Thematische Bibliographien / Poetics

Auswahl der wissenschaftlichen Literatur zum Thema „Poetics“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 22. Juni 2024

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Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte
  6. Berichte der Organisationen

Zeitschriftenartikel zum Thema "Poetics":

1

Keen, Catherine. „Lutto, silenzi e omissioni: la 'Vita nova' fra vissuto e poetato“. Quaderni di Gargnano, Nr. 5 (07.12.2022): 1–18. http://dx.doi.org/10.54103/quadernidigargnano-05-03.

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This essay reflects on Dante's exploration of the theme of mourning in the Vita nova. It draws on critical approaches proposed by Giorgio Agamben, on the challenges of concluding poetic works, and by Nicola Gardini, on the eloquence of the unsaid, to review how Dante's organization of a unified narrative text still leaves space for inarticulacy, silences and omissions that together underline the difficulty of voicing sorrow in poetic form. As the ending of the Vita nova projects Dante's "book of memory" forward towards future as well as past experiences, biographical and poetic, his poetics of mourning for Beatrice become closely imbricated with the eloquence of what is not (yet) uttered. Questo saggio riflette sull'esplorazione dantesca del tema del lutto nella Vita nova. Attingendo agli approcci critici proposti da un lato da Giorgio Agamben, sulle difficoltà di concludere un'opera poetica, e dall'altro da Nicola Gardini, sull'eloquenza del non detto, esso esamina come l'organizzazione dantesca di un testo narrativo unitario lasci ancora spazio all'inarticolazione, ai silenzi e alle omissioni, che insieme sottolineano la difficoltà di dare voce al dolore in forma poetica. Poiché il finale della Vita nova proietta il "libro della memoria" di Dante verso esperienze passate e future, biografiche e poetiche, la sua poetica del lutto per la morte di Beatrice si lega strettamente alla retorica del non (ancora) detto.
2

Nykyforuk, Tetyana, und Valeriyа Andriyets. „Literary reception of the poetics of S. Vorobkevych's poetic works through the prism of Osip Makovey's research“. Current issues of social sciences and history of medicine, Nr. 1 (14.08.2023): 139–41. http://dx.doi.org/10.24061/2411-6181.1.2023.392.

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Literary reception of the poetics of S. Vorobkevych's poetic works through the prism of Osip Makovey's research. Goal. In the segment of the study of the literary reception of the poetics of S. Vorobkevich's poetic works, analyze the literary and critical materials of O. Makovey (“Literary heritage according to Izidor Vorobkevich”, “Izidor Vorobkevich”, “General notes on the poetry of Izidor Vorobkevich”), published in the first few decades after the writer's death. Research methods are predetermined by the purpose and tasks of the work, the object of research and are complex. The hermeneutic method and the method of slow reading (the method of receptive poetics) were practiced, aimed to reveal S. Vorobkevych artistic means, interpret his works. Comparative and comparative historical methods are used to reveal the influence of other authors on the poetics of Bukovynian writer. Biographical method makes it possible to find out the dependence of S. Vorobkevych’s views on poetics on the life basis. Scientific novelty. The peculiarities of the development of poetics of poetry of S. Vorobkevych on the basis of certain its elements (generic, metaology, poetic syntax, phonics, versification) in the diachronic aspect were determined for the first time in Ukrainian literary studies in the given thesis. For this purpose, the scientific literature related to the study of elements of poetics of poetry works by S. Vorobkevych has been analyzed. The author’s approach on the form of poetic text is studied. The role of extraneous influences on poetry of S. Vorobkevych in the aspect of poetics is determined. Conclusions. The study of publications related to the topic of the study showed that the most valuable of them are the materials of O. Makovey, V. Lesyn and O. Romanets, P. Nykonenko, M. Bondar, P. Nykonenko. The results obtained are an important material for expressing our knowledge of the poetics of S. Vorobkevych's poetic works; they are the material for comparison with the similar material on the artistic nature of Y. Fedkovych’s poetic works. On the basis of revealing common features, taking into account the data of other Ukrainian poets of the region of this period it becomes possible to get a general picture of the poetics of domestic poetry works in Bukovyna in the second half of the nineteenth century.
3

Miller, Peter. „Prosody, Media, and the Poetry of Edgar Allan Poe“. PMLA/Publications of the Modern Language Association of America 135, Nr. 2 (März 2020): 315–28. http://dx.doi.org/10.1632/pmla.2020.135.2.315.

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Edgar Allan Poe's poetry and poetic theory maintain an awkward standing in anglophone literary criticism but offer a valuable resource to scholars of historical poetics and, more specifically, historical prosody. In poems such as “The Raven” and “The Bells” and essays such as “The Rationale of Verse,” Poe pre sents prosodic structure as a kind of palimpsest of jostling sound media (e.g., phonetic script, meter, scansion, musical form, nonhuman voices), which obey different prosodic logics when engaged by different readers, both within and across periods. In this way, Poe's poetics challenges both historicist and formalist approaches to prosody, delyricizing poetic voice by demonstrating its embeddedness in media while insisting on the multiplicity of prosodic options available when individual readers verbalize the same poetical text. Rehabilitating Poe's prosodic project helps us see poems as products of both media history and real- time performance. (PM)
4

Kulnieks, Andrejs, und Kelly Young. „Ekphrastic Poetics: Fostering a Curriculum of Ecological Awareness Through Poetic Inquiry“. in education 20, Nr. 2 (14.11.2014): 78–89. http://dx.doi.org/10.37119/ojs2014.v20i2.199.

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In this article we outline the role of ekphrastic poetics in an ecological practice of poetic inquiry. Ekphrastic poetics, as a rhetorical device, involves one medium of art relating to another medium by unfolding its form and essence. Ultimately, our work involves a poetic response to an aesthetic form and it is through our ongoing collaborations that we are able to outline the importance of the poetic benefits of dwelling in natural places. We offer specific examples of how we engage in interpretive response activities that help to foster ecological habits of mind in teacher education. Keywords: arts-informed; ekphrastic poetics; collaboration; poetic inquiry; ecology; curriculum
5

Johnson, Kimberly. „Poetics/Praxis“. Christianity & Literature 68, Nr. 3 (12.02.2019): 365–78. http://dx.doi.org/10.1177/0148333119827677.

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This Introduction to a special issue on “Poetics/Praxis” provides a brief overview of the shared investments of poetic texts and Christian practice. It offers a brief survey of exegetical writing on the incarnation in order to illustrate sympathies between early Christian thinking about the meaningfulness of materiality and theoretical accounts of poetic structure.
6

Bartczak, Kacper. „Be Poetics of Plenitude and the Poet’s Biography: Self-Creation in Some Later Poems by John Ashbery“. Polish Journal for American Studies, Nr. 9 (2015) (20.07.2023): 51–74. http://dx.doi.org/10.7311/pjas.9/2015/4.

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Thee article deals with the status of biographical references in John Ashbery’s later poetry. It is an attempt to work out an approach that, while keeping the biographical in view, is an alternative to the way in which the biographical has functioned in recent Ashbery scholarship. In discussing Ashbery’s strategy, I use the neo-pragmatist idea of aesthetic self-creation, especially a version of it developed by Alexander Nehamas in his writings on aesthetic objects. The term I am developing to discuss the variety of self-creation in Ashbery is “the emerging self,” and I see it as a component of a poetics which I am calling the pragmatist ironist poetics of plenitude. The emerging self of the poetics of plenitude, rising over the expanse of a lifetime of poetry writing, is a type of poetic authorial subjectivity whose relation to the empirical facts of the author’s biography reverses the relation between poetry and biography found in confessional poetry. The poetics of plenitude shows the biographical fact to be dependent on the poetic element on which it relies for its authenticity. Within the poetics of plenitude, it is the poetic that is the real and authentic.
7

Stougaard-Nielsen, Jakob. „Tidens rytmik“. K&K - Kultur og Klasse 34, Nr. 102 (02.10.2006): 108–28. http://dx.doi.org/10.7146/kok.v34i102.22319.

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Dante Alighieri, William Carlos Williams’ prosodi og Michel Serres Rhythm of TimeThe article discusses William Carlos Williams’s poetics and his particular conception of a modern prosody as expressed in the essay »Speech Rhythm« (1913) and as materialized in his experiments with a poetic form he himself termed »the variable foot« in »the triadic verse«. The article suggests that Williams’s poetics should be conceived as both an attempt to reinvigorate a typographically governed poetic language, his reaction to free verse, and as a larger figure for a poetic project which attempts to offer a poetic form to an unruly American idiom. Additionally, Williams’s new poetic measure is considered as an attempt to produce a poetic voice that could capture the rhythms and temporalities suggested by the modern age. Williams’s poetics present, then, a conflation of poetic scheme and trope, of prosody and anthropology, and are presented here as in tune with Ezra Pound, George Antheil, Albert Einstein and Michel Serres’ aesthetic and scientific abstractions of temporality. Williams’s poetic experiments offer a new measure for a modern »time«.
8

Pavlovna, Natalia. „POETIC DISCOURSE IN A TIME OF CRISIS: THE CONCEPT OF LYRICISM“. Grail of Science, Nr. 18-19 (04.09.2022): 222–34. http://dx.doi.org/10.36074/grail-of-science.26.08.2022.40.

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The study of poetic discourse received great impetus from the beginning of the twentieth century onward with the rise of general linguistics (Linguistic Poetics), and sociology (Sociological Poetics). As for Linguistic Poetics, presented in the framework of Roman Jakobson, it had exhausted its potential for theoretical inquiry. Sociological Poetics, on the contrary, has not yet received the attention it deserves. This paper provides a brief account of two projects of Sociological Poetics devised by Voloshinov/Bakhtin, and T. Adorno. It offers schematic conceptualization of the notion of lyricism; contains some observations on the aesthetic evaluation of the realization of the concept lyricism through the prism of rhetorical sublime.
9

Schweppenhäuser, Jakob. „Poetikkens kunstformer: Om forholdet mellem poesi og poetik i Niels Lyngsøs MORFEUS“. K&K - Kultur og Klasse 37, Nr. 108 (22.08.2009): 160–87. http://dx.doi.org/10.7146/kok.v37i108.22002.

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Art Forms in Poetics: On the Relationship between Poetry and Poetics in Niels Lyngsø’s MORFEUS:In Denmark, the genre of poetics has to a high degree developed into poets’ own reflections on their literary work and working process. This turn has resulted in a textual hybridity, restlessly oscillating between essayistic-theoretical orientation and poetic discourse. It has been pointed out that scholars have generally failed to pay attention to the artistic elements of such poetological writings. This is where this article takes its point of departure, probing Danish poet Niels Lyngsø’s abundant, complex and ambitious bastard piece MORFEUS from 2004 – a blend of visual poetry, sonnets, associative lists, essays on literature and the arts and many other forms. Inserted in a slipcase, the large quadratic, unpaged sheets, fastened with metal rings, seem extremely tactile; the reader becomes a percipient, a sensing body. As the poetry and the poetics are inseparably wrapped in each other, the poetic, sensuous perception mode is encouraged to be transferred to the ordinarily content-orientated reading of theoretical reflections. The point is now that this transfer turns out to be fruitful: the poetic function is at times strikingly operative. Passages where this is the case are analysed profoundly and the implications and perspectives of this fusion of poetry and poetics are unfolded.
10

WADA, Yugen. „Poetical Defects (dosa) in Sanskrit Poetics:“. Journal of Indian and Buddhist Studies (Indogaku Bukkyogaku Kenkyu) 61, Nr. 1 (2012): 289–86. http://dx.doi.org/10.4259/ibk.61.1_289.

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Die Auswahlen zum Thema "Poetics" für konkrete Quellenarten können Sie auch interessieren:
Zeitschriftenartikel Dissertationen Bücher

Dissertationen zum Thema "Poetics":

1

Kramer, Christi. „Poetics of return : toward poetic imagination and peacebuilding“. Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/46488.

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Toward a deeper understanding of poetic imagination, this poetic inquiry explores the creative process itself as a “wellspring that feeds the building of peace” (Lederach, 2005, p. 5). I position the study within the dialogic, as contemplative conversation, where utterance is a limitless continuum or whole (Bakhtin, 1986). I ask: Is it possible to write the world well? I listen to what poetry may say. I submit that “poetry witnesses us” (Milosz, 1983, p. 10) and that the gaze of poetry is courtesy (Lilburn, 1999). This study attends to poetic image as an essential attribute of the qualitative research methodology called poetic inquiry. Poetic image is whole (Al-Ghazali, 2010) and it is trace. It may be understood as a place or state: a space for radical meeting (Forché, 1993) of self and other; a multidimensional location (Zwicky, 2011) of potential and tension; a threshold, dihliz (Al-Ghazali in Moosa, 2005). Where poetic image is motion, it may be vertical and verb. Poetic image is not equal to metaphor (Bachelard, 1960). It exists in the sensory world, a doorway into our perception and memory, “enabling us to locate and embody the invisible and the unknown” (Kwasny, 2012, p. 2). It is generative, first of the creative imagination (Ibn Arabi in Corbin, 1998), and exists possibly prior to thought (Al-Ghazali, 2010; Bachelard, 1960). Poetic image may be known as direct ontology (Bachelard, 1960, p. xvi), a phenomenology of the soul (Bachelard, 1960, p. xx). Where both the poetic image and phenomenology require active participation and deny passivity or enslavement to object, in poetic image there may be liberation. Where “there is a sort of poverty of the spirit which stands in glaring contrast to our scientific and technological abundance” (King, 1964), might research performed in humility be an act of reconciliation? Or might poetry, “a source of innocence full of revolutionary forces” directed at a world “my conscience cannot accept” (Elytis, as cited in Ivask, 1981), be the “kind of knowing” Simon seeks, which could support the “reconstruction of social imagination in the service of human freedom?” (Simon, 1992, p. 4).
2

Giordano, Matthew. „Dramatic poetics and American poetic culture, 1865-1904“. Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1092701770.

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Thesis (Ph. D.)--Ohio State University, 2004.
Document formatted into pages. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2009 Aug. 18.
3

Campbell, Charles. „Poets and Poetics in Greek Literary Epigram“. University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1384333736.

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4

Simonyan, Astghik. „Poetics of the same : a philosophical poetic recourse into sameness“. Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1278.

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This study endeavours to investigate the philosophical and poetological dimensions, the philological origins, and significant philosophical-literary representations of the Same. It also assesses sameness as a philosophical and poetological modus operandi; that is to say, it analyzes the ways in which the Same operates in different types of discourses both as an object of investigation and as an agent of (poetic) thought. The concept of the Same or the operation of sameness as the philosophical question par excellence will be considered in the development of Continental philosophy and philosophical poetics from classical antiquity to Postmodernism, and its transposition into poetry. The elaboration of the issue of sameness encompasses any philosophical inquiry which seeks to establish the essence of Being and make it susceptible to a general, unifying principle: as a search for an underlying element; for a metaphysical unity or universal, preceding division or difference and amounting to the harmony in the Universe; or for a transcendental absolute totality. Postulations of the pure conceptual difference are likewise examined as part of the elaboration of sameness, and will be viewed as indispensable for revealing the genuine plenitude of sameness. Part One traces the inception of sameness as a concept of pure identity, amounting to the harmony of the Universe by virtue of the operations of belonging (Presocratics), participation (Plato), and emanation (Plotinus), anchored in the relationships between the One and the many, between the Whole and its parts, between the Original and the copy. Part Two inquires into the limits of postulating sameness in terms of pure identity and points to two possible solutions to this problem: a philosophical-aesthetic digression from sameness (Kant and related aesthetic theories of the seventeenth and eighteenth centuries) and the return to sameness as an absolute totality in Part Three (Schelling and Hegel). Part Four investigates the re-postulation of sameness as pure Difference (Nietzsche, Heidegger, Derrida), hence the entire re-organization of thought in terms of the other. Part Five analyzes the transposition of sameness from 3 philosophy into the poetic language of repetition, using Rilke’s Sonnets to Orpheus as its prime poetic example. It will be argued that the philosophical displacement of the Same from a concept of identity into that of difference does not amount to an abandonment of its plenitude, but rather points to the need for a precarious balance between sameness and difference, the simultaneous quest for unity and the absolute singularity of the other. This balance, it will be argued, must be sought for in every genuine creation.
5

Koutrianou, Eleni. „The emergence and crystallization of the poetics of Odysseas Elytis“. Thesis, University of Oxford, 1997. http://ora.ox.ac.uk/objects/uuid:67c25cfb-3860-497e-9402-46ebafdd753d.

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This thesis examines the poetics of Odysseas Elytis, which, it is argued, emerged from his intense theoretical work on poetry in the period between 1944 and 1960, and was crystallized in the poems he published from 1960 to 1995. Elytis' poetics is examined in this thesis through the exploration of his ideas on the status and function of poetry, on the role of the poet, and on poetic writing; it is also examined through the exploration of the poetry in which these ideas are put into practice. It is argued in this thesis that Elytis' poetics emerged from his effort to provide his poetry with a concrete theoretical basis, an endeavour he deliberately undertook in the 1940s and 1950s; the evolution of his thought coincided chronologically with the period broadly between 1944 and 1960, that is, the period during which he wrote poems but did not proceed to publish any book of poetry. Elytis' thought reached a point of external stabilization before 1960, since in the poetry he published that year his ideas are systematically put into practice. With the publication of these poems, his poetics entered the dynamic phase of crystallization, which prevails throughout his poetic writing from 1960 to 1995, and constitutes a process during the course of which he explored the internal perspectives opened up by the theoretical frame he set for himself in the years 1944-1960. This thesis explores Elytis' theoretical endeavour and his poetic practice, and examines both the emergence of his ideas in the period between 1944 and 1960 and the crystallization of these ideas in the poetry he published from 1960 to 1995.
6

Terne, Clara. „Space + Poetics“. Thesis, Konstfack, Grafisk Design & Illustration, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-123.

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I often ponder over the physical limitations of everyday life. The sense of my body being trapped in the here and now, in being able to imagine so much and experience so little in comparison, and the downhearted disappointment of it all. In my Master project Space + Poetics at Konstfack (2010) I have confronted these issues. I have tried to find ways to bridge the gap between the physical place and the mental space. I strive to create escapes from our rigid surroundings – to create little holes in the everyday where the void creates content.
7

Nykyforuk, T. M. „Poetics of poetry works by Sydir Vorobkevych (meta-language, poetic syntax, versification)“. Thesis, БДМУ, 2020. http://dspace.bsmu.edu.ua:8080/xmlui/handle/123456789/18274.

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8

Thornbury, Emily Victoria. „Anglo-Saxon poetics“. Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615780.

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9

Cui, Wendong, und 崔文东. „Politics vs. poetics“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B47752981.

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 Up to now, in the field of translation studies, late Qing translated fictions have still been termed by many scholars as “liberal translation” or “domesticating practice” lacking literary values, or generalized by some others as “rewriting” or “manipulation” completely distorting the originals, which has led to an undervaluation of those works. In the field of historical studies, although researchers have attached much importance to late Qing translations like Yan Fu’s renditions of social and political theories which had profound impact on Chinese intellectual history, translated fictions are still beyond their sight. Based on my critique of previous studies, this research attempts to study five late Qing Chinese translations of Robinson Crusoe from the perspective of intellectual history to explore the historical significance of those works. As one of the most frequently translated fictions at that time, Robinson Crusoe drew the attention of many Chinese intellectuals because of its ideological significance rather than literary values. On the one hand, aiming at publicizing new ideas to readers under influence of Chinese tradition, late Qing translators tried to deal with the contradictions between new ideas and traditional ideas, thus showing their cultural stance. On the other hand, influenced by the elites’ proposal of enlightening common people with fictions, translators endeavored to bridge the gap between elite discourse and popular culture, thus reflecting the extent of the reception of elites’ ideas. Based on textual and contextual comparisons, it is easy to see that the translators all looked to the novel, Robinson Crusoe, for national salvation, believing that their renditions would be able to arouse adventurous spirit among Chinese people, and tried to reshape the relation between citizen, nation, family and the self in their renditions. First, they either made Crusoe a patriot or linked the adventure with national salvation although in the original, Crusoe’s adventure has no relation with nationalism. Second, the translators all advocated a new ethical idea by, on the one hand, defending Crusoe’s disobedience to his father and, on the other hand, changing his lack of filial affection. Third, as the economic and puritan individualism Crusoe embodied in the original conflicted with Chinese ethics, all translators transformed the individualist into either Confucian or altruist. Thus the translators’ changes, additions, deletions and explanations in and out of the renditions fully showed the trend of thought in late Qing from the perspective of intellectual history. Obviously, different late Qing translators of Robinson Crusoe tackled the same cultural conflicts in similar ways, which offers us an opportunity to study late Qing translated fictions systematically. In so doing, the new mode of study enhances our understanding of the general trend of thought in late Qing and the historical significance of late Qing translated fictions.
published_or_final_version
Chinese
Master
Master of Philosophy
10

Leadbetter, Gregory Marcus. „Coleridge's transnatural poetics“. Thesis, Oxford Brookes University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520917.

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Coleridge's Transnatural Poetics examines the simultaneous experience of exaltation and transgression as a formative principle in Coleridge's poetry and the fabric of his philosophy. Drawing upon a little-known but extremely rich notebook entry of 1812, the thesis constructs its critical vocabulary through the 'transnatural' and the 'daemonic', as Coleridge uses the terms to define each other and the peculiar qualities of his mind: an imagination fascinated by the transnatural, which in consequence, conceives of itself as daemonic. The thesis proceeds to demonstrate the significance of the principle this represents, as the basis for a new reading of his work. This study focuses primarily on the 1790s, as the period in which Coleridge's spiritual and poetic concerns took shape, but incorporates material from across his notebooks, letters and other prose, in order to demonstrate the continuity as well as the modulation of Coleridge's work. In critical method, the thesis seeks to integrate an informed awareness of social and historical contingencies with a sensitivity to the capacity of language itself to constitute experience. By showing how the 'transnatural' and the 'daemonic' combine to illustrate both the abiding tensions and restless productivity of Coleridge's writing, the thesis throws new light on his relationship with Christianity and Unitarianism; his mythological syncretism; the 'one life' and his organic metaphors of becoming; his psychology of the will and theories of the imagination; his ideas on the Fall and the Prometheus myth; his responses to Shakespeare, Milton and Locke; his crucial relations with Wordsworth, and the vexed concept of 'nature'; his ideas on the poetics of language; his relationship to the literature of the supernatural; and the creative principle of 'poetic faith'. Developing its theme through Coleridge's poetry, including lesser-known works such as 'Melancholy', 'Lewti' and 'The Wanderings of Cain', the exposition builds from 'The Eolian Harp' to 'The FosterMother's Tale', Osorio, 'Frost at Midnight', 'The Nightingale', and a new interpretation of the poems in which Coleridge produced his most compelling myths: 'The Rime of the Ancient Mariner', 'Kubla Khan' and 'Christabe1'.
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Bücher zum Thema "Poetics":

1

Aristóteles. Poetics. New York: Penguin USA, Inc., 2009.

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2

Aristóteles. Poetics. London: Penguin Books, 1996.

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Mall, Julian. Poetics. Salzburg: University of Salzburg, 1995.

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Aristóteles. Poetics. Cambridge, Mass: Harvard University Press, 1995.

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Aristóteles. Poetics. New York: Theatre Communications Group, 1999.

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1850-1910, Butcher S. H., Hrsg. Poetics. Mineola, N.Y: Dover Publications, 1997.

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1950-, Bernstein Charles, und Kuszai Joel, Hrsg. Poetics@. New York: Roof Books, 1999.

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1946-, Sachs Joe, Hrsg. Poetics. Newburyport, MA: Focus Pub./R. Pullins Co., 2006.

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Vaquer, Mary-Elizabeth. Poetics of Curriculum, Poetics of Life. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-465-7.

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10

Edwards, Paul M. Poetics of place: Poetics of place. Independence, Mo: Herald Pub. House, 1994.

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Buchteile zum Thema "Poetics":

1

Hart, Jonathan. „Poetics and Poetic Worlds“. In Literature, Theory, History, 99–123. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230339583_7.

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2

Walton, Heather. „Poetics“. In The Wiley-Blackwell Companion to Practical Theology, 173–82. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444345742.ch16.

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Shapiro, Michael. „Poetics“. In Springer Texts in Education, 387–407. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-51682-0_6.

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Sgarbi, Marco. „Poetics“. In Francesco Robortello (1516–1567), 103–38. New York, NY : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780429275159-5.

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5

Labbe, Jacqueline. „Poetics“. In A Handbook of Romanticism Studies, 143–58. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781444356038.ch8.

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6

Schipper, Mineke. „Poetics“. In Encyclopedia of African Religions and Philosophy, 560–62. Dordrecht: Springer Netherlands, 2021. http://dx.doi.org/10.1007/978-94-024-2068-5_312.

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7

Hartley, Daniel. „Poetics“. In The SAGE Handbook of Marxism, 823–38. 1 Oliver's Yard, 55 City Road London EC1Y 1SP: SAGE Publications Ltd, 2022. http://dx.doi.org/10.4135/9781529714371.n46.

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8

Barrett, Rusty. „Poetics“. In The Mayan Languages, 433–57. New York : Routledge/Taylor & Francis Group, [2017] | Series: Routledge language family series: Routledge, 2017. http://dx.doi.org/10.4324/9781315192345-17.

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9

Wooffitt, Robin, Darren Reed, Jessica A. Young und Clare Jackson. „The Poetics in Jefferson's Poetics Lecture“. In Bridging the Gap Between Conversation Analysis and Poetics, 97–116. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429328930-6.

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10

Danow, David K. „Dialogic Poetics“. In The Thought of Mikhail Bakhtin, 123–37. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21662-8_7.

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Konferenzberichte zum Thema "Poetics":

1

Radhia, Dr LARKEM. „THE POETICS OF DIALOGUE IN THE VISION OF ABU FIRAS AL-HAMDANI“. In I. International Century Congress for Social Sciences. Rimar Academy, 2024. http://dx.doi.org/10.47832/soci.con1-19.

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In ancient Arabic poetry, dialogue is an artistic technique that adds a narrative feature to its poetic texts. Its methods and formulas have varied in these poetic texts, given that dialogue raises the curtain on the positions, feelings, and secrets of the interlocutors, their ideas, and their experiences, whatever their type. Poets have used dialogue in their poems for various poetic purposes and topics since the pre-Islamic era, and this continued until the Abbasid era and beyond. Its methods and characteristics developed, and it became a means for the poet to express his feelings that he refuses to express directly, which added to the poetic texts. An aesthetic dimension and depth of ideas. This research paper aims to reveal the poetics of dialogue in Abu Firas Al-Hamdani’s novel. This dialogue contributed to highlighting the internal conflict that the poet is experiencing, and what is on his mind, and we will present examples of that dialogue, and analyze them from an objective and artistic perspective, with the aim of revealing the methods of dialogue in them and its artistic characteristics, according to the following elements: 1- The concept of poetics. 2- The concept of dialogue and its types. 3- Manifestations of dialogue and its forms in the vision of Abu Firas Al-Hamdani. 4- The functions of dialogue in the opinion of Abu Firas Al-Hamdani
2

ALIEVA, Dildora. „PHILOSOPHICAL LYRICS AND REFLECTIONS OF THE LYRICAL HERO CHO JI HUN“. In UZBEKISTAN-KOREA: CURRENT STATE AND PROSPECTS OF COOPERATION. OrientalConferences LTD, 2021. http://dx.doi.org/10.37547/ocl-01-29.

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This article discussed the emergence and further development of the poetic group “Blue Deer”. The creativity of poets in this group received development of tradition in Korean landscape lyrics and its poetics. An apple to the origins and motives of classical poetry became evidence of their reverent attitude to historical and cultural, including the literal memory of the Korean people. Cho Ji Hong is an outstanding representative of this poetic group. Cho Ji Hoon's work bears the stamp of traditions, national customs, traditions, legends
3

Wilkens, Kjen. „Sensor poetics“. In TEI'11: Fifth International Conference on Tangible, Embedded, and Embodied Interaction. New York, NY, USA: ACM, 2010. http://dx.doi.org/10.1145/1935701.1935806.

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Wollensak, Andrea, Brett Terry und Bridget Baird. „Water Stories: Visual Poetics and Collective Voices“. In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-34-short-wollensak-et-al-water-stories.

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SHORT PAPER. Water Stories: Visual Poetics and Collective Voices is a two-part project that brings together multiple points of view from local youth, community, and poets in Alaska to share what water means in their life. Visual Poetics combines a live poetry reading by Alaskan poets and interactive video in which the poets’ voices trigger generative visual elements. Collective Voices is a sound work featuring excerpts of community voices sharing water-based memories against a backdrop of processed environmental sounds of Alaskan waterways. Water Stories is part of a year-longartist residency (2021-2022) with the Anchorage Museum culminating in a series of listening sessions broadcast at the Anchorage Museum and Out North Radio, live interactive poetry readings at the museum,and video projections on the museum façade from November 2022 through January 2023.
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Gagiu-Pedersen, Elena. „Alexandru Macedonski's Poetics“. In Edu World 7th International Conference. Cognitive-crcs, 2017. http://dx.doi.org/10.15405/epsbs.2017.05.02.37.

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Suvajdžić, Boško. „NARODNA KNjIŽEVNOST I IDENTITETSKE PROMENE U SRPSKOJ KNjIŽEVNOSTI“. In IDENTITETSKE promene: srpski jezik i književnost u doba tranzicije. University of Kragujevac, Faculty of Edaucatin in Jagodina, 2022. http://dx.doi.org/10.46793/zip21.107s.

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New approaches to oral literature in teaching bring to the fore the questions of classification and terminology, the phenomenon of authorship, the process of composing and tradition, the complexity of reception, the specificities of oral genres and their poetics. The terms ’oral formula’ and ’formulativity’ also stand out in these approaches as some of the most important elements of oral poetic grammar. In all of these researches focused on poetics, the identitary character of Serbian oral literature as “our classic, one and true” (Vasko Popa) should not be neglected, nor its specific roles in teaching and education: aesthetic, ethical, epistemological, cultural, educational functions.
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George, Phillip. „Poetics of Migration # 1“. In ACM SIGGRAPH 2004 Art gallery. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1185884.1185915.

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George, Phillip. „Poetics of Migration #2“. In ACM SIGGRAPH 2004 Art gallery. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1185884.1185916.

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Bandeira, Denise, Luiz A. Salgado, Bianca C. Orsso und Mateus F. L. Pelanda. „Poetics in hybrid art“. In ARTECH 2021: 10th International Conference on Digital and Interactive Arts. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3483529.3483752.

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PYATKIN, Sergey. „On the problem of folklorism in the poetry of Anna Akhmatova“. In Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v3.24-25-03-2023.p118-124.

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In the poetic arsenal of Anna Akhmatova, a special place is occupied by song and ritual genres of Russian folklore, which has been repeatedly noted and analyzed by researchers of the poet’s work. And the greatest interest among philologists, which is quite natural, is the poem «Requiem» in this regard. At the same time, the study of individual lyrical works by Akhmatova, which are more of an illustrative material for researchers, do not act as an independent object, gives a very clear idea of the exceptional features of Akhmatova’s poetics and the role of folklore tradition in it. The author of this article, focusing on one lyrical miniature by Akhmatova («You will never be alive…»), the content and structure of which reveals strong links with the lamentation genre, and tries to prove it.

Berichte der Organisationen zum Thema "Poetics":

1

Janssen, David. Walt Whitman's Poetics of Labor. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.6477.

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Orosa, MA, M. López-Golán, C. Márquez-Domínguez und Y. Therly Ramos-Gil. USA TV series postdrama: poetics and composition. Revista Latina de Comunicación Social, Mai 2017. http://dx.doi.org/10.4185/rlcs-2017-1176en.

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3

Hagensick, Michael. A Comparative Study of Aristotle's Poetics and Ezra Pound's ABC of Reading. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.2256.

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AKHADOVA, R. A., und M. L. SHTUKKERT. ‘THE DREAM OF A RIDICULOUS MAN’ F.M. DOSTOEVSKY AND A. PETROV: POETICS OF THE FEAR. Science and Innovation Center Publishing House, 2021. http://dx.doi.org/10.12731/978-0-615-67323-3-8-21.

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The purpose of the study is to determine the features of the structure and functioning of the fear motive in F.M. Dostoevsky’s “fantastic story” “The Dream of a Ridiculous Man” and in A. Petrov’s cartoon of the same name. The report first examines the images, details, etc., with which the fear motive is created in the story, and then analyzes the ways of embodying this motive and transmitting a certain frightening atmosphere in the cinema. There is revealed and determined the ontological significance and the main character of fear in the “The Dream of a Ridiculous Man”, which, in our opinion, manifests itself in the fundamental nature and primacy of this feeling in human nature. It can be observed in the transition from the dream world, not defiled by the fall, to the terrible reality of St. Petersburg, described in the story. The scientific novelty lies in the fact that a comprehensive analysis of the fear motive in the story of F. M. Dostoevsky and the peculiarities of the interpretation of this motive in the animated film by A. Petrov has not been carried out before. The study revealed, firstly, a number of repetitive means by which the fear motive is formed in both works (and their functions were determined), and secondly, there was noted the originality of the representation of the analyzed motive in the cinema.
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Baillie, Fran, Bet McCallum, Roy Canning, Ann Prescott, Gavin Cameron, George Robertson, Anita Petrie et al. Frankenstein's Poetic Progeny: Activity Book For Schools. Herausgegeben von Lauren Christie. University of Dundee, November 2018. http://dx.doi.org/10.20933/100001160.

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O'Brien, K. The poet's tale. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2000. http://dx.doi.org/10.4095/298665.

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Beebe, G. William Dunbar: An Analysis of His Poetic Development. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.2382.

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Murphey, Darcy. The Feminine Poetic Voice in the Rymes of Pernette du Guillet. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.6570.

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Rechitskaya, E. G., und A. V. Dziuban. FEATURES OF MASTERING A POETIC TEXT BY THE YOUNGER PUPILS WITH HEARING IMPAIRMENT. Science and school №3, 2019. http://dx.doi.org/10.18411/0131-52262-019332020-234560.

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Scholz, Sally. The historical imagination of Francesco Petrarch: a study of poetic truth and historical distortion. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.2141.

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