Auswahl der wissenschaftlichen Literatur zum Thema „Malian poetry“
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Zeitschriftenartikel zum Thema "Malian poetry"
Gargallo Celentani, Francesca Gargallo. „Mahmud Darwish en el espejo de las lenguas que resisten“. Interpretatio. Revista de hermenéutica 2, Nr. 2 (11.09.2017): 19. http://dx.doi.org/10.19130/irh.2.2.2017.48.
Der volle Inhalt der QuelleŠkrgić, Mersiha. „Heimatlosigkeit in den Erzählungen von Ingeborg Bachmann / Loss of Homeland in Ingeborg Bachmann’s Short Stories“. Journal of the Faculty of Philosophy in Sarajevo / Radovi Filozofskog fakulteta u Sarajevu, ISSN 2303-6990 on-line, Nr. 25 (23.12.2022): 155–70. http://dx.doi.org/10.46352/23036990.2022.155.
Der volle Inhalt der QuelleNatarajan, Kanchana. „Virgin Creatrix / Bountiful Womb“. Asian Medicine 17, Nr. 1 (14.03.2022): 37–59. http://dx.doi.org/10.1163/15734218-12341506.
Der volle Inhalt der QuelleIBRAHIM, ROSNANI, MUAMMAR GHADDAFI HANAFIAH und SHAIFU BAHRI MD RADZI. „SYAIR DIRAJA MELAYU PERAK-JOHOR ERA KONTEMPORARI: SATU PERBANDINGAN KEPENGARANGAN (Royal Syair in the Contemporary Era of Perak-Johor: Comparison of Authorship)“. MALIM: JURNAL PENGAJIAN UMUM ASIA TENGGARA (SEA JOURNAL OF GENERAL STUDIES) 22, Nr. 1 (20.11.2021): 290–307. http://dx.doi.org/10.17576/malim-2021-2201-22.
Der volle Inhalt der QuelleAHMAD, AZLAN, AMIRUL MUKMININ MOHAMAD und NOORHAZILA MOHD HAMID. „KAJIAN PERSEPSI PELAJAR TERHADAP PENGAJARAN DAN PEMBELAJARAN (PdP) ATAS TALIAN BAGI KURSUS PENULISAN PANTUN KREATIF (Student Perception Study on Online Teaching and Learning for Creative Poem Writing Course)“. MALIM: JURNAL PENGAJIAN UMUM ASIA TENGGARA (SEA JOURNAL OF GENERAL STUDIES) 22, Nr. 1 (20.11.2021): 278–89. http://dx.doi.org/10.17576/malim-2021-2201-21.
Der volle Inhalt der QuelleSuyitno und Dipa Nugraha. „Asmaradana in an Indonesian Modern Poetry and a Malayan Pop Song: mimetic representations of rooted culture or production of new interpretations?“ Journal of Language and Literature 5, Nr. 2 (30.05.2014): 17–26. http://dx.doi.org/10.7813/jll.2014/5-2/3.
Der volle Inhalt der QuelleWalczak-Delanois, Dorota. „Poems by Polish Female Poets and the Burning Issue of Religion“. Religions 12, Nr. 8 (09.08.2021): 618. http://dx.doi.org/10.3390/rel12080618.
Der volle Inhalt der QuelleMaiga, Mohamadou Aboubacar. „Social Issues in the Poems of Twentieth-Century West African Writers“. TSBS Bildiriler Dergisi, Nr. 2 (14.08.2022). http://dx.doi.org/10.55709/tsbsbildirilerdergisi.2.103.
Der volle Inhalt der QuelleADİLOĞLU, Adilhan. „LITERARY ACTIVITIES OF KARACHAY-BALKAR TURKS IN THE PERIOD OF DEPORTATION“. Selçuk Üniversitesi Türkiyat Araştırmaları Dergisi, 17.08.2022, 21–45. http://dx.doi.org/10.21563/sutad.1163207.
Der volle Inhalt der QuelleDissertationen zum Thema "Malian poetry"
Roberti, Glauco Micsik. „A batalha de Maldon: tradução e aliteração“. Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-08082007-144147/.
Der volle Inhalt der QuelleThis work consists in a verse translation from the Anglo-saxon of The Battle of Maldon, old English poem written between the 10th and 11th centuries about the battle between Danes and Saxons. The main goal is the study of different translation theories which are related to the old Germanic poetic tradition as a mean to provide a Portuguese language annotated version where the poem\'s traits are reconstructed. This procedure leads to the final argument, on the possibility of achieving alliteration in Portuguese.
Timmerer-Maier, Verena. „Wohnen 'in Goyas letztem Raum' : Eine intermediale Poetik des Entsetzens : Die Zitierung von Goyas Pinturas Negras in Ingeborg Bachmanns Roman Malina“. Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/4117.
Der volle Inhalt der QuelleGosselin-G, Geneviève. „La poésie cinématographique Terrence Malick et la sensation“. Thèse, 2015. http://hdl.handle.net/1866/12500.
Der volle Inhalt der QuelleQu’est-ce que la poésie cinématographique? Telle est la question primordiale de ce mémoire de maitrise, qui tentera d’y répondre en analysant les oeuvres du cinéaste américain Terrence Malick. Inscrivant par divers moyens cette question dans les réalités de son cinéma, nous déboucherons forcément sur la réponse suivante : il y a poésie cinématographique chaque fois que les formes de la représentation sont ouvertes par une modalité de l’expression ; il y a poésie cinématographique chaque fois que le sensible n’est plus manifestation de l’intelligible, mais la matière et le mode de sa production dans le temps ou plutôt dans le devenir. Décrire cette poésie, ce ne sera possible qu’en décrivant l’expérience que nous avons du régime de sensations des images et des figures propres au cinéma de Malick. Il s’agit de faire venir le monde en présence en rendant justice aux noyaux de sens enfouis dans le visible, justice rendue par le partage d’une description du sensible. Nous verrons alors que, chez Malick, cette poésie se manifeste par une phénoménologie de la lumière et de la gravitation. Nous verrons également l’importance du sonore dans l’apparaitre de ce monde sensible qui, à travers les voix ouvertes, la matérialisation des bruits et la musique, forme une partition musicale totale faite de métamorphoses et de devenirs. Encore, cette poésie s’approche de la sensibilité des premiers romantiques allemands qui, par leur résistance au langage et à la raison absolue, déhiérarchisent le monde pour le redéfinir. Seront ainsi définis les éléments constitutifs du cinéma de poésie de Malick, soit la manifestation de la lumière et du mouvement, l’invisible habitant le visible (comme un ailleurs qui l’excède), la réinvention du langage, le système chaotique liant l’homme et la nature, ainsi que le monde duel (de l’ombre à la lumière et de la lumière à l’ombre). Ce mémoire propose donc une approche d’inspiration phénoménologique du cinéma de Malick, qui le présente comme « toujours en train de se faire », dans une immédiateté cherchant à penser dans, à travers, mais aussi au-delà du cinéma.
What is cinematic poetry? This is the fundamental question that this master’s thesis will attempt to answer by analyzing the works of American film-director Terrence Malick. By positing this question in different ways within the realities of his films, one will inevitably reach the following conclusions: cinematic poetry occurs where the forms of representation are opened by a modality of expression; cinematic poetry occurs when the sentient is no longer a sign of the intelligible, but of the matter and of the mode of its production over time, that is, in its evolution. Describing this poetry will only be possible by describing one’s experience of the sensation-cluster of images and of figures proper to Malick’s films. This involves making the world come into existence by doing justice to the core of meanings buried in the visible, a justice rendered by the sharing of a description of the sentient. It will be argued that, in Malick, this poetry manifests itself through a phenomenology of light and gravitation. Also shown, the importance of sound in the emergence of the sentient world, which, through open voices, through materialization of noises, and through music, develops into a total musical score consisting of metamorphoses and destinies. Furthermore, this poetry resembles the sensibility of early German romantics who, through their resistance to language and to absolute reason, destroy the hierarchy of the world in order to redefine it. The constituents of Malick’s cinema of poetry, namely the expression of light and movement, the invisible inhabiting the visible (like an elsewhere that exceeds it), the reinvention of language, the chaotic system linking mankind and nature, as well as the dual world (from darkness to light and from light to darkness) will thus be defined. This master’s thesis therefore suggests an approach of Malick’s cinema inspired by phenomenology, which presents it as being “always underway”, in an immediacy seeking to think within, through, but also beyond cinema.
Leclerc, Philippe. „Le traitement de l’espace dans Badlands et Days of Heaven, de Terrence Malick“. Thèse, 2011. http://hdl.handle.net/1866/5338.
Der volle Inhalt der QuelleThis Master’s thesis studies the treatment of space in Terrence Malick’s films Badlands (1973) and Days of Heaven (1978). First I apply myself to show how the treatment of space in these films distinguishes itself from classical cinematographic conventions, developing on the multitude of strategies used by Malick to make space (both visual and sound) sensitive and reflexive in the two films. Space here is created to be literally «inhabited» by the characters as well as the spectators. I then observe and comment on the implications (esthetical, narrative, iconological, philosophical, poetical, etc.) of this peculiar treatment of film space by showing how the filmmaker creates different types of sensations and constructs his discourse with and through space of his films. The thesis pays special attention to the concept of «film landscape» and structures itself in three chapters, which respectively study space in Malick’s work in terms of «sensation» (space sensitivity, «mise en vue» of the landscape in both films studied), of «relationship» (relationships between the different spaces and relationships between characters and space), and of «memory» («iconological» density of the landscape). In the project I also touch other important questions, coming back several times on the «poetical» dimension of Malick’s cinema and on the «space reflexivity» of his films (reflexivity and «attractional» aspect of the landscape, reflexivity of the voice-over, reflexivity of the organization and space structure of the story, iconological reflexivity). Finally, throughout the thesis I try to show that through filmmaking, and therefore through space and landscape, Malick creates a true space of thoughts that goes «beyond» his films.
Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.
Bücher zum Thema "Malian poetry"
Mohamed, Diarra. Terre d'espérance. Bamako, Mali: La Sahelienne, 2018.
Den vollen Inhalt der Quelle findenTraoré, Marcellin Issiaka. Raie d'espoir comme saveur de liberté: Suivi de Clair-obscur de notre conscience : recueil de poèmes. Bamako, Mali: Figuira Editions, 2020.
Den vollen Inhalt der Quelle finden'K, Aziz Siten, und Oumar Sissoko. Anthologie Malienne de slam poésie. Bamako, Mali: La Sahélienne, 2013.
Den vollen Inhalt der Quelle findenDia, Mamadou. Coup de foudre. Bamako: Jamana, 2009.
Den vollen Inhalt der Quelle findenBa, Safiatou. Voix intérieure: Recueil de poèmes. Bamako, Mali: Figuira Editions, 2020.
Den vollen Inhalt der Quelle findenTraoré, Ismaïla Samba. Anthologie de la poésie Malienne. Bamako, Mali: La Sahélienne, 2013.
Den vollen Inhalt der Quelle findenKone, Bourama. Amour et espoir: Poésie. Bamako, Mali: Prostyle Editions, 2020.
Den vollen Inhalt der Quelle findenSiten'K, Aziz. Dungaré (Miroir): Slam. Bamako (Mali): La Sahélienne, 2021.
Den vollen Inhalt der Quelle findenKone, Abdoul Aziz, Aichata Diarra, Aminata Bamby Konate und Marie Thérèse Landry Landry. Anthologie des slameuses du Mali et d'ailleurs. Bamako, Mali: La Sahelienne, 2022.
Den vollen Inhalt der Quelle findenTraore, Idrissa Eddie. Lueur des abysses: La recollection de l'autre enfant : (poésie). Bamako, Mali: Prostyle Editions, 2019.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Malian poetry"
Jorgensen, Alice. „Power, Poetry, and Violence: The Battle of Maldon“. In International Medieval Research, 235–49. Turnhout: Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.imr-eb.3.3426.
Der volle Inhalt der QuelleNazombe, Anthony J. M. „Malawian Poetry of the Transition:“. In Church, Law and Political Transition in Malawi 1992-1994, 147–65. Luviri Press, 2020. http://dx.doi.org/10.2307/j.ctv17vf5ch.15.
Der volle Inhalt der QuelleBollig, Ben. „Eyes Already Open: Gustavo Fontán’s El limonero real and La deuda“. In Moving Verses, 155–82. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859784.003.0006.
Der volle Inhalt der QuelleBraginsky, Vladimir. „Poetry of the Classical Period“. In The Heritage of Traditional Malay Literature, 491–598. BRILL, 2005. http://dx.doi.org/10.1163/9789004489875_013.
Der volle Inhalt der QuelleSacks, Susanna. „7 Networked Poetics: WhatsApp Poetry Groups and Malawian Aesthetic Networks“. In Rethinking Language Use in Digital Africa, 137–54. Multilingual Matters, 2021. http://dx.doi.org/10.21832/9781800412316-009.
Der volle Inhalt der QuelleViroli, Maurizio. „A Religion to Live Free“. In As If God Existed, übersetzt von Alberto Nones. Princeton University Press, 2012. http://dx.doi.org/10.23943/princeton/9780691142357.003.0008.
Der volle Inhalt der QuelleWickham-Crowley, Kelley M. „Fens and Frontiers“. In Water and the Environment in the Anglo-Saxon World. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940285.003.0004.
Der volle Inhalt der Quelle„10. Poetic Forms: Pantun and Syair“. In A History of Classical Malay Literature, 442–90. ISEAS Publishing, 2013. http://dx.doi.org/10.1355/9789814459891-012.
Der volle Inhalt der QuelleFludernik, Monika. „The Cancer of Punitivity“. In Metaphors of Confinement, 344–98. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198840909.003.0006.
Der volle Inhalt der QuelleCruz, Gabriela. „Opera and Beauty“. In Grand Illusion, 14–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915056.003.0002.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Malian poetry"
MEHMETALI, Bekir. „The Woman in Diwan (The Brunette Said to Me) by Nizar Qabbani“. In I.International Congress ofWoman's Studies. Rimar Academy, 2023. http://dx.doi.org/10.47832/lady.con1-1.
Der volle Inhalt der QuelleAhmed SHAKIR, Mahmood. „THE ROLE OF DR. SAMY MAKY AL_A'ANY IN TERMS OF THE ISLAMIC POETRY“. In I V . I N T E R N A T I O N A L C O N G R E S S O F L A N G U A G E A N D L I T E R A T U R E. Rimar Academy, 2022. http://dx.doi.org/10.47832/lan.con4-15.
Der volle Inhalt der QuelleUlya, C., und N. Wardani. „The Islamic Symbols in Indonesian Anti-Corruption Poetry“. In First International Conference on Advances in Education, Humanities, and Language, ICEL 2019, Malang, Indonesia, 23-24 March 2019. EAI, 2019. http://dx.doi.org/10.4108/eai.23-3-2019.2284911.
Der volle Inhalt der QuelleYanda, D., D. Ramadhanti, P. Afrinda, I. Bahardur und M. Ihsan. „The Potential of Circ’s Model in Poetry Learning at Higher Education“. In First International Conference on Advances in Education, Humanities, and Language, ICEL 2019, Malang, Indonesia, 23-24 March 2019. EAI, 2019. http://dx.doi.org/10.4108/eai.23-3-2019.2284977.
Der volle Inhalt der QuelleRamadini, Febyasti, und Exti Budihastuti. „Teaching Materials Reinforcement of BIPA Advanced Level Through Chairil Anwar's Poetry“. In Proceedings of the 2nd International Conference on Language, Literature, Education, and Culture, ICOLLEC 2022, 11–12 November 2022, Malang, Indonesia. EAI, 2023. http://dx.doi.org/10.4108/eai.11-11-2022.2329799.
Der volle Inhalt der QuelleFirdaus, Elvin, Alfanul Ulum Syahit und Sony Sukmawan. „Poetry Writing Method Innovation Using “Atafora” Technique in Indonesian Language Learning“. In Proceedings of the 2nd International Conference on Advances in Humanities, Education and Language, ICEL 2022, 07–08 November 2022, Malang, Indonesia. EAI, 2023. http://dx.doi.org/10.4108/eai.7-11-2022.2329268.
Der volle Inhalt der QuelleFuad, Khairul, und Irmayani Irmayani. „Malay Poetry as Media of Zodiac Explaination and Its Relation in Manuscript ’Abi@ Ma‘syari al-Falakiyyi al-Kabi@r“. In 9th Asbam International Conference (Archeology, History, & Culture In The Nature of Malay) (ASBAM 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220408.071.
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