Southey’s Tory celebration of the reign of George III, from what he described as a ‘Whig point of view’. Rather than aligning with the ‘devil’s party’ of a Satanic opposition or cultivating a checked-out, bemused, indifferent stance, that poem—in common with Byron’s late satirical poetry more widely—established a stance at once of crisp detachment and incipient political critique (one that, in consigning the political world left undone by George III to oblivion, looked back to preceding decades of oppositional dynamism). Byron thereby provides a test-case for this book’s wider arguments about the relationships between literature and politics—and more specifically between partisanship and disaffection—bringing into focus the contours of a combative, snarling ‘cynicism’ and ways of seeing beyond politics altogether.
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Stark, Robert. „Love (In the Shade)“. In Ernest Dowson, 54–77. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192884763.003.0003.
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Abstract Chapter 2 explores Dowson’s first encounter with Adelaide Foltinowicz, and considers how this relationship, too, came to manifest itself in his writing: initially, she was simply a specimen ‘child’, whose naïve sociability chastened his cynicism, but Dowson came rapidly to entertain the complementary notions that he might eventually marry her, and that he might hitch his literary star to her young person. This prospect first dawned on Dowson in Brittany, giving rise to ‘Ploumariel’, the liminal zone of his heart’s desire. His resulting conception of ‘Amor Umbratilis’ signals the intention of writing sacerdotal, ‘aesthetic’ poetry; but it also obliges him to discard his prior writings as being ‘unmeet’ for his adolescent muse. Dowson’s fictional studies place great emphasis upon the marriage of convenience—notably, to his own literary prospects—which he expects will result from these relations, however this may be a ‘masquerade’ necessitated by Foltinowicz young age.
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Raveendran, PP. „Ayyappa Paniker“. In Under the Bhasha Gaze, 273—C19.N4. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192871558.003.0020.
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Abstract An architect of poetic modernism in Malayalam, Ayyappa Paniker nevertheless cannot be treated as a strict adherent to the tenets of modernism in his poetic practice. He is a kind of maverick in his practice of writing. His deep respect for the tradition of romantic writing in his language illustrates that his modernism contains within it a number of contradictory elements. Paniker’s modernism also represents a kind of literary cynicism that even as it upholds certain characteristics of modernism, chooses to unearth the paradoxes in the modern mind which are left undocumented by dominant versions of writing. One might say that he is a modernist, a postmodernist, a romanticist, and an anti-romanticist, all at the same time. His prose works would furthermore reveal him to be the formulator of a unique theory of reading that brings together the principles of Indian and western aesthetics in a creative way.
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Jillions, John A. „Other Roman Writers“. In Divine Guidance, 64–76. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190055738.003.0005.
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Other Roman writers add breadth to the range of attitudes toward divine guidance. Propertius became more pious toward the end of his life, but his early poems are cynical and depict Jupiter as self-centered, spiteful, and deaf to prayer. Even so he mentions numerous forms of divination: astrology, dreams, omens, necromancy, casting lots, throwing dice, offering incense at household shrines. Ovid prefers “simple truth” and rails against popular religion and morality in The Art of Love and Metamorphoses. Livy detested the immorality and cynicism of the new generation represented by Ovid and the Epicurean Petronius, who in Satyricon was biting in his mockery of merchant-class pieties. But in his History of Rome Livy believes more in the tradition of Rome than in poetic stories of divine guidance. Lucan too largely dismisses divine interventions in history yet has a warm attitude toward Delphi’s holiness and accessibility.
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Petrović, Tanja. „Život(i) nepriznatog revolucionarnog pesnika i moralna ekonomija postrevolucionarnog vremena“. In Književnost i revolucije: zbornik radova, 371–83. Filozofski fakultet Sveučilišta u Zagrebu, Odsjek za kroatistiku, Odsjek za komparativnu književnost, FF press, 2024. http://dx.doi.org/10.17234/9789533790909.24.
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This essay sheds light on the moral economy that is characteristic of the postrevolutionary time, in which uncompromising devotion to revolutionary ideals is at the same time a subject of fascination and mockery in the society’s imagination; although those who insist on these ideals attract public interest, they are situated in the realm of the marginal, the liminal, and the irrational. Specifically, the essay explores the actual, literary and cinematographic biography of Radoš Terzić (19311985), a Belgrade bohemian, homeless, a staunch advocate of “real” socialism, social justice and equality, an “orthodox Marxist” and unrecognised revolutionary poet. Analysing literary and film narratives on Terzić, fragments of his poems, interviews, and memories of him, the essay focuses on the link between the revolutionary on the one hand and the marginal and irrational on the other, revealed through a mixture of fascination and mockery, adoration and cynicism, and discusses the social significance and functions of this link.
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Jażdżewska, Katarzyna. „Other Schools and Authors“. In Greek Dialogue in Antiquity, 193–240. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192893352.003.0007.
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Abstract The chapter examines the use of the dialogue in a variety of intellectual environments other than the Academy and Peripatos. It discusses the dialogue in the Minor Socratic schools of the Megarians and Cyrenaics, in particular its use by Stilpo of Megara and Hegesias of Cyrene. Next sections are dedicated to the three major Hellenistic traditions—the Cynics, Stoics, and Epicureans—and trace their employment of dialogue (for instance, representation of mentors and colleagues in conversation, parodic dialogues, and incorporation of dialogized passages into paraenetic discourse). The dialogue format was also used by Timon of Phlius who had his teacher Pyrrho explain his skeptical philosophy and refute dogmatic philosophers and by the renowned Hellenistic scholar, poet, and polymath Eratosthenes of Cyrene. The last two sections are devoted to early imperial period dialogues by Philo of Alexandria and the Tablet of Cebes.