Zeitschriftenartikel: „Poetry Authorship“

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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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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.

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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.

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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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5

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.

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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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Wulandari, Sovia, Liza Septa Wilyanti und Anggi Triandana. „Gaya Kepengarangan dalam Puisi Populer Indonesia Berdasarkan Sistem Tanda dan Makna Simbolik“. Jurnal Ilmiah Universitas Batanghari Jambi 23, Nr. 1 (28.02.2023): 721. http://dx.doi.org/10.33087/jiubj.v23i1.2999.

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The sign system in poetry is an element that builds poetry. Therefore, each poem displays a different style based on the use of symbolic signs. The purpose of this study is to classify the style of authorship in Indonesian popular poetry based on the system of signs and symbolic meanings used by the author. The approach used to analyze the sign system and the symbolic meaning is a semiotic approach. The style of authorship is analyzed based on a stylistic approach. The method used for data analysis is a qualitative-descriptive method. The results showed that the sign system and symbolic meaning in Indonesian popular poems are signs in the form of symbols. The symbols are divided into four, namely symbols in the form of phonemes, words, sentences, and typography. Based on the system of signs and symbolic meanings, the styles of authorship in Indonesian popular poems are classified, namely: 1) styles that rely on phonemes; 2) word-based style; 3) sentence-based style, and 4) style that relies on typography. The conclusion of this research is that there are four sign systems and four types of writing styles. The style of authorship based on the sign system in the form of phonemes, words, sentences, and typography is the level of the sign system that is the center of meaning in a poem.

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Othman, Arbak. „Malay Authorship in Landskap Ungu: From Artistic Source to Intellectual Impact“. Malay Literature 30, Nr. 1 (01.06.2017): 140–58. http://dx.doi.org/10.37052/ml.30(1)no6.

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This article discusses the contribution of Dato’ Ahmad Kamal Abdullah or Kemala regarding the development of Malay poetry in Malaysia and the history of Malay poetry in the archipelago. This article is based fully on the essays compiled in Landskap Ungu (2010). It examines Kemala’s contribution to the Malay art of poetry composition, the approach or the evaluation used in analyzing Malay poetry, specifically in interpreting Islamic poetry and the country’s sociopolitical landscape, as well as comparing the quality of the art of poetry of international poets with that of some of Malaysia’s poets. Apart from that, other issues are also discussed, such as the art concept of sufi poetry which is the basic expression of some Malay poets, either in Indonesia or Malaysia. Kemala’s contribution is exceptional and has proven to be very significant in the development of Malay poetry with regard to his capability as a critic and a disciplined researcher, especially in the world of Malay poetry. His level of thought and intellectualism boost the quality of the art of expression of creative thinking locally or universally. Keywords: epistemology, aesthetics, hermeneutics, irony, critiques, literature, mystique, thinker, sufi, sufi poetry, semiotic, symbolism, theory of literature Abstrak Makalah ini menghuraikan sumbangan Dato’ Ahmad Kamal Abdullah atau Kemala terhadap perkembangan puisi Melayu di Malaysia dan sejarah puisi Melayu di Nusantara. Penulisan makalah ini berlandaskan hasil tulisan beliau sepenuhnya, iaitu esei yang terkumpul dalam karya terbaik beliau, Landskap Ungu (2010) terbitan Penerbit UPM. Makalah ini meneliti sumbangan Kemala dalam dunia perpuisian Melayu, seni dan gubahan puisi, pendekatan atau ukuran kualiti yang digunakan dalam penganalisisan puisi Melayu, khususnya untuk mentakrif puisi Islam dan sosiopolitik tanah air, serta perbandingan kualiti seni pengungkapan puisi penyair antarabangsa yang dibandingkan dengan puisi beberapa penyair tanah air. Selain itu, beberapa kecenderungan lain turut dibicarakan seperti konsep seni puisi sufi yang menjadi asas pengucapan beberapa penyair Melayu, baik di Indonesia mahupun di Malaysia. Sumbangan Kemala amat istimewa dan terbukti sangat besar dalam perkembangan perpuisian Melayu kerana keupayaan beliau sebagai pengkritik dan pengkaji yang berdisiplin, terutamanya dalam dunia kepenyairan Melayu yang dikatakan sudah mencapai tahap kematangan yang boleh dibanggakan. Tahap pemikiran dan keintelektualan beliau meningkatkan kualiti seni pengucapan fikiran yang kreatif sama ada bersifat setempat mahupun universal. Kata kunci: epistemologi, estetik, etika, hermeneutik, kritikan, kesusasteraan, mistik, pemikir, sufi, puisi sufi, semiotik, simbolisme, teori kesusasteraan

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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.

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Sarumi, Kahar Wahab. „Nationalism in Modern Arabic Poetry of Yoruba Authorship“. International Journal of Literary Humanities 15, Nr. 3 (2017): 21–33. http://dx.doi.org/10.18848/2327-7912/cgp/v15i03/21-33.

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Ahmed, Al-Falahi, Ramdani Mohamed und Bellafkih Mostafa. „Arabic Poetry Authorship Attribution using Machine Learning Techniques“. Journal of Computer Science 15, Nr. 7 (01.07.2019): 1012–21. http://dx.doi.org/10.3844/jcssp.2019.1012.1021.

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Ahmed, Al-Falahi, Ramdani Mohamed und Bellafkih Mostafa. „Machine Learning for Authorship Attribution in Arabic Poetry“. International Journal of Future Computer and Communication 6, Nr. 2 (2017): 42–46. http://dx.doi.org/10.18178/ijfcc.2017.6.2.486.

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Pisciurnikova, E., und A. Šela. „Works by Afghan Classical Poet ‘Abd al-Hamid Momand: Stylometric Results“. Manuscripta Orientalia. International Journal for Oriental Manuscript Research 27, Nr. 2 (Dezember 2021): 63–68. http://dx.doi.org/10.31250/1238-5018-2021-27-2-63-68.

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‘Abd al Hamid Momand (d. ca. 1732), a greatest Afghan classical poet at the turn of the 17th and 18th centuries, was the author of Pashto poetry. He created a unique individual style, which was different from that of his predecessors and greatly influenced subsequent Afghan Pashto poetry. However, because of the complexity and eloquence of his style, his work has been understudied inside and outside Afghanistan. The authorship of a set of ghazals by Hamid is questioned by the authors of this article, with some forty works defined as controversial. Methods of digital stylometry are applied to determine the authorship of these ghazals. As a result of this experiment, the question is clarified as to whether Hamid's controversial ghazals are indeed authentic.

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IBRAHIM, ROSNANI, MUAMMAR GHADDAFI HANAFIAH und SHAIFU BAHRI MD RADZI. „SYAIR DIRAJA MELAYU PERAK-JOHOR ERA KONTEMPORARI: SATU PERBANDINGAN KEPENGARANGAN (Royal Syair in the Contemporary Era of Perak-Johor: Comparison of Authorship)“. MALIM: JURNAL PENGAJIAN UMUM ASIA TENGGARA (SEA JOURNAL OF GENERAL STUDIES) 22, Nr. 1 (20.11.2021): 290–307. http://dx.doi.org/10.17576/malim-2021-2201-22.

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The 16th century to the end of the 19th century, storytelling and praise of the sultan became the idea of authorship. This storytelling and praise are conveyed by making poetry his platform. The last poem to record the history of this Royal group was the Syair Riwayat Yang Amat Mulia Tengku Ampuan Besar Pahang (1953). However, such influence is less used when modern literature develops. Western powers bring a new diversity of forms and genres in creation. After 56 years, two works have emerged, Syair Sultan Azlan Shah Berjiwa Rakyat (2009), Mohd Ibrahim bin Said and Syair DYMM Sultan Ibrahim Ibni Almarhum Sultan Iskandar (2018) by Maskiah binti Masrom in this contemporary era. Kings and sultans became objects of storytelling in both works. The question is, what are the scopes or criteria that are the ideas of their authorship? The scope or criterion that became the idea of authorship used by both authors in presenting storytelling about their rulers. Both texts of the Royal poetry were sampled. Comparative methods are applied to examine their influence in presenting the idea of Royal history recordings in the contemporary era. Intrinsically research methods on study samples were also used. The findings found that the king's biography became the scope or criterion that became the idea of authorship for both authors in praise and upholding his king. Keywords: Literary criticism; Peering; Authorship; Royal syair; Contemporary syair

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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.

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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.

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Kennedy, William J., und Dennis Kezar. „Guilty Creatures: Renaissance Poetry and the Ethics of Authorship“. Sixteenth Century Journal 34, Nr. 3 (01.10.2003): 890. http://dx.doi.org/10.2307/20061602.

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Blaine, Marlin. „George Jeffreys’s Translation of a Latin Epigram on Casimire and Hosschius’s Elegy on Sarbiewski“. Humanistica Lovaniensia 70, Nr. 1 (25.10.2021): 141–48. http://dx.doi.org/10.30986/2021.141.

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The “Poems of Doubtful Authorship” in modern editions of Samuel Johnson’s poetry include three Latin poems that were first associated with Johnson in 1856. This article reveals the weakness of this alleged “attribution” and discusses the arguments for and against Johnson’s authorship of each poem in turn. While certainty is impossible, it concludes that he possibly wrote the translation Ex cantico Solomonis but that Venus in Armour and The Logical Warehouse are unlikely to be his.

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Brown, Robert. „Three Latin Poems Doubtfully Attributed to Samuel Johnson“. Humanistica Lovaniensia 70, Nr. 1 (25.10.2021): 97–114. http://dx.doi.org/10.30986/2021.97.

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The “Poems of Doubtful Authorship” in modern editions of Samuel Johnson’s poetry include three Latin poems that were first associated with Johnson in 1856. This article reveals the weakness of this alleged “attribution” and discusses the arguments for and against Johnson’s authorship of each poem in turn. While certainty is impossible, it concludes that he possibly wrote the translation Ex cantico Solomonis but that Venus in Armour and The Logical Warehouse are unlikely to be his.

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González Alva, Rafael. „Tres rasgos estilísticos de la Hernandia (1755): hacia una identidad americana“. Literatura Mexicana 33, Nr. 1 (06.03.2022): 9–47. http://dx.doi.org/10.19130/iifl.litmex.2022.33.1.7122x11.

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The objective of this article is to analyze the Gongorism, the polyglotism and the imitatio auctoris of New Spain poets in Hernandia, an 18th century epic poem for which authorship is attributable to the Novohispanic Francisco Ruiz de León as well as to the Spaniard Juan de Buedo y Girón. The study of these three stylistic elements, barely reviewed or unnoticed in previous works, suggests a direct connection to an American context, especially regarding the knowledge of Nahuatl and 17th century Novohispanic poetry, which supports Novohispanic authorship rather than a Spanish one.

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Jackson, Kenneth S. „Guilty Creatures: Renaissance Poetry and the Ethics of Authorship (review)“. Shakespeare Quarterly 54, Nr. 2 (2003): 212–14. http://dx.doi.org/10.1353/shq.2003.0072.

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DuPlessis, Rachel Blau. „Agency, social authorship, and the political aura of contemporary poetry“. Textual Practice 23, Nr. 6 (Dezember 2009): 987–99. http://dx.doi.org/10.1080/09502360903361592.

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Bonebakker, Seeger A. „Appendices to “The Vicissitudes of Two Lines of Poetry”“. Arabist: Budapest Studies in Arabic 18 (1996): 143–61. http://dx.doi.org/10.58513/arabist.1996.18.13.

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This article contains several appendices to a previous article published by the author in The Arabist 17 (1996) under the title “The Vicissitudes of Two Lines of Poetry”. These appendices are intended to shed more light on the authorship of the two qiṭʿas and to make it easier for readers of the earlier article to draw their own conclusions.

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Azizah, Amany Nurul, und Abdul Basid. „The Poetry Anthology Ar-Robi fii qalbi by Sofi Ghoniyah: A Sociology of Author Perspective“. International Journal of Literature Studies 2, Nr. 2 (02.09.2022): 20–28. http://dx.doi.org/10.32996/ijts.2022.2.2.3.

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This study aims to determine the sociology of the author in the poetry anthology Ar-Robi fii Qalbi by Sofi Ghoniyah based on the perspective of Rene Wellek and Austin Warren. This research focuses on four aspects, namely (1) the social background of the author in the anthology of poetry Ar-Robi fii Qalbi by Sofi Ghoniyah based on the perspective of Rene Wellek and Austin Warren; (2) the author's social integration in the poetry anthology Ar-Robi fii Qalbi by Sofi Ghoniyah based on the perspective of Rene Wellek and Austin Warren; (3) author's economic sources in the poetry anthology Ar-Robi fii Qalbi by Sofi Ghoniyah based on the perspective of Rene Wellek and Austin Warren; (4) professionalism in the authorship of Sofi Ghoniyah's anthology of poetry Ar-Robi fii Qalbi based on the perspective of Rene Wellek and Austin Warren. This type of research is qualitative research. The data source of this research uses an anthology of poetry entitled "Ar-robi fii qalbi" by Sofi Ghoniyah. While the secondary data sources of this research were obtained from reading books or journals discussing the sociological theory of the authors Rene Wellek and Austin Warren. Data collection techniques in this study used interview techniques and note-taking techniques. The data validation technique used in this study is to increase persistence, triangulate data, and discuss with colleagues and experts. Meanwhile, for the data analysis technique, this research uses the Miles and Huberman method, namely data reduction, data presentation, and drawing conclusions. The researchers produced several data, namely (1) the author of the poetry anthology Ar-Robi fii qalbi is an educated author and has close interactions with her environment. (2) The author of the poetry anthology Ar-Robi fii qalbi has a high degree of integration. He mingles with the general public. (3) The main economic source of the author in Ar-Robi's poetry anthology is not through her work but in her educational activities. As a teacher, her work is often used as learning material for her students. (4) The author of the poetry anthology Ar-Robi fii qalbi has high professionalism in the authorship of her work.

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Jarniewicz, Jerzy. „Translation-Poems: Blurred Genres and Shifting Authorship in Contemporary English Verse“. Anglica. An International Journal of English Studies, Nr. 32/3 (Oktober 2023): 103–20. http://dx.doi.org/10.7311/0860-5734.32.3.07.

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One of the most interesting tendencies in contemporary English poetry which arguably will develop further and mark the next decades of writing in England, are works which I would call translation-poems, i.e. texts which problematize the distinction between translations and original works, as well as between authors and translators. One could mention here such books as Jo Shapcott’s Tender Taxes (versions of Rilke’s poems), Alice Oswald’s Memorial (a translation of Homer’s The Iliad), and Lavinia Greenlaw’s A Double Sorrow: Troilus and Criseyde (a version of Chaucer’s poem). All three books have been advertised as authored by these English poets; it is only their names that appear on book covers. Significantly, this type of translating, or adapting poetry comes now largely from women writers. Trying to define the blurred genre they are working in, they call it variously: versions, excavations, extrapolations, remixes, etc.

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Septia, Emil, Silvia Marni und Armet Armet. „REPRESENTASI NILAI RELIGI DAN KEPENGARANGAN PUISI-PUISI KARYA TAUFIK ISMAIL“. Poetika 7, Nr. 1 (30.07.2019): 32. http://dx.doi.org/10.22146/poetika.v7i1.43493.

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Penelitian ini memaparkan representasi nilai religi dalam setiap bait-bait puisi karya Taufik Ismail. Puisi yang bernilai religius dapat digunakan untuk menyadarkan masyarakat (pembaca) untuk selalu bersyukur pada Tuhan Sang Penguasa. Kumpulan puisi Debu di Atas Debu: Kumpulan Puisi Dwi-Bahasa karya Taufik Ismail merupakan catatan-catatan emosional zaman dengan gejolak politik dan sikap bangsa Indonesia. Jenis penelitian ini berupa kualitatif dengan metode analisis isi (content analysis) serta pendekatan sosiologi sastra. Hal ini bertujuan untuk mendeskripsikan kepengarangan Taufik yang terdapat pada representasi nilai religi di setiap bait-bait puisi. Melalui seni pedalangan ketika Taufik bermukim di Yogyakarta dan seni bakaba ketika Taufik pindah ke Bukittinggi yang merupakan bentuk gaya kepengaranan seorang penyair yang dipengaruhi kebudayaan lokal, Taufik ingin menyentuh perasaan pembaca akan representasi nilai religius untuk membentuk karakter bangsa.Kata Kunci: representasi; nilai; religi; kepengarangan; puisi This study describes the representation of religious values in each poetic verse by Taufik Ismail. Religious poetry can be used to make people (readers) aware to always be grateful to God the Lord. A collection of Debu di Atas Debu: Kumpulan Puisi Dwi-Bahasa by Taufik Ismail is an emotional record of the times with political turmoil and the attitude of the Indonesian people. This type of research is qualitative with the method of content analysis and the sociological approach of literature. This is aimed at describing Taufik's authorship in the representation of religious values in each verse of poetry. Through the art of puppetry when Taufik settled in Yogyakarta and bakaba art when Taufik moved to Bukittinggi which was a form of the poet's sound style influenced by local culture, Taufik wanted to touch the readers' feelings about the representation of religious values to shape the nation's character.Keywords: representation; values; religion; authorship; poetry

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Samin, Nadav. „Poetry, Magic, and the Formation of Wahhabism“. Journal of the Economic and Social History of the Orient 65, Nr. 1-2 (18.02.2022): 1–26. http://dx.doi.org/10.1163/15685209-12341561.

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Abstract The Sunni revivalist Muḥammad Ibn ʿAbd al-Wahhāb (d. 1792) has been subjected to rigorous scrutiny by a number of scholars. Much remains unknown about Ibn ʿAbd al-Wahhāb’s life and work, however, not least the rationale behind his idiosyncratic style of authorship. Examining the scholar’s theological writings from the vantage point of Arabia’s oral vernacular and popular religious traditions casts new light on the particularities of Ibn ʿAbd al-Wahhāb’s appeal. That appeal, this paper argues, is rooted in phenomena that were seemingly peripheral or even anathema to his puritanical religious mission, namely, poetry and magic.

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Aquilina, Mario. „The Event of Style in Shakespeare's Sonnets“. Oxford Literary Review 37, Nr. 1 (Juli 2015): 119–39. http://dx.doi.org/10.3366/olr.2015.0153.

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This essay brings to bear Jacques Derrida's thinking of the ‘event’ and the ‘signature’, specifically in his reading of Francis Ponge's poetry, on the work of style in selected sonnets by Shakespeare. It argues that rather than functioning exclusively as a trace of identification and ownership, the event of style depends on the countersignature of the readers to come in ways that disrupt the teleocratic thinking at the heart of attribution studies in the authorship question. Style has a key role in the authorship controversy. It serves as internal evidence that allows critics to make claims about the authorship of Shakespeare's oeuvre. However, style in the sonnets, while signing for the author, also defaces and dispossesses him in ways that are partly rooted in the epideictic tradition from which the sonnets stem and partly intrinsic to the logic or structure of style as an event.

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Vayntrub, Jacqueline. „Before Authorship: Solomon and Prov. 1:1“. Biblical Interpretation 26, Nr. 2 (07.05.2018): 182–206. http://dx.doi.org/10.1163/15685152-00262p03.

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How should we understand the naming of legendary figures like Solomon in biblical titles? The ancient practice of attribution is often obscured by scholars committed to the modern construction of authorship. Texts such as 11QPsa XXVII (“David’s Compositions”) demonstrate an altogether different understanding of this ancient practice. Using Prov. 1:1 as a test case, this essay examines how biblical authors and editors assigned texts to legendary figures, and how this kind of attribution evokes a set of imagined associations in the broader literary tradition. The essay presents a description and categorization of biblical titles and textual frames, and compares these titles and frames to textual frames of ancient Near Eastern and Mediterranean collections of instruction and poetry. The essay argues that Prov. 1:1, like other textual frames, uses attribution to imaginatively stage the text in the broader literary tradition.

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Priventa, Hendrike. „AESTHETIC VALUE IN TITLE IN “HUJAN BULAN JUNI” BY SAPARDI DJOKO DAMONO AND “MALAIKAT JUGA TAHU” BY DEWI LESTARI“. Multilingual 19, Nr. 2 (19.12.2020): 174–82. http://dx.doi.org/10.26499/multilingual.v19i2.166.

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Poetry is a form of literary genre that is full of aesthetic values. The aesthetic value is wrapped in the elements that make up the poetry. This article discusses a comparison of the aesthetic value of the poem “Hujan Bulan Juni” by Sapardi Djoko Damono and “Angels Also Know” by Dewi Lestari. Intertext studies can be used as a medium to find aesthetic values and determine whether literary works are aesthetic or not. The aesthetic value in the poetry "Rain in June" and "Angels Also Know" are shown in several aspects, namely the elements of sound, diction, and image. The linkage of authorship is also shown through the expansion of the use of elements of the poetry structure. The aesthetic value in both poems influences the process of forming new vehicles such as songs and films which are now more popular with the public.

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Kern, Martin. „Authorship and the Shijing | Fate and Heroism in Early Chinese Poetry“. L’annuaire du Collège de France, Nr. 111 (01.04.2012): 887–90. http://dx.doi.org/10.4000/annuaire-cdf.1785.

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Hammerschmidt, Sören. „Social Authorship and the Mediation of Memory in Anne Grant’s Poetry“. European Romantic Review 30, Nr. 2 (04.03.2019): 199–220. http://dx.doi.org/10.1080/10509585.2019.1582417.

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Lavrentiev, Maxim. „The Experience of Co-authorship. On the Poetry of Alexander Zinoviev“. Almanac “Essays on Conservatism” 1 (27.02.2023): 66–72. http://dx.doi.org/10.24030/24092517-2023-0-1-66-72.

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Several years ago the author of this article was offered to write a foreword to the anthology that included all the poetic legacy of A.A. Zinoviev. But the author’s health condition, the introductory poems of Zinoviev in which he, as if on purpose, disqualifi ed himself as a poet, and his many evident “technical” blunders, - all that didn’t favor and help the creation of that foreword. But now the author of the article assesses Zinoviev’s poetry form a different and specifi c point of view: it provides incentive for co-authorship because contains not only the scattering of small masterpieces, but also the untamable vital force.

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Suryaningsih, Iin, Safira Muhammad und Wael Ali El Sayyed. „Al-Kulira’s Poetry Works of Nazik al-Malaika: Sociological Literature Analysis“. Arabiyat : Jurnal Pendidikan Bahasa Arab dan Kebahasaaraban 10, Nr. 2 (28.12.2023): 230–41. http://dx.doi.org/10.15408/a.v10i2.34840.

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In 1947, Egypt experienced a cholera epidemic that killed thousands of people every day for three months. Furthermore, Nazik al-Malaika wrote a poem entitled al-Kulira. The poem describes events and expresses deep sorrow over the spread of cholera. The poem became the first free poetry in Arabic literature. This study describes the sociological theory of Wellek & Werren's to find state point of view of the author, the sociology of literary works, and the sociology of the readers of al-Kulira’s poetry, with descriptive analysis method and objective approach. The results of this study is in terms of socio-cultural background in authorship; Nazik, was born in an environment that loves science and literature. It was concluded that Nazik's thought of composing al-Kulira's poetry was influenced by the cholera epidemic sweeping Egypt then. Nazik's expressions in his poetry, which are filled with sorrow and sadness, are influenced by the large number of Egyptian people who died due to a cholera epidemic.

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Naaman, Erez. „Authorship and Unity of the Classical Arabic Poem through the Lens of Collaborative Composition“. Arabica 67, Nr. 1 (21.05.2020): 1–59. http://dx.doi.org/10.1163/15700585-12341558.

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Abstract When a classical Arabic poem lacked a noticeable degree of thematic coherence and formal structure, it was at risk of foreign intervention aiming to improve it. Who was recognized in such a case as the author of the poem and on which grounds? This article looks at the interrelated questions of the poem’s unity and its authorship through the lens of collaborative poetry that was practiced by completing verse composed in the past. It presents an analysis of poetic collaboration cases from the second/eighth century to the Ayyubid era, and discusses different practical approaches of poets to authorship questions related to the earlier source poem and their own later completion. In the third/ninth century, as an expansive reservoir of ancient and modern poems became increasingly available, we occasionally notice the marks of plagiary, rather than forgery, on collaborative poems of this type. At the same time, and based on this very expansion, kinds of legitimate poetic influence can be detected in the completions of the later poets. Remarkably, poetic intervention did not cease and the poem conceptually did not achieve an inviolable status, when the scholars replaced the transmitters as the authorities on poetry around the third/ninth century and throughout the period under study. Nevertheless, the cultural domain for reshaping earlier verse changed, and the repertoire of poetry considered as “fair game” for this practice was narrowed down based on quality considerations.

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Bernsdorff, Hans. „P.Oxy. 4711 And The Poetry Of Parthenius“. Journal of Hellenic Studies 127 (November 2007): 1–18. http://dx.doi.org/10.1017/s0075426900001580.

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Abstract:P.Oxy. 4711 (from a papyrus codex of the sixth century AD) contains elegiacs with at least three metamorphosis myths (Adonis, Asterie, Narcisssus). In this article I argue against the suggestion by (among others) the first editor of this papyrus that the verses might be by Parthenius. I do so by examining the evidence for Parthenian authorship (especially the presumed imitations by Ovid and Gregory of Nazianzus) and by comparing the style of the new piece with what we actually possess of Parthenian poetry (especially with fr. 28 Lightfoot, which might come from the Metamorphoseis). Instead I suggest a late date of composition and would regard the fragments as a collection of the-matically arranged διηέματα in verse which are related to the production of progymnasmata in schools.

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Vickers, Brian. „Thomas Watson, Thomas Kyd, and Embedded Poetry“. Studies in Philology 120, Nr. 3 (Juni 2023): 557–601. http://dx.doi.org/10.1353/sip.2023.a903806.

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Abstract: In this essay, I explore the relationship between Thomas Watson and Thomas Kyd in terms of the practice of “embedded poetry,” when a poet reuses borrowings from other poets. Both Kyd and Watson deployed such borrowings skillfully and consciously for a wide range of dramatic and poetic effects. After defining and illustrating Watson’s rhetoric of “Inventions,” I argue for Watson’s authorship of The Teares of Fancie , a 1593 sonnet sequence, and explore the many textual parallels between the poetry of Teares and Kyd’s plays. A close examination of the interplay between these two poets and of Kyd’s judicious echoes of Watson’s sonnets suggests that Kyd’s rhetorical and poetical engagement with Watson’s writing inspired and enriched Kyd’s own dramatic production.

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Müller-Tamm, Jutta. „The Mask in Verse. Imaginary Poets and Their Autobiographical Poetry (Jan Wagner, Die Eulenhasser in den Hallenhäusern)“. European Journal of Life Writing 10 (09.07.2021): SV13—SV32. http://dx.doi.org/10.21827/ejlw.10.37637.

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This article examines German poet Jan Wagner’s Die Eulenhasser in den Hallenhäusern [The Owl Haters in the Hall Houses] (2012) and the effects of fictional authorship with respect to autobiographical poetry. Wagner's fiction of three poets—their lives and their poems—proves to be an artfully ambivalent construction: on the one hand, the link between persona and poetic voice seems to be undeniably given, while on the other hand, the autobiographical impact of the poems appears to be an effect of the reader’s desire and his or her response to the work. Wagner’s text exploits, confirms and, at the same time, challenges the desire to read poetry as autobiographical expression.

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Drozdov, V. A. „The authorship of the poem ‘Ushshaq-nama from the prospect of academic orientalist studies and modern computer technologies“. Orientalistica 3, Nr. 5 (29.12.2020): 1360–78. http://dx.doi.org/10.31696/2618-7043-2020-3-5-1360-1378.

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The poem ‘Ushshaq-nama by Fakhr ad-Din ‘Iraqi (610–688 / 1213–1289) is the first poetical writing on the subject of mystical love in Persian literature. ‘Iraqi’s authorship of this work has never been questioned by researchers. However, the English orientalist J. Baldick 1973 cast a doubt on ‘Iraqi’s authorship of this poem. The article examines in detail the arguments of J. Baldick both from the point of view of the context of the creation of the poem, as well as the methods of the latest computational methods, in particular stylometry. Boldik's arguments concern both the historical and religious context in which ‘Iraqi lived and the peculiarities of his works, primarily the poem‘Ushshaq-name. The paper demonstrates that this computational method may be used for the study of the features of the style of Persian poetry and the confirmation of the authorship of doubtful Persian writings. Further expert decision full-field by Artjoms Šeļa based on stylometric methods for the establishment of the poem ‘Ushshaq- nama is expounded. While the results of the analysis of the historical and religious contexts of the poem may serve as confirmation of the authorship of ‘Iraqi and the refutation of the Baldick hypothesis, the results of the stylometric analysis do not give an unambiguous answer to the question of its authorship.

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Sulaiman, Raziyu Laul. „The Poetic Image and Its Realistic Manifestations in Contemporary Nigerian Arab Poetry "Divan Shawq Ali Talal as a Model" by the Poet Ahmed Al-Tijani Thani Saad“. Dzil Majaz: Journal of Arabic Literature 1, Nr. 2 (20.08.2023): 159–84. http://dx.doi.org/10.58223/dzilmajaz.v1i2.77.

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The research will attempt to uncover the literary trends and their applications, especially in Nigeria, and the most influential literary research methodologies among them, by delving into the literary heritage they left for us to analyze and explain. We aim to identify its prominent features and define its distinct characteristics, as literature is a vast ocean and research and authorship within it encompass various aspects and directions, with diverse forms and colors, particularly if we venture beyond its narrow definition confined to "prose and poetry" and explore its broader cultural meaning, which has spread among ancient civilizations. This entails drawing from every art form, making most of what the Arabic library contains, including poetry, speeches, letters, philosophy, history, criticism, stories, and other sciences and arts, all of which are intrinsic to literature and fall under its domain. By doing so, we can gain a clear understanding of the stages that Nigerian literary research has undergone, as well as the movement of writing and literary authorship among Africans, particularly in Nigeria, both in the past and present. This reveals the significant role played by its speakers in the field of scientific research and literary studies throughout its extended journey. May God grant us success and guide us on the right path.

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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.

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Fata, Frank, und Olivia Holmes. „Assembling the Lyric Self: Authorship from Troubadour Song to Italian Poetry Book“. Italica 78, Nr. 1 (2001): 99. http://dx.doi.org/10.2307/480226.

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King’ei, Kitula. „Aspects of Autobiography in the Classical Swahili Poetry: Problems of Identity of Authorship“. Folklore: Electronic Journal of Folklore 16 (2001): 87–96. http://dx.doi.org/10.7592/fejf2001.16.swahili.

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Merkle, Denise. „Language, politics, and the nineteenth-century French–Canadian official translator“. Beyond transfiction 11, Nr. 3 (07.11.2016): 436–56. http://dx.doi.org/10.1075/tis.11.3.07mer.

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This article aims to contribute to the history of Canadian official translators by looking at three activist translators who were also published writers in post-confederation nineteenth-century Canada. All three francophone official translators “exiled” to Ottawa, the newly designated capital of the young confederation, were actively engaged in creating francophone spaces in and from which they could promote French-Canadian cultures and the French language. Refusing to submit passively to Anglo-dominated government authorship and to the increasingly anglicized Canadian landscape, they coordinated their efforts to carve out a distinct and distinctive place for Canadian francophones. Their weapon of choice in confronting Anglo-Canadian hegemony was authorship. From historical narrative, to novels, caustic songs and nationalist poetry, their writings nurtured pride in the shared history of French-Canadians from different backgrounds — despite the traumatic Grand Dérangement and Conquête — and generated hope for the future of their nation(s).

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Cebrián, José. „Texto crítico del Hernán Cortés de Viera y Clavijo“. (an)ecdótica 6, Nr. 2 (30.06.2022): 9–50. http://dx.doi.org/10.19130/iifl.anec.2022.6.2.651x0021.

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This paper gives an account of the first poem’s version that Abbé Viera y Clavijo sent to first poetry prize of Spanish Royal Academy under the title of Hernán Cortés (1777), whose authorship has gone unnoticed by critics. Opinions of academicians in payment of non-granting of prize as well as ins and outs are too analyzed. Finally, ecdotics of text in reverse edition is addressed, essential for a future critical edition of Viera’s last poetical will he entitled El segundo Agatocles.

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Tomadaki, Maria. „An unpublished poem on Porphyry“. Byzantinische Zeitschrift 111, Nr. 3 (01.09.2018): 777–92. http://dx.doi.org/10.1515/bz-2018-0021.

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Abstract This paper offers an editio princeps, an English translation and a commentary of an interesting epigram on Porphyry, the commentator of Aristotle. The epigram was transcribed in Vat. Reg. 166 by Ioannes Malaxos (16th c.) and is ascribed to Petros Servilos, a poet unknown from other sources. The paper discusses the poem’s manuscript context, as well as its authorship, genre, content and function. Further, it attempts to shed light on the poem’s relation to Porphyry’s philosophy and his reception in Byzantine poetry.

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Müller, Juliane. „Planets in Alchemy“. Journal of Arabic and Islamic Studies 22 (01.03.2022): 1–30. http://dx.doi.org/10.5617/jais.9570.

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The Arabic alchemical poetry collection Shudhūr al-dhahab (“The Splinters of Gold”) by Ibn Arfaʿ Raʾs (fl. 12th and/or 13th c.) has engendered a remarkably rich commentary tradition, both in separate works and in manuscript glosses, written and copied from the 12th/13th to the 20th centuries. Of particular interest to the commentators was the first poem of the collection. It was known as al-Kawkabiyya (“The Planetary Poem”) since the seven classical planets are the principal agents in its two opening verses. After providing a survey of all known commentaries on Shudhūr al-dhahab and of the poetry collection’s manuscripts with glosses on the “planetary” verses, this article analyses their explanations, particularly with regard to the interrelations of astrological and alchemical imagery. It also includes an edition of an alchemical poem of unclear authorship, which was probably composed as an imitation of the first poem of Shudhūr al-dhahab by emulating its references to the planets. Keywords: Arabic alchemy – Arabic astrology – Arabic manuscripts – commentaries – glosses – alchemical poetry

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Kotásek, Miroslav. „Terre I. Bl.: Ivan Blatný a (re)konstrukce jeho místa v české kultuře“. Slavica Wratislaviensia 173 (07.10.2020): 371–82. http://dx.doi.org/10.19195/0137-1150.173.30.

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The article analyzes the relationship between the official cultural discourse, “lifeˮ and “workˮ of Ivan Blatný in his British exile. While pointing at several forms of the said relationship the specifics of Blatnýʼs writing in exile are being disclosed, especially concerning the role of memory, body, and autobiography. The article sees the key strategy of writing in Blatnýʼs treatment of proper names. It especially concentrates on the signature “I. Bl.ˮ, which points at its own ambivalence, in a way questioning the institution of authorship. Through his writing, Ivan Blatný is leaving the predominantly hermeneutic sphere of meaning and sense (aesthetics and art) and in a surrealistic gesture uses poetry writing as an existential act, embodying the material, bodily, visceral aspects of “lifeˮ. The analysis is grounded in a brief outline of the differences between poetry and prose “memoryˮ witing.

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Williamson, Thea. „Authoring Selves in School: Adolescent Writing Identity“. Literacy Research: Theory, Method, and Practice 68, Nr. 1 (22.08.2019): 250–70. http://dx.doi.org/10.1177/2381336919870291.

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This embedded case study investigates the nature of authorship in a secondary English Language Arts classroom by examining two adolescents’ writing identities and experiences writing across genres. Using rhetorical genre theory, the study illustrates how composition and notions of authorship in this context were strongly informed by conversations—both with peers and the teacher. An additional finding was that students wrote themselves into different genre identities as they composed poetry, editorials, and memoirs, drawing on different authorial stances and sources of knowledge. Finally, this analysis documents robust learning about the nature of writing, including transferring rhetorical strategies across contexts and purposes, skills often called for in education policy as well as career and college writing, not documented in secondary schools. Implications for teaching include valuing relationship-building conversations, offering students multiple genre positions across secondary writing experiences, and considering ways to build upon writers’ self-described and socially constructed identities as successful writers.

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D.S., Muhammad, Bello N. und Madawaki A.M. „Hausa-Ajami Poetry in the Study of the Sokoto Caliphate: The Anatomy of Wallahi-Wallahi“. African Journal of Culture, History, Religion and Traditions 6, Nr. 2 (29.08.2023): 25–34. http://dx.doi.org/10.52589/ajchrt-lp4n2g7z.

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One of the important intellectual legacies left by the founding fathers of the Sokoto Caliphate was Hausa Ajami literary tradition through poetry. Poetry has been used by the Sokoto Ulama and their lieutenants as a mechanism through which Islamic knowledge was transmitted to the Muslim community, considering the fact that a large number of Hausa people could not understand Arabic language fluently. In the poem, the Shehu exonerates himself for acting unjustly, and accuses the Habe rulers for advocating political corruption and social injustice, which are contrary to the Islamic Shari’ah. In this paper, an attempt has been made to examine the authorship controversy, reasons for the poem and the lessons learnt from it. It is the position of the paper that the teachings of the poem will play a significant role in reducing the rate of political corruption and social injustice in our societies if put into consideration.

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