Thematische Bibliographien / Poetry Authorship

Auswahl der wissenschaftlichen Literatur zum Thema „Poetry Authorship“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 4. März 2023

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Zeitschriftenartikel zum Thema "Poetry Authorship":

Gómez-Bravo, Ana M. „«Female (co)authorship in Cancionero Poetry»“. Revista de Literatura Medieval 30 (31.12.2018): 153–72. http://dx.doi.org/10.37536/rpm.2018.30.0.74048.

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Resumen: La autoría femenina era una cuestión polémica en la Iberia del siglo XV y principios del XVI. Gran parte de la producción poética de este período estaba asociada con la interacción social, lo que permitía una compleja negociación de la autoría y los papeles de género. Si bien el discurso femenino era fundamental para la escritura poética y las prácticas culturales relacionadas con el mismo, estaban en funcionamiento prácticas editoriales que suprimían las contribuciones de las mujeres a la escritura. El estudio apunta a una imbricación textual del discurso femenino y masculino en varias etapas de la composición poética y propone una reconsideración de las aproximaciones a la autoría femenina (y masculina).Palabras clave: Cancionero, mujeres escritoras, poesía medieval, poesía renacentista.Abstract: Female authorship was a contentious subject in fifteenth- and early sixteen-century Iberia. During the period, a substantial amount of poetic production was associated with social interaction, which enabled a complex negotiation of authorship and gender roles. While female discourse was central to poetic writing and to the cultural practices connected to it, editorial practices worked to erase women’s contributions to poetic writing. The study shows a textual imbrication of female and male discourse at several stages of poetic composition and proposes a reconsideration of existing approaches to female (and male) authorship.Keywords: Cancionero, Women writers, medieval poetry, renaissance poetry.

Frishkopf, Michael. „Authorship in Sufi Poetry“. Alif: Journal of Comparative Poetics, Nr. 23 (2003): 78. http://dx.doi.org/10.2307/1350077.

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Siebenpfeiffer, Hania. „Sibylle – Clio – Thalia. Inszenierungen mythopoetischer Autorschaft im Titelkupfer und in Gedichten von Sibylla Schwarz“. Daphnis 44, Nr. 1-02 (21.07.2016): 199–222. http://dx.doi.org/10.1163/18796583-04401010.

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Frontispiece and dedication poems of Gerlachs edition of Sibylla Schwarz poetry openly refer to the early modern sibylline iconography by characterizing her as the “German” or “Eleventh Sibyl”. In the poems themselves other references are foregrounded, most prominent those to the apollonian muses Clio and Thalia, constructing a mythopoetic authorship and emphasizing the poetic quality of poetry in contrast to the prophetic. By giving him/herself a mythopoetic identity, the “I” transforms its poems into poetic heterotopias. In “Fretow”, they are given a concrete heterotopic counterpart. The poetic “Fretow” notably uncovers the reciprocal dependency of mythopoetic authorship and poetic heterotopia which characterizes Sibylla Schwarz’ poetic works.

Zhou, Ai, Yijia Zhang und Mingyu Lu. „Multidimensional Domain Knowledge Framework for Poet Profiling“. Electronics 12, Nr. 3 (28.01.2023): 656. http://dx.doi.org/10.3390/electronics12030656.

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Authorship profiling is a subtask of authorship identification. This task can be regarded as an analysis of personal writing styles, which has been widely investigated. However, no previous studies have attempted to analyze the authorship of classical Chinese poetry. First, we provide an approach to evaluate the popularity of poets, and we also establish a public corpus containing the top 20 most popular poets in the Tang Dynasty for authorship profiling. Then, a novel poetry authorship profiling framework named multidimensional domain knowledge poet profiling (M-DKPP) is proposed, combining the knowledge of authorship attribution and the text’s stylistic features with domain knowledge described by experts in traditional poetry studies. A case study for Li Bai is used to prove the validity and applicability of our framework. Finally, the performance of M-DKPP framework is evaluated with four poem datasets. On all datasets, the proposed framework outperforms several baseline approaches for authorship attribution.

Nagy, Gregory. „Authorisation and Authorship in the Hesiodic Theogony“. Ramus 21, Nr. 02 (1992): 119–30. http://dx.doi.org/10.1017/s0048671x00002599.

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Much has been written about the question of oral poetry in the earliest attested phases of Greek literature, but not enough attention has yet been paid to the existing internal evidence concerning the authority of actual poetic performance. This essay is meant to highlight this authority and its role in authorisation, that is, in the conferring of authorship. Since the first attested identification of an author in Greek literature takes place in the Hesiodic Theogony, where the figure of Hesiod names himself as the poet of this colossal poem (Hēsiodon, Th. 22), it seems fitting that this very act of self-identification should serve as the focus of inquiry. Further, since the poet defines himself in terms of a dramatised encounter with the Muses, who are represented as giving him the two gifts of a sceptre of authority and poetic inspiration itself, it also seems fitting to take with utmost seriousness the actual wording that describes this encounter. The poet's precisely-worded claim to have received from the Muses the power of telling the absolute truth is key, I shall argue, to his authorship.

Mañas, Amelia R. „Repositorios de poder: la poesía visual en México colonial:Repositories of Power: Visual Poetry in Colonial Mexico“. Calíope 27, Nr. 2 (01.10.2022): 203–30. http://dx.doi.org/10.5325/caliope.27.2.0203.

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Abstract This work reviews the interventions of visual poetry in the colonies’ lettered world. From the visual exercises with educational and practical value to the visual poems that appeared in poetry contests, these poetic practices reorganize the categories of masculine/feminine readership and authorship as well as the circulation of poetry. Through a contextualized analysis of the uses of visual poetry, this article shows some of the ways in which colonial writers conquered and generated new forms of “authorized word” in the colonies and how these disputes would create a much more diverse and complex reality for the lettered world.

Robinson, Fred C. „Old English Poetry: The Question of Authorship“. ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 3, Nr. 2 (April 1990): 59–64. http://dx.doi.org/10.1080/19403364.1990.11755240.

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Helgeson, James. „Poetic Deictics and Extra-Textual Reference (Mallarmé, Scève, Ronsard, Du Bellay)“. Nottingham French Studies 56, Nr. 3 (Dezember 2017): 351–65. http://dx.doi.org/10.3366/nfs.2017.0196.

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This study considers the effects of deictics, which are among the expressions called, in recent linguistics, and particularly cognitive pragmatics, ‘procedural’ expressions, in poetic expression in the first person. It examines a variety of examples drawn primarily from the early modern period (Scève, Ronsard, Du Bellay, Muret's and Belleau's commentaries on Ronsard), but with several modern points of comparison (Keats, Mallarmé). The article studies, in particular, the question of extra-textual reference in poetry and poetic commentary, arguing against an anachronistic understanding (based in nineteenth- and twentieth-century ideas about authorship) of the forms of early modern poetic reference and of the varieties of first-person action early modern poetry can instantiate.

Hauser, Emily. „Erica Jong’s Sappho’s Leap:(Re-)constructing Gender and Authorship through Sappho“. Synthesis: an Anglophone Journal of Comparative Literary Studies, Nr. 12 (08.11.2020): 55. http://dx.doi.org/10.12681/syn.25258.

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For contemporary female authors, Sappho is a literary forebear who is both a model for women’s writing and a reminder of the ways in which women have been excluded from the literary canon. Poet and novelist Erica Jong takes up the challenge to gender and authorship posed by Sappho in her 2003 novel, Sappho’s Leap. Jong weaves Sappho’s poetry into her fiction to both complement the Sapphic tradition and to supplant it, proving that female poetry —and authorship— is alive and well, with Sappho continually mediated by and validating each subsequent writer in the female tradition. In addition, Jong’s emphasis on the authentic expression of sexual desire as a bridge to authorship transcends gender binaries, turning Sappho’s Leap into a study of authorship that is not confined to gender. This enables Jong to shift the debate away from the sense of burden placed on female authors post- Sappho and to transform her Sappho into a positive role model for all authors, turning the focus towards a poetics of passion and away from prescriptive assumptions of the relationship between gender and authorship.

Fang, Alex C., Wan-yin Li und Jing Cao. „In search of poetic discourse of classical Chinese poetry“. Chinese Language and Discourse 2, Nr. 2 (21.12.2011): 232–49. http://dx.doi.org/10.1075/cld.2.2.04fan.

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We address the issue of poetic discourse in classical Chinese poetry and propose the use of imageries as characteristic anchors that stylistically differentiate poetic schools as well as individual poets. We describe an experiment that is aimed at the use of ontological knowledge to identify patterns of imagery use as stylistic features of classical Chinese poetry for authorship attribution of classical Chinese poems. This work is motivated by the understanding that the creative language use by different poets can be characterised through their creative use of imageries which can be captured through ontological annotation. A corpus of lyric songs written by Liu Yong and Su Shi in the Song Dynasty is used, which is word segmented and ontologically annotated. State-of-the-art techniques in automatic text classification are adopted and machine learning methods applied to evaluate the performance of the imagery-based features. Empirical results show that word tokens alone can be used to achieve an accuracy of 87% in the task of authorship attribution between Liu Yong and Su Shi. More interestingly, ontological knowledge is shown to produce significant performance gains when combined with word tokens. This observation is reinforced by the fact that most of the feature sets with ontological annotation outperform the use of bare word tokens as features. Our empirical evidence strongly suggests that the use of imageries is a powerful indicator of poetic discourse that is characteristic of the two poets concerned in the study.

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Dissertationen zum Thema "Poetry Authorship":

Davies, Kevin. „Paraphernalia : four poems in seven drafts /“. Fogler Library, University of Maine, 2006. http://www.library.umaine.edu/theses/pdf/DaviesKX2006.pdf.

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Kinsella, John. „The pastoral and modernity: AUTO visitants hunt as textual investigation of self and poetry“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2000. https://ro.ecu.edu.au/theses/1354.

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AUTO is a prose work about poetry and the “growth of the poet’s imagination”, to quote The Poet. A poet? If we remember correctly. Reference? Is/was that how it should be worded? Maybe this is a mistake? But an error is a textual truth in itself. It tells us something. AUTO. It is also a metatextual work that is concerned with its own means of production. The voice of self shifts position in relation to the construction of narratives. Stories are told, anecdotes conveyed, portraits suggested. The autobiographical voice is as much an onlooker as the centre of activity. AUTO is a text about the nature of memory, about recall and remembering. There are many possible pasts, and the text moves in and out of alternatives constructions. There is repetition and reconsideration – situations and occasions are examined from different angles. Even footnotes become part of the text. Recall is both historic and mythological – truth and fiction struggle to define and declare themselves, or subvert each other. Poetry appears in the text when the moment being considered is remembered as a trigger, or is a specific point in time for a poem being drafted. Every draft is a valid poem – book-published versions are interpolated for the original draft, early drafts replacing the polished end product. End product? There is no closure – memory isn’t that stable. The text might seek validation in “external” information – a quote, a textual reference – it may become “archaeological” in trying to reconstruct a specific environment. But the tension between place and emotion, the creation of poem and “inspiration”, is a constant. There is a prologue – a “before we begin”. But that’s here and now, where “I write”. The text ends where YOU and I write and read. The roles of reader and writer are blurred. Whose story is being told here, who owns the copyright on the poems? The declaration that accompanies this manuscript claims it is John Kinsella – I? “My name is John Kinsella. I make poems.”

Hussey, Charlotte. „Of swans, the wind and H.D. : an epistolary portrait of the poetic process“. Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36612.

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This dissertation is a qualitative case study of a woman's poetic process. Rather than examine creativity from the outside, I have viewed it from the inside in an attempt to document my direct engagement, as an emergent woman poet, with my own writing. I have conducted personal, poetic research throughout this project in an attempt to construct a self-portrait of my own creativity.
To do so, I have not attempted to prove a thesis, or strive for scientific objectivity. As the portrait of a woman's imagination, this text narrates the winding course of a transformative journey brought about by my experimentation with a number of writing strategies, or heuristics. Because the drafting of poems is a highly unpredictable endeavour, I have drawn on various techniques, discarding one if I became blocked in order to experiment with the hoped for success of the next.
Chief among the heuristics I have employed was a yearlong fictive correspondence that I entered upon with the Modernist poet, H.D. [Hilda Doolittle]. During our exchanges, I would send her my musing about the writing process along with my poetry which she would critique and send back to me. After completing this epistolary venture, I analysed what our letters revealed about what both blocked and freed my developing voice. I conducted this investigation by laying down a secondary strata of theoretical intertexts addressed to a "Dear Reader" who symbolized my audience made up of my academic committee, in specific, and of writing theorists and scholars in general.
I then appended this two-tiered effort with an introduction, multiple conclusions, and a closing-poem. The resulting structure of my dissertation is that of a palimpsest, a genre that H.D. herself often employed to create a more fluid convergence of autobiographical and mythic motifs. Other heuristics such as key word analysis, bodywork, a photograph exercise, dreams, travel, and the retelling of a fairy tale have been called upon, as well, to further inspire this palimpsest of the poetic process.

Coxon, Sebastian. „The presentation of authorship on later thirteenth-century middle German narrative poetry“. Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285247.

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Kelen, Christopher, University of Western Sydney und School of Communication and Media. „Metabusiness : poetics of haunting and laughter“. THESIS_XXX_SCM_Kelen_C.xml, 1998. http://handle.uws.edu.au:8081/1959.7/542.

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This thesis deals with the writing process in poetry. It consists of two types of text – theoretical and poetic. This thesis asks, for the purposes of a poetics of writing, what knowledge of language poetry requires. Questions as to the sources of poetry are resolved as questions asked of the ethics in which writing is possible. Poetry is that discourse which stands out of the bivalency of judgement, constituting, as speech does in its unending, the delay of freedom. Tropology is structure with which to represent the world, and by limitless tropology we inscribe the manner and scope of poetry’s indirection. What individuals negotiate among differends amounts to their own authenticity. The community of writing is made up of shifting personae whose roles blur between the work of making and the work of keeping the canon. Canon is to literature as langue is to parole – meta-awareness in the service of common sense. We, who make up this community, are constantly at the work of protecting and violating borders. This thesis considers the prospects for a heuristics of poetry writing by way of the affinities of that process for those of (first and foreign) language learning. It contents that poetry’s role is to do inside a language what the foreign language learner cannot help but do between languages
Doctor of Philosophy (PhD)

Llewellyn, M. E. „Minor poets and the game of authorship : the poetry of Thomas Randolph, Katherine Philips and Edmund Waller“. Thesis, Swansea University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.637933.

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This thesis explores the nature of ‘minor poetry’ of the seventeenth century. I argue that Thomas Randolph, Katherine Philips and Edmund Waller are actively engaged in a deliberate strategy of poetic limitation that might be termed a ‘game’; that they play with the very idea of authorship in their work. Part One looks at the work of Randolph, with the first chapter focusing on his relationship with his ‘father’ Ben Jonson and Randolph’ position within the group known as the ‘Tribe’ or ‘Sons’ of Ben. I then offer a reading of Randolph’s private and social poetry, suggesting that he consciously formulates poetry as a private realm for the poet, a place of imagination which is distinctly non-public. The second part of this thesis looks at the work of Katherine Philips, outlining the philosophical nature of friendship discourse in the period and suggesting that Philip’s poetry ad Orinda problematises the nature of publication or dissemination of poetry by setting up a society which must, if it is to follow its own Platonic doctrine, remain secret and unspoken. Publication and issues surrounding print are the focus of continued questions in Philips scholarship and in chapter four I offer some suggestions about how, in the light of the discussion of friendship in the preceding chapter, we might read Philips as a reluctant, though playful, author. The final part looks at the work of Edmund Waller, examining specifically his approach to poetry and to art in more general terms. Waller’s intertextuality, his metapoeticism and his multiple aesthetic interests can be read as facets of the playful nature of his poetry. Writing about art itself, even when offering panegyrics to Charles I, Cromwell or Charles II, is I suggest, a deliberate strategy on Waller’s part to turn the aesthetic into the central interest of his work.

Lang, Kristen, und mikewood@deakin edu au. „Creative redemption : Uncertainty in poetic creativity“. Deakin University. School of Communication and Creative Arts, 2003. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050719.121154.

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Brigley, Judith. „Unlocking and using a secret language : an exploration and analysis of effective strategies for teaching poetry writing to able students at Key Stage 4“. Thesis, Swansea University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678336.

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Kinsella, John. „Spatial relations of landscape: A poetics. Part 1“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/671.

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This thesis is composed of two parts. Part one is a volume of essays, commentaries, and manifesto pieces that investigate the relationship between literary tropes of landscape, such as pastoral and “nature writing”, and the development of a poetics of landscape writing. The issue of "self" and the relationship the individual might have with specific place, is examined from angles as seemingly disparate as using; a manual Olivetti Letter 32 typewriter for drafting, the ethics of anthologizing place as nation, text on the world wide web, the process of writing and ageing, being struck by lightening as a child, and the effects of herbicide and pesticide usage.

Oliveira, Gisele Pereira de. „Cecília Meireles e a Índia : das provisórias arquiteturas ao "êxtase longo de ilusão nenhuma" /“. Assis, 2014. http://hdl.handle.net/11449/123392.

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Orientadora: Ana Maria Domingues de Oliveira
Banca: Cleide Antonia Rapucci
Banca: Sandra A. Ferreira
Banca: Dilip Loundo
Banca: José Hélder Pinheiro Alves
Resumo: A presença da Índia na biografia e na obra de Cecília Meireles é notável. A relação entre a poetisa e a Índia apresenta-se de forma explícita e implícita em sua produção: por um lado, tem-se o volume Poemas escritos na Índia, paralelamente às diversas crônicas sobre esse país, assim como conferências e aulas; por outro lado, em sua lírica, há inúmeros poemas que permitem a leitura de princípios, temas e nuances do pensamento filosóficoreligioso tipicamente indiano, reconhecíveis como associáveis ao hinduísmo ou ao budismo. Em nossa análise, partimos da premissa de ser imprescindível tanto a leitura de poemas sobre a Índia (paisagens, cotidiano e personalidades), como o levantamento temático dos aspectos filosófico-religiosos indianos na lírica ceciliana, por meio de análises interpretativas de poemas, demonstrando que a Índia e o pensamento indiano se apresentam nessa poesia horizontal e verticalmente. Assim, as primeiras seções analíticas são dedicadas ao país como locus para o qual a poetisa volta sua atenção e o adota como cenário, como motivo de alguns poemas; ou do qual elege personagens sobre os quais trata. Abordamos, primeiramente, a relação entre a poetisa e a Índia, por meio de dados biográficos, crônicas e da análise do poema "Cântico à Índia pacífica". Em seguida, falamos da relação de Cecília com os dois indianos renomados e analisamos poemas dedicados a eles: o pensador, educador e poeta Rabindranath Tagore e o poema "Diviníssimo Poeta", e o pacifista Mohandas K. Gandhi, e o poema "Mahatma Gandhi". Então, enfocamos o livro Poemas escritos na Índia, fruto de sua viagem à Índia em 1953, e pensamos, por um lado, em Cecília como poetisa-viajante, e discorremos brevemente sobre o ato de viajar para ela. E, por outro lado, averiguamos que a mulher indiana se destaca no volume, e, assim, analisamos dois poemas sobre a mulher...
Abstract: The presence of India in Cecília Meireles's biography is considerable. The relationship between the poetess and India presents itself both explicitly and implicitly in her writings: on one hand, there is the title Poems written in India, parallel to it there are a lot of chronicles and lectures about this country; on the other hand, dozens of poems allow the inference of premises, nuances, and themes related to Indian philosophical and religious thought, related to Hinduism and/or Buddhism. In this present analysis, we started up based on the premise that it is unavoidable both considering the poems on India (Indian sceneries, daily life and individuals), and the inventory of philosophical/religious aspects in the poems, by means of interpretative analysis, showing that India and Indian thought appear in Cecília's poetry vertically and horizontally. In this light, we dedicate the first analytical sections to the country as a place at which Cecília devotes her attention, employ as background for several poems, and from where she elects some individuals about whom she writes. We approach, firstly, the relationship between Cecília and India, by looking at biographical data, travel chronicles and the analysis of the poem "Hymn for peaceful India". Then, we discuss the relationship between Cecília and two renowned Indian personalities, in whose honor she dedicated poems, lectures, etc., i.e., the Indian poet, thinker and educator Rabindranath Tagore, and the poem "The most divine poet", and the pacifist Mohandas K. Gandhi, and the poem "Mahatma Gandhi". After that, we focus on the book Poems written in India, result of her trip there in 1953, and we consider, on one hand, Cecília as a traveler, and, on the other, her view on Indian women and their work as we analyze two poems, "Humility" and "Puri Women". The latter in comparison to another poem, "Ballad for the ten...
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Bücher zum Thema "Poetry Authorship":

Whitworth, John. Writing poetry. London: A. & C. Black, 2001.

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Drury, John. Creating poetry. Cincinnati, Ohio: Writer's Digest Books, 1991.

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Barbara, Drake. Writing poetry. 2. Aufl. Fort Worth: Harcourt Brace College Publishers, 1994.

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Herbert, W. N. Writing poetry. New York: Routledge, 2009.

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Sweeney, Matthew. Writing poetry. London: Hodder Education, 2008.

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Watson, Carly. Miscellanies, Poetry, and Authorship, 1680–1800. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-37066-4.

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Addonizio, Kim. The Poet's Companion: A Guide to the Pleasures of Writing Poetry. New York: W.W. Norton, 1997.

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Finch, Annie. A poet's craft: A comprehensive guide to making and sharing your poetry. Ann Arbor: University of Michigan Press, 2011.

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Heaney, Seamus. Crediting poetry. Oldcastle, Co. Meath: Gallery Books, 1995.

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Heaney, Seamus. Crediting poetry. London: Faber and Faber, 1995.

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Buchteile zum Thema "Poetry Authorship":

Dobranski, Stephen B. „Renaissance Authorship“. In A Companion to Renaissance Poetry, 115–27. Chichester, UK: John Wiley & Sons, Ltd, 2018. http://dx.doi.org/10.1002/9781118585184.ch8.

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Wall, Wendy. „Female Authorship“. In A Companion to Renaissance Poetry, 128–40. Chichester, UK: John Wiley & Sons, Ltd, 2018. http://dx.doi.org/10.1002/9781118585184.ch9.

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Ai, Zhou, Zhang Yijia, Wei Hao und Lu Mingyu. „LDA-Transformer Model in Chinese Poetry Authorship Attribution“. In Lecture Notes in Computer Science, 59–73. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-88189-4_5.

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Gallagher, Catherine, und Yanjun Li. „Text Categorization for Authorship Attribution in English Poetry“. In Advances in Intelligent Systems and Computing, 249–61. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-01174-1_19.

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Eisner, Eric. „“The Atmosphere of Authorship”: Landon, Byron and Literary Culture“. In Nineteenth-Century Poetry and Literary Celebrity, 115–35. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230250840_6.

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Isfahani-Hammond, Alexandra. „Poetry and the Plantation: Jorge de Lima’s White Authorship in a Caribbean Perspective“. In White Negritude, 17–43. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230610118_2.

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Feldman, Paula R. „Women Poets and Anonymity in the Romantic Era“. In Authorship, Commerce and the Public, 44–53. London: Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9780230375482_3.

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Roberts, Sasha. „The Malleable Poetic Text: Narrative, Authorship and the Transmission of Lucrece“. In Reading Shakespeare’s Poems in Early Modern England, 102–42. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230286849_4.

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Faxneld, Per. „‘Only Poets and Occultists Believe in Them Just Now’: Fairies and the Modernist Crisis of Authorship“. In The Occult in Modernist Art, Literature, and Cinema, 93–110. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76499-3_5.

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Sidney, Philip. „4. from An Apology for Poetry“. In Authorship, 31–36. Edinburgh University Press, 2019. http://dx.doi.org/10.1515/9781474465519-006.

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Konferenzberichte zum Thema "Poetry Authorship":

Ahmed, Al-Falahi, Ramdani Mohamed, Bellafkih Mostafa und Al-Sarem Mohammed. „Authorship attribution in Arabic poetry“. In 2015 10th International Conference on Intelligent Systems: Theories and Applications (SITA). IEEE, 2015. http://dx.doi.org/10.1109/sita.2015.7358411.

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Ahmed, Alfalahi, Ramdani Mohamed und Bellafkih Mostafa. „Authorship attribution in Arabic poetry using NB, SVM, SMO“. In 2016 11th International Conference on Intelligent Systems: Theories and Applications (SITA). IEEE, 2016. http://dx.doi.org/10.1109/sita.2016.7772287.

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Omer, Ahmed Ibrahim Ahmed, und Michael Philip Oakes. „Arud, the Metrical System of Arabic Poetry, as a Feature Set for Authorship Attribution“. In 2017 IEEE/ACS 14th International Conference on Computer Systems and Applications (AICCSA). IEEE, 2017. http://dx.doi.org/10.1109/aiccsa.2017.48.

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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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Annotation:

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.

Ribeiro Rabello, Rafaelle. „Between absence and presence: Augmented Reality as a self-fiction poetic“. In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.105.

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This text comprises an excerpt of the Doctoral research completed in 2021, developed in the Line of Poetics and Processes of Performance in Arts (PPGARTES-UFPA), which will present a conceptual reflection about the creative process that unfolded poetically from the appropriation of an old family photo album. The album in question began to be observed as a place of overlapping time and space, triggering an internal movement of belonging by presenting itself as a place of poetic power due to the physical evidence that emerged from it. Through Augmented Reality, the empty spaces left by the time were occupied, following the tracks and telling another narrative through visual, textual, and sound layers, thus reconfiguring the album, which expanded and became a living space of memory activated by the cybrid experience. The way of facing the presence of absence and at the same time the absence of presence provoked me an inner movement of wanting more and more to belong to that space. There were countless times I approached this album and I was always worried about its gaps and emptiness in its narrative. And, by a sudden feeling of belonging to that space, I began to fill its “silence” and become part of that place. I have been calling this act the movement of self-fiction poetic. This concept is widely discussed in the book Essays on self-fiction, organized by Jovita Maria Gerheim and crossed my research, which I appropriated and used as an operative concept, thus comprising a movement that took place through the appropriation of an object, intervening in a poetic way, from which I became a character manifesting myself subjectively in the fictional narrative. Therefore, I articulated myself between the photographic language and other operational resources that mobile devices made possible, to recreate the space in mixtures with the past and the contemporary in a movement of mixing memories. The album presented itself as a space deconstructed by the action of time and subjects and through the poetic movement, I triggered a series of events, overlapping different times and spaces by inserting photographic files, video, text, and sound that activated this place as a living organism, revealing a new experience with memory. The reconfiguration process of this space was triggered exclusively by digital means. The idea of the movement of self-fiction poetic arose precisely because I brought photographic productions of my own in a mix with the photographs already present in the album. This intersection of authorship that unfolded in the presentation of another narrative, which includes me sometimes as a present character, sometimes as a hidden agent, allowed me to travel through the chain of memory and feel myself belonging to that space-time. By wanting to penetrate a past that was not mine, triggering subjective layers of information produced in the interstice of reality and fiction that photography allowed me, I was able to perceive the album beyond a memory space, but as a place of experience that opened and was available for interventions.