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Zeitschriftenartikel zum Thema „Poems by J“

Autor: Grafiati

Veröffentlicht am 28. Juni 2021

Zuletzt aktualisiert am 1. Februar 2022

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1

Novita, Cindi, Pramudana Ihsan und Ari Setyorini. „HOPELESSNESS IN J. C. DAWN'S SELECTED POEMS“. Language Literacy: Journal of Linguistics, Literature, and Language Teaching 5, Nr. 1 (27.06.2021): 213–20. http://dx.doi.org/10.30743/ll.v5i1.3834.

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This research examines the hopelessness described in the poems by J. C. Dawn entitled Living in A Pride World, Womb, and A Soundless Tear in her book The Ripple of Existence. This research is a descriptive qualitative study that aims to describe the words used to express hopelessness. The method used to analyze the poems is the analysis of intrinsic elements in poetry with a psychological approach to find out about hopelessness experienced by the characters in each poem. Hopelessness is a condition experienced by anyone where where there is no more hope. This would also be contextualized in real life concerning the stages of someone experiencing hopelessness based on Abramson's theory. The results of the research show that the "I" character in the first poem experiences a failure in himself; in the second poem, "I" faces struggles under challenging conditions and in the third, "she" finds herself unable to accept the reality of life.

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2

Markova, E. A. „THE TRADITION OF ENGLISH-LANGUAGE ELEGY AND J. BRODSKY’s POETRY“. Bulletin of Udmurt University. Series History and Philology 29, Nr. 6 (25.12.2019): 1030–36. http://dx.doi.org/10.35634/2412-9534-2019-29-6-1030-1036.

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In the present article J. Brodsky’s poetry is analyzed in the context of a particular elegiac tradition associated with some key figures of English-language poetry of the mid-to-late 20th century. These are W.B. Yeats, T.S. Eliot, W.H. Auden and S. Heaney. The aim of the article is to examine the continuity of the 20th century English poetry by the example of a sequence of dedication poems (elegies), in which each subsequent poem alludes to the previous one(s). The comparative method allows us not only to show the features of modern English-language poetry (for instance, the link between elegiac mood and reflection on the purpose of poetry), but also to analyze the influence of poets’ interpersonal contacts on their works. Special emphasis is put on J. Brodsky’s poetry as it may seem extraneous to the English-language tradition in question. The analysis of Brodsky’s personal and creative biography, his particular dedication poems and essays allows us to find the links between the Russian poet and the literary tradition of Great Britain, Ireland and the USA.

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3

Brammall, Sheldon. „Rewriting the Virgilian Career: The Scaligers and the Appendix Vergiliana“. Renaissance Quarterly 74, Nr. 3 (2021): 763–801. http://dx.doi.org/10.1017/rqx.2021.100.

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Renaissance scholars agreed that Virgil's canon included poems beyond the “Eclogues,” “Georgics,” and “Aeneid,” but the number of other authentic poems and their value were matters of debate. This article charts competing readings of the “Appendix Vergiliana” by Julius Caesar Scaliger and Joseph Justus Scaliger. Pseudo-Virgilian poems played a key role in J. C. Scaliger's “Poetices Libri Septem” (1561), providing a model of self-quotation and self-emulation for young poets to imitate. In a groundbreaking edition, J. J. Scaliger then discovers a neoteric, Catullan side to Virgil. Their influential readings of the “Appendix” offer radically revised conceptions of the Virgilian poetic career.

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4

Berkovitz, Abraham Jacob. „‘May You Redeem the Nation That Completes the Book of Psalms’: An Aramaic Poem and Its Linguistic, Literary and Historical Contexts“. Aramaic Studies 17, Nr. 2 (09.12.2019): 145–73. http://dx.doi.org/10.1163/17455227-01702005.

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Abstract This article examines in detail an Aramaic poem from M. Sokoloff’s and J. Yahalom’s magisterial Jewish Palestinian Aramaic Poetry from Late Antiquity (SYAP) (Jerusalem: Israel Academy of Sciences and Humanities, 1999). It begins by offering a translation of the entire poem along with an overview of some of the poem’s key linguistic features. It then moves to an analysis of the poem’s literary artistry. The study continues by examining the poem’s central motifs; namely, the portrait of David as the learned composer of the Psalter, the role of prophecy and kingship, and their relationship to eschatology. The study then attempts to place the poem’s genesis and the practice of communal psalm recitation into an historical context. It concludes by showing how a careful analysis of a single piece of poetry can contribute to several debates about the nature and constitution of the poems collected in SYAP.

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Venit, J. S. „J. S. Venit: Four Poems“. Literary Imagination 4, Nr. 2 (01.01.2002): 233–36. http://dx.doi.org/10.1093/litimag/4.2.233.

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6

Rosser, J. A. „J. Allyn Rosser: Two Poems“. Literary Imagination 6, Nr. 3 (01.01.2004): 472–74. http://dx.doi.org/10.1093/litimag/6.3.472.

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7

Dong, Tian, und Xiaolin Lin. „Attitude in Appraisal Theory: A Comparative Analysis of English Versions of Changgan Xing“. International Journal of Comparative Literature and Translation Studies 6, Nr. 1 (31.01.2018): 42. http://dx.doi.org/10.7575/aiac.ijclts.v.6n.1p.42.

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This study intends to explore the distribution of appraisal resources in the English versions of Li Bai’s poem Changgan Xing. It aims to make a comparative analysis and find out the similarities and differences of the translated poems based on J. R. Martin’s Appraisal Theory. Two classical English versions of the Chinese poem, which were translated by Ezra Pound and Xu Yuanchong, have been chosen. The distribution of attitudinal resources in the two English versions has been analyzed under the attitude system from three aspects: affect, judgment and appreciation. The distribution of polarity and explicitness in the poems has been explored as well. The study has adopted quantitative and qualitative methods to conduct a comparative analysis of the attitudinal resources in the translated poems. Further, the reasons for the differences of attitudinal resources in the translated versions have been explored. Through revealing the similarities and differences of the attitudinal resources, this study shows the applicability of the Appraisal Theory in the comparative studies of Chinese-English poems.

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8

Malkina, Victoria. „Landscape, Still Life, and Portrait as Titles of Poems“. Slavic World in the Third Millennium 14, Nr. 1-2 (2019): 186–205. http://dx.doi.org/10.31168/2412-6446.2019.14.1-2.12.

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This paper is devoted to the problem of visual aspect in literature. We study one of the aspects of the visual in a lyrical poem: the representation of painting genres in the titles of the poems, as well as the interaction between the visual and the verbal in lyrical texts. The goal of the paper is to analyze the semantics of such a title and its influence on both the unfolding of the lyrical plot and the figurative system of the poem, also on the strategy of the perception of such text by a reader. To do this, we solve several problems. First of all, we define the concept of the visual in literature; the concepts of the visuality and the visualization are delimited. Secondly, we consider the main ways of representing of the visual in a lyrical text (taking into account the specifics of the lyric as a kind of literature): lyrical plot, image, compositional forms (a description, a dream, an ekphrasis), and allusions to the genres of painting. Thirdly, the importance of analyzing the title for a lyrical poem is justified. Finally, the most representative texts are analyzed from the specified point of view: we examine how the allusion to the painting is manifested in the title.The material of the paper is the number of poems by the Russian and the Polish poets of the nineteenth – twentieth centuries. Their titles coincide with the main genres of paintings, for example, “Landscape”, “Portrait” and “Still Life (nature morte)”. But at the same time, they are not considered to be ekphrasises. That means there is no any description of a real or imaginary picture there, but there is a recreation of the visual imaginative system by the verbal means; and the poems appeal to the reader's viewing experience. In particular, we analyze the poems of A. Maikov, I. Selvinsky, Y. Levitansky, B. Akhmadulina, L. Martynov, J. Przyboś, A. Pushkin, V. Khodasevich, D. Kedrin, Y. Hartwig, I. Brodsky, A. Svershchinskoy.

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Feng, Wang, und Huang Hongxia. „An Application of the "Harmony-Guided Criteria" to the English translation of Song ci: A Case Study of "Immortals at the Magpie Bridge" by Qin Guan“. International Linguistics Research 3, Nr. 3 (01.09.2020): p22. http://dx.doi.org/10.30560/ilr.v3n3p22.

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Ezra Pound's Cathay set the stage for a translation of free verse and influenced many translators such as Arthur Waley and Kenneth Rexroth. However, before Pound, rhymed Chinese poems were mainly translated into rhymed English poems by Herbert Giles, W. J. B. Fletcher, etc. Is it necessary to challenge the dominant translation poetics of free verse and insist that rhymed Chinese poems are best translated into rhymed English poems? Six English versions of a Song ci poem "Immortals at the Magpie Bridge" on the Chinese Valentine's Day were analyzed in details based on the newly proposed "Harmony-Guided Criteria" for poetry translation, which takes "Harmony" as the translation standard at the macro level, "resemblance in style, sense and poetic realm" at the middle level, and the "eight beauties of poetry translation" at the micro level. It shows that the criteria can be applied to the translation of rhymed Chinese ci poems into rhymed English poems, though with limitations.

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10

Craig, Sienna. „Poems“. Anthropology and Humanism 35, Nr. 2 (21.11.2010): 240–47. http://dx.doi.org/10.1111/j.1548-1409.2010.01071.x.

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11

ROSALDO, RENATO. „Poems“. Anthropology and Humanism 36, Nr. 1 (Juni 2011): 130–33. http://dx.doi.org/10.1111/j.1548-1409.2011.01085.x.

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12

Draesner, Ulrike. „POEMS“. German Life and Letters 60, Nr. 3 (Juli 2007): 294–97. http://dx.doi.org/10.1111/j.1468-0483.2007.00388.x.

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13

Krüger, Michael. „POEMS“. German Life and Letters 60, Nr. 3 (Juli 2007): 465–66. http://dx.doi.org/10.1111/j.1468-0483.2007.00399.x.

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14

Rathmann, Andrew, J. V. Cunningham und Timothy Steele. „The Poems of J. V. Cunningham“. Chicago Review 43, Nr. 3 (1997): 107. http://dx.doi.org/10.2307/25304194.

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15

White, Gertrude M. „Collected Poems, by P. J. Kavanagh“. Chesterton Review 23, Nr. 3 (1997): 349–51. http://dx.doi.org/10.5840/chesterton199723354.

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16

Rothman, David J. „Two Poems by David J. Rothman“. Academic Questions 26, Nr. 3 (24.07.2013): 350–51. http://dx.doi.org/10.1007/s12129-013-9374-3.

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17

Cauble, Kathryn C. „Poems“. Perspectives in Psychiatric Care 31, Nr. 3 (16.01.2009): 36. http://dx.doi.org/10.1111/j.1744-6163.1995.tb00477.x.

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18

Levenson, Christopher. „Poems“. Critical Quarterly 4, Nr. 1 (28.09.2007): 32–33. http://dx.doi.org/10.1111/j.1467-8705.1962.tb02191.x.

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19

Redgrove, Peter. „Poems“. Critical Quarterly 4, Nr. 1 (28.09.2007): 55–57. http://dx.doi.org/10.1111/j.1467-8705.1962.tb02196.x.

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20

GROVES, PAUL. „Poems.“ Critical Quarterly 27, Nr. 2 (Juni 1985): 49–50. http://dx.doi.org/10.1111/j.1467-8705.1985.tb00778.x.

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21

CRAIG, DAVID. „Poems.“ Critical Quarterly 27, Nr. 3 (September 1985): 15–16. http://dx.doi.org/10.1111/j.1467-8705.1985.tb00791.x.

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22

CURTIS, SIMON. „Poems.“ Critical Quarterly 27, Nr. 3 (September 1985): 63–64. http://dx.doi.org/10.1111/j.1467-8705.1985.tb00799.x.

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23

MOLE, IOHN. „Poems“. Critical Quarterly 29, Nr. 3 (September 1987): 35–36. http://dx.doi.org/10.1111/j.1467-8705.1987.tb00088.x.

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24

GUNN, THOM. „Poems“. Critical Quarterly 29, Nr. 4 (Dezember 1987): 26–27. http://dx.doi.org/10.1111/j.1467-8705.1987.tb00260.x.

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25

HOLLOWAY, JOHN. „Poems“. Critical Quarterly 29, Nr. 4 (Dezember 1987): 63–65. http://dx.doi.org/10.1111/j.1467-8705.1987.tb00265.x.

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26

LOGAN, WILLIAM. „Poems“. Critical Quarterly 30, Nr. 1 (März 1988): 19–20. http://dx.doi.org/10.1111/j.1467-8705.1988.tb00274.x.

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27

FAINLIGHT, RUTH. „Poems“. Critical Quarterly 30, Nr. 1 (März 1988): 21. http://dx.doi.org/10.1111/j.1467-8705.1988.tb00275.x.

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28

BELL, SHIRLEY. „Poems“. Critical Quarterly 30, Nr. 2 (Juni 1988): 102–5. http://dx.doi.org/10.1111/j.1467-8705.1988.tb00307.x.

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29

GAHAGAN, JUDY. „Poems“. Critical Quarterly 30, Nr. 4 (Dezember 1988): 69–70. http://dx.doi.org/10.1111/j.1467-8705.1988.tb00344.x.

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30

RAWORTH, TOM. „Poems“. Critical Quarterly 32, Nr. 4 (Dezember 1990): 17–19. http://dx.doi.org/10.1111/j.1467-8705.1990.tb00622.x.

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31

Baker, Andy. „Poems“. English in Education 27, Nr. 1 (März 1993): 30–31. http://dx.doi.org/10.1111/j.1754-8845.1993.tb01087.x.

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32

Baker, Andy. „Poems“. English in Education 27, Nr. 1 (März 1993): 44–45. http://dx.doi.org/10.1111/j.1754-8845.1993.tb01090.x.

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33

Kennedy, Victor. „Musical Metaphors in the Poetry of Wallace Stevens“. ELOPE: English Language Overseas Perspectives and Enquiries 13, Nr. 1 (20.06.2016): 41–58. http://dx.doi.org/10.4312/elope.13.1.41-58.

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Wallace Stevens’s “The Man with the Blue Guitar” (1937) is widely recognized as one of the most important and influential poems of the 20th century. Inspired by Picasso’s painting The Old Guitarist, the poem in turn inspired Michael Tippett’s sonata for solo guitar, “The Blue Guitar” (Tippett 1983) and David Hockney’s The Blue Guitar: Etchings by David Hockney who was inspired by Wallace Stevens who was inspired by Pablo Picasso (Hockney and Stevens 1977). Central to “The Man with the Blue Guitar,” the metaphor of the musical instrument as a transformational symbol of the imagination is common in Stevens’s poems. The structure of “The Man with the Blue Guitar,” according to J. Hillis Miller, is the structure of stream-of-consciousness. Stevens’s poem creates what has been called “the deconstructed moment in modern poetry,” “an attempt to project a spatialized time that can be viewed from the privileged position of a timeless, static moment capable of encompassing a life at a glance” (Jackson 1982). This consciousness, which Derrida refers to as the “trace,” Stevens calls “the evasive movement of language.” The trace is the perception of the absence of meaning after the word or perception has passed, the glimpse of a hidden meaning that immediately vanishes. Stevens’s poem influenced not only other poets, artists and composers; references to and echoes of his ideas and techniques can be seen in popular music and culture well into the 21st century.

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Aprilliani Wijono, Yunanda. „Decline in Nature: an Intertextual Study“. Udayana Journal of Social Sciences and Humanities (UJoSSH) 3, Nr. 2 (30.09.2019): 70. http://dx.doi.org/10.24843/ujossh.2019.v03.i02.p02.

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Human and nature had been living side by side and help each other since ancient times. However, the current condition of nature had pushed other humans to be aware that this ‘side by side living’ had not only been advantageous but also exploited. This is recorded by humans through literacy; starting from poems. However, these records did not only contain history but also expressions of poets and authors alike; their perspective of nature they see in their existence and or, perhaps, their hope or view of the future of nature. To find whether a work conveys life through nature or whether it conveys nature from different aspects of life, a study is needed. This writing aims to interpret the nature represented in William Blake’s The Tyger and Gordon J. L. Ramel’s Tiger, Tiger Revisited. The method used is library research and the approach used in intertextuality by focusing on the human-wildlife relationship over the years both poems were written. The results show that these poems are similar in their nature as poems. However, their idea of nature contradicts each other in the use of the figure of speech. Nature had changed drastically over the years these poems are made, and those changes are conveyed within the two poems.

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MASON, DAVID. „TWO POEMS“. Yale Review 94, Nr. 3 (Juli 2006): 129. http://dx.doi.org/10.1111/j.1467-9736.2006.00220.x.

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36

WARREN, ROBERT PENN. „TWO POEMS“. Yale Review 99, Nr. 3 (16.06.2011): 141–43. http://dx.doi.org/10.1111/j.1467-9736.2011.00728.x.

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37

Schultz, Elizabeth. „Three Poems“. Leviathan: A Journal of Melville Studies 8, Nr. 3 (Oktober 2006): 63–64. http://dx.doi.org/10.1111/j.1750-1849.2006.01153.x.

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38

Lababidi, Yahia. „Five Poems“. Leviathan: A Journal of Melville Studies 9, Nr. 1 (März 2007): 63–66. http://dx.doi.org/10.1111/j.1750-1849.2007.01178.x.

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39

CALESHU, ANTHONY. „Five Poems“. Leviathan 14, Nr. 1 (März 2012): 46–48. http://dx.doi.org/10.1111/j.1750-1849.2008.01261.x.

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40

David Lisk, Thomas. „Two Poems“. Leviathan 12, Nr. 2 (Juni 2010): 87–88. http://dx.doi.org/10.1111/j.1750-1849.2010.01350.x.

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41

Adilova, A., und B. S. Kaukerbekova. „Abay and modern Kazakh art texts“. Bulletin of the Karaganda University. Philology series 101, Nr. 4 (30.12.2020): 6–12. http://dx.doi.org/10.31489/2020ph4/6-12.

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The article considers the place of Abay's poems in modern Kazakh artistic texts. Each author conveys his worldview and worldview in different situations through an artistic text. His lexicon includes, along with various means of the national language, fragments of various texts known to varying degrees in a certain linguistic and cultural community, as well as the word use of poets and writers who lived and worked before him. Such fragments may be used without change or А.С. Əділова, Б.С. Каукербекова 12 Вестник Карагандинского университета with a transformation. In the Kazakh linguistic and cultural community, Abay's poems can be called strong literary texts with a high frequency of use. Quotation at the level of structure, word, phrase, sentence, whole text can be seen in poetic and prose texts of the last 60–70 years in the Kazakh literary process. In this regard, the texts of such writers as M. Makataev, M. Magauin, J. Abdrashev, G. Zhailybai, G. Sаlykbai, M. Raiymbek, J. Sarsek are immediately recalled. Pointing out that this trend continues by young poets engaged in creativity in the last decades of this, XXI century, the authors concludes that the legacy of Abay is a standard of verbal art for more generations of poets and writers.

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42

FAINLIGHT, RUTH. „Japanese poems“. Critical Quarterly 27, Nr. 1 (März 1985): 3–5. http://dx.doi.org/10.1111/j.1467-8705.1985.tb00753.x.

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43

KING, ALASDAIR. „Three poems“. Critical Quarterly 31, Nr. 2 (Juni 1989): 78–79. http://dx.doi.org/10.1111/j.1467-8705.1989.tb00916.x.

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44

Fewster, Brian. „Three Poems“. English in Education 29, Nr. 1 (März 1995): 50–52. http://dx.doi.org/10.1111/j.1754-8845.1995.tb01139.x.

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45

Kent, Alan. „Three Poems“. English in Education 29, Nr. 3 (September 1995): 26–28. http://dx.doi.org/10.1111/j.1754-8845.1995.tb01155.x.

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46

Ross, Anthony. „Five Poems“. New Blackfriars 70, Nr. 833 (Dezember 1989): 539–40. http://dx.doi.org/10.1111/j.1741-2005.1989.tb04697.x.

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47

Gaskell, Ronald. „Three Poems“. New Blackfriars 72, Nr. 850 (Juni 1991): 282–84. http://dx.doi.org/10.1111/j.1741-2005.1991.tb07066.x.

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48

Rakhmatova, Alisa Mukhamatovna. „Lyrical object and other lyrical characters in J. Brodsky’s cycle “Part of Speech”“. Филология: научные исследования, Nr. 4 (April 2021): 19–27. http://dx.doi.org/10.7256/2454-0749.2021.4.35303.

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The object of this research is the poetics of J. Brodsky's cycle “Part of Speech” as literary unity. The subject of this research is the subjective organization of poems included in the cycle “Part of Speech”. Special attention is given to the nature of value attitude of the lyrical object towards other characters depicted in poems of the cycle. Such attitude is viewed as an aspect of authorial artistic reflection and assessment of depicted reality. Following the footsteps of S. N. Broytman, the author interprets the lyrical object as a speech bearer, as well as the main (encompassing other) perspective on the world in the poem. The lyrical character is a supported character, being assessed by the lyrical object (lyrical characters include a “lyrical addressee” and “lyrical You”). The scientific novelty of this research consists in viewing the nature of value attitude of the lyrical objects towards other lyrical characters in the “Part of Speech” as an aspect of poetics of the cycle as literary unity (previous studies were dedicated only to separate poems of J. Brodsky’s cycle). The analysis of selected texts of the cycle indicates the specific nature of the relationship between lyrical object and other characters depicted in the poems: 1. the relationship of the lyrical object with other characters (the lyrical heroine, “You”, etc.) is built as an anti-dialogue, demonstrating total loneliness of the lyrical object; 2. The theme of loneliness in the cycle also intersects with the artistic images for yourself; 3. in the “Part of Speech”, the forms of indirect representation of the lyric object (when the lyrical subject refers to himself as another) also point at his self-centeredness, loneliness, and disruption of ties with others.

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49

Cronan, Dennis. „Poetic words, conservatism and the dating of Old English poetry“. Anglo-Saxon England 33 (Dezember 2004): 23–50. http://dx.doi.org/10.1017/s026367510400002x.

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Although the lexicon has frequently been used in discussions of the dating of Old English poetry, little attention has been paid to the evidence that poetic simplexes offer. One exception is an article by R. J. Menner, who noted that Beowulf and Genesis A share three poetic words, apart from compounds, that are not found elsewhere: freme ‘good, valiant’, gombe ‘tribute’, and secg ‘sword’. Menner used these words as part of an argument for an early date of Genesis A, an argument which hinged, in part, on lexical similarities between this poem and Beowulf, which he assumed was early. Although such an a priori assumption is no longer possible, evidence provided by the limited distribution of certain poetic simplexes is nonetheless useful for demonstrating the presence of a connection between two or more poems. Such a connection may be a matter of date or dialect, or it may indicate that the poems were the products of a single poetic school or subtradition. Unfortunately, we know little, if anything, about poetic subtraditions, and the poetic koiné makes the determination of the dialect of individual poems a complex and subtle matter that requires a much wider variety of evidence than poetic words can provide. However, the limited distribution of certain poetic simplexes can serve as an index of the poetic conservatism of the poems in which these words occur. This conservatism could be due to a number of factors: genre, content (that is, heroic legend vs biblical or hagiographical), style, or date of composition. As will emerge in the course of this discussion, the most straightforward explanation for this conservatism is that the poems which exhibit it were composed earlier than those which do not. Other explanations are, however, possible, and the evidence of poetic words is hardly sufficient by itself to determine the dating of Old English poems. But by focusing on patterns of distribution that centre upon Beowulf, we can examine what certain words may tell us about the conservatism of this poem and of those poems which are connected to it.

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DE BLOT, BARON. „FOUR LIBERTINE POEMS“. Philosophical Forum 42, Nr. 4 (03.11.2011): 444–49. http://dx.doi.org/10.1111/j.1467-9191.2011.00402.x.

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