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Thematische Bibliographien / Poets of childhood

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Auswahl der wissenschaftlichen Literatur zum Thema „Poets of childhood“

Autor: Grafiati

Veröffentlicht am 18. Mai 2024

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Zeitschriftenartikel zum Thema "Poets of childhood"

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Sipkina, Nina Ya. „Cycle of Poems “Aleshkin’s Thoughts” by R.I. Rozhdestvensky: Development of the Traditions of the Genres of Children’s Folklore“. Proceedings of Southern Federal University. Philology 25, Nr. 3 (30.09.2021): 131–43. http://dx.doi.org/10.18522/1995-0640-2021-3-131-143.

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In the third decade of the twenty-first century, the bundle of poetic energy left by talented poets as a legacy to the generation of Russian people who stepped into the world of high technologies does not allow them to sleep peacefully. This is evidenced by the endless stream of films and programs about people who managed to melt the block of totalitarianism. We are talking about the poets of the sixties, including R. I. Rozhdestvensky. His work for more than sixty years excites the reader: lyrics (landscape, love, philosophical, civil, confessional) and poems (“Requiem”, “Dedication”, “Before you Come”, “Waiting”, etc.). This article analyzes the cycle of poems “Aleshkin’s Thoughts” by R. I. Rozhdestvensky, which reflects the artistic world of childhood and has autobiographical features. The poet’s childhood associations were embedded in the poems-monologues of the three-yearold lyric character. The influence of children’s folklore on the structure and content of the cycle is traced. The development of genres of children’s folklore (fairy tales, jokes, nursery rhymes, tall tales, shifters, parodies, witticisms, horror stories, teasers, mimicry, mockingbirds, jokes, excuses, etc.) in the poems “Aleshkin’s thoughts” is revealed. It is noted that the continuation of the development of genres of children’s folklore in the work helped to reflect the serious-laughing perception of the author of the cycle on the life events of the baby.

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Kürtösi, Katalin. „Poets of Bifurcated Tongues, or on the Plurilingualism of Canadian-Hungarian Poets“. TTR : traduction, terminologie, rédaction 6, Nr. 2 (16.03.2007): 103–30. http://dx.doi.org/10.7202/037153ar.

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Abstract Poets of Bifurcated Tongues, or on the plurilingualism of Canadian-Hungarian Poets — This article aims at an analysis of the plurilingualism of four poets of Hungarian origin, living in Canada: Robert Zend, George Vitéz, László Kemenes Géfin and Endre Farkas. Before examining the poems themselves, the various concepts of plurilingualism and the aspects of grouping these poems, including the code-switching strategies used in them, are reviewed. The base language and the nature of code-switching is discussed with a special emphasis on the relationship of grammatical units, intra- and intersentential switches within contexts where plurilingualism occurs. The first three poets have become bilinguals as adults: they form part of Hungarian literature as well as of Canadian writing. The last one, however, has a childhood bilingualism and is considered an English-Canadian Poet. Since they have a twofold minority status (Hungarian origins, plus writing in English in Montréal), analysis of these poets requires a special approach. The main hypothesis of the article is that, when using more than one language within the same work, the author is able to reach special effects which would be otherwise impossible. These poems, plurilingual in nature, also show that, for these authors, language is of multiple use: not only is language a tool of communication, but also the theme of some of their poems: they are often self-reflexive, making formal and semantic experimentation possible.

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Anjum, Tasneem. „Reminiscences of Childhood for Confessional Poets“. International Journal of English Literature and Social Sciences 4, Nr. 6 (2019): 1819–21. http://dx.doi.org/10.22161/ijels.46.30.

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4

Verina, Ulyana. „The joy of recognition, a sense of difference: about the book of poems by poets of bulgaria for children translated by m. Yasnov“. Children's Readings: Studies in Children's Literature 18, Nr. 2 (2020): 474–84. http://dx.doi.org/10.31860/2304-5817-2020-2-18-474-484.

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The book “A Box with Fairy Tales” includes poems by contemporary Bulgarian poets for children. It presents poets of different generations, each with their own special creative approach. Translations made by M. Yasnov embodied the idea of both unity and diversity at the same time. They bring the world of Bulgarian poetry closer to the Russian-speaking reader but maintain enough of a distance to allow the child to experience difference in message and style. The composition of the book is constructed in accordance with this idea: the poems are grouped into two parts and they follow the theme rather than a particular author. Information about the Bulgarian poets is given at the end in a form of small biographical vignettes. The themes in the book cover the timeline from early childhood to the threshold of adulthood. The book celebrates the creative legacy of the Bulgarian authors such as Z. Vasileva, V. Samuilov, M. Dalgacheva, P. Kokudeva, and I. Tsanev. Yasnov’s translations reveal a rich variety of poetic forms and language play in the original such as syntax and graphics, phonics, vocabulary that stand out on all levels of the poetic text. A particular tribute is payed to the author of the biographical articles on Bulgarian poets, Dr. G. Petkova, Sofia University of “St. Kliment Ohridsky” as well as to the artist O. Yavich for their contribution to this book.

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Mahdavi, Batul, und Hedye Kasiri. „Investigating the Manifestations of Nostalgia in the Poems of Amiri Firuzkuhi“. International Journal of Multicultural and Multireligious Understanding 7, Nr. 11 (16.12.2020): 411. http://dx.doi.org/10.18415/ijmmu.v7i11.2276.

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A wistful desire to return in thought or in fact to a former time in one's life is called nostalgia. It has been one of the issues raised in psychology and later was considered in literature. It turned to the source and theme of many literary works. Amiri Firuzkoohi is one of the poets who used nostalgia in his poems. This paper aims at studying the examples of nostalgia in Amiri's poems. The results show that the examples reflect a wistful desire to return to happy days of youth and childhood.

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Conrad, Rachel. „“We Are Masters at Childhood”: Time and Agency in Poetry by, for, and about Children“. Jeunesse: Young People, Texts, Cultures 5, Nr. 2 (Dezember 2013): 124–50. http://dx.doi.org/10.3138/jeunesse.5.2.124.

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This essay considers a selection of poetry by, for, and about children in order to explore representations of time and agency. Reading poems across contexts of writers’ age-related social positions and audiences can illuminate poets’ strategies for representing children’s agency in and over time, since representations of time are infused with adult-child power relations. Only poems written by young people conveyed a conception of temporal agency that encompassed characters’ experiences of time as children. The essay concludes by proposing a notion of children’s temporal standpoints that incorporates agency at the levels of action and social role.

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Kamaladdini, Seied Mohammad Bagher. „Abai and Firdowsi“. International Letters of Social and Humanistic Sciences 51 (Mai 2015): 147–51. http://dx.doi.org/10.18052/www.scipress.com/ilshs.51.147.

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Abay Qunanbaev (Qunanbaiuli) was the founder and architect of Kazakh written literature. Since his childhood, he studied religious science and got acquainted with eastern literature, particularly Iranian classic literature and Persian poetry and poets such as Ferdowsi, Hafiz, Sa’adi, Molavi, Nezami and etc.Abay read epic poetry and odes from the great eastern poets on their original texts or Jugatay (old language of central Asia) translations and first raised prosody derived from Persian poetry in Kazakh poetry and this way many Persian vocabulary entered Kazakh language.Using a bibliographic method, the author in current research studies this Kazakh poet’s works from valid and reliable resources. Regarding the special attention paid by this poet to the existing concepts in Persian poetry, particularly those of Ferdowsi, we have attempted to express some of their similarities.

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Yakimenko, Oxana. „The totems and taboos in the hungarian children’s poetry: yesterday and today“. Children's Readings: Studies in Children's Literature 18, Nr. 2 (2020): 326–40. http://dx.doi.org/10.31860/2304-5817-2020-2-18-326-340.

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The article describes most notable trends in contemporary children’s poetry in Hungary. Developing in line with European and world trends, Hungarian children’s poetry is an integral part of national literature, which, in turn, has influenced the topics poets have been choosing and/or avoiding. In the early 20th century, the way children’s poetry was perceived in Hungary changed dramatically due to the developments in the society and literature; poetry for (and about) children had gradually evolved into an independent genre. With childhood experience “growing in value”, perception of a child as an independent person, and not as a “underaged adult”, had an effect on the increase in the numbers of texts where authors shared their own childhood experiences, and on the emergence of a whole new body of children’s literature. Sándor Weöres’s poems became a watershed for Hungarian children’s poetry. New principles he proposed formed the basis for poetic texts that have been created over the past seventy years. Following the precepts of Weöres and other authors of his generation, modern Hungarian poets combine rhythmic and phonetic richness of their native language with topics relevant to modern children, and expand the genre of children’s poetry, enriching the national and European children’s poetic canon.

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Haft, Adele J. „The Poet As Map-Maker: The Cartographic Inspiration and Influence of Elizabeth Bishop’s “The Map”“. Cartographic Perspectives, Nr. 38 (01.03.2001): 37–65. http://dx.doi.org/10.14714/cp38.794.

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New Year’s Eve of 1934 found Elizabeth Bishop recuperating from the flu. Out of her isolation, the recently orphaned 23-year-old created “The Map.” Inspired by a map’s depiction of the North Atlantic, Bishop’s exquisite poem alludes in part to the “seashore towns” and coastal waters of her childhood home, Nova Scotia. A seminal twentieth-century poem about maps, Bishop’s “The Map” has inspired a host of other mappoems since it opened her Pulitzer prize-winning collection, Poems: North & South—A Cold Spring, in 1955. My paper, the third in a series advocating the use of poetry in the teaching of geography, will attempt to elucidate Bishop’s masterpiece and introduce the map that, I believe, inspired her poem. The paper also will present two works influenced by “The Map”: Howard Nemerov’s “The Map-Maker on His Art” (1957) and Mark Strand’s “The Map” (1960). Linking these three acclaimed American poets even further is their recognition of an intimate and explicit connection between poets and cartographers.

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A, Suthakar, und Sethu Kalpana S. „Meera the Poet and Dravidian Ideology“. International Research Journal of Tamil 4, S-5 (25.08.2022): 178–83. http://dx.doi.org/10.34256/irjt22s527.

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Poet Meera is an eloquent and conceptual interpreter, who uses simple words to polish profound ideas into her poetic wit. Poet Meera is a poetess who added beauty to Mother Tamil. Ever since her childhood, she had an insatiable love for poetry and poets, and to that extent the Dravidian Kazhagam worshipped the rationalists of the Dravidian movement like Periyar, Anna and Kalaignar. She was born to restore human society like a Sivagangai Seeman. This article explains the human feelings, progressive thoughts, the words she wanted to say emphatically and deeply, poems and essays by aligning them with Dravidian principles.

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Dissertationen zum Thema "Poets of childhood"

1

Roy, Anandamoy. „Poets of childhood:a study of William Blake and Rabindra Nath Tagore“. Thesis, University of North Bengal, 2002. http://hdl.handle.net/123456789/1119.

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Ring, Carmen Maria [Verfasser], und Ch F. [Akademischer Betreuer] Poets. „Orthodontic risk factors for obstructive sleep apnea in childhood : a pilot study (ORFOS Project) / Carmen Maria Ring ; Betreuer: Ch. F. Poets“. Tübingen : Universitätsbibliothek Tübingen, 2016. http://d-nb.info/1197695044/34.

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Ring, Carmen [Verfasser], und Ch F. [Akademischer Betreuer] Poets. „Orthodontic risk factors for obstructive sleep apnea in childhood : a pilot study (ORFOS Project) / Carmen Maria Ring ; Betreuer: Ch. F. Poets“. Tübingen : Universitätsbibliothek Tübingen, 2016. http://d-nb.info/1197695044/34.

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Wong, Chu-wah, und 黃珠華. „The poems of Yu Guangzhong and childhood reverie“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B41004942.

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Kandeh, Kar Zahra. „A Lacanian study of the childhood representation in William Wordsworth's poems and William Adolphe Bouguereau's paintings“. Thesis, Mulhouse, 2021. https://www.learning-center.uha.fr/.

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Cette thèse est une entreprise lacanienne interdisciplinaire pour aborder la représentation de l'enfance dans The Prelude de William Wordsworth et certaines peintures de William Adolphe Bouguereau. L'enfance est une image chargée de romance, souvent associée à la glorification nostalgique de l'enfance ou à une fixation sur les enfants en tant qu'incarnations de la beauté et de la sauvagerie par excellence. Wordsworth et Bouguereau, cependant, en tant que deux romantiques canoniques, montrent que ces lectures sont intenables, car les représentations de l'enfance dans leurs œuvres d'art sont un espace sur lequel ils ont projeté leur propre intérieur en tant qu'adultes, qu'il s'agisse de sentiments agréables, tels que le sentiment d'unité, le réconfort et l'attachement ou des sentiments désagréables, tels que l'anxiété, le sentiment de perte et le deuil. L'enfance a des modalités variées dans la littérature et la peinture romantiques, mais une approche similaire de cette image est l'un des dénominateurs communs entre ces deux artistes, dont l'étude en dit long sur les époques historiques dans lesquelles ils vivaient, ainsi que leurs réponses à leur milieux Cette étude démêle également la masse des diverses idéologies de l'enfance qui dominent le 19e siècle en tant que « siècle de l'enfant, » un siècle au cours duquel artistes et militants ont écrit « pour » et/ou « sur » les enfants à des fins pédagogiques, divertissantes, idéologiques, révélatrices, historiques. Alors que Wordsworth a écrit « sur » l'enfance comme une métaphore pour approfondir les intersections psychologiques de l'enfance et de l'âge adulte, Bouguereau a pris la même position dans la majorité de ses peintures, mais il est tombé dans l'écueil de confondre « pour » et « sur » les enfants dans quelques-unes de ses peintures « misérabilistes, » qui sont aujourd'hui accusées à juste titre de romancer la misère des enfants. Cette catégorie de ses peintures n'a certainement pas considérée dans cette étude. Compte tenu de notre connaissance au XXIe siècle de l'inconscient et de ses liens avec les souvenirs d'enfance, il est révélateur de cartographier les représentations nuancées de l'enfance dans The Prelude de Wordsworth et les peintures de Bouguereau à la lumière de la psychanalyse de Lacan. D'une part, Lacan, dont la thèse de doctorat était La psychose paranoïaque et son rapport à la personnalité (1932), a consacré une bonne partie de ses analyses aux paradigmes psychiques formés dans l'enfance qui définissent nos personnalités d'adultes. Il a transformé les théories trépidantes de Freud sur l'inconscient en données formalistes et structurées fondées sur les subtilités du langage. Textuel, le modèle de Lacan nous propose une approche qui prend comme point de départ les spécificités rhétoriques et sémantiques d'un texte, d'une peinture ou d'une poésie, pour mettre en évidence les opérations psychiques en jeu, ce que Peter Brooks appelle les « zones de jeu » d'un texte. La psychanalyse appliquée lacanienne peut supprimer les explications téléologiques que la plupart des approches psychanalytiques cherchent à trouver, car elle soulève des arguments plutôt que de les fermer. Avec ces considérations, cette étude vise à démêler les opérations psychiques encapsulées dans les représentations de l'enfance dans The Prelude de Wordsworth et les peintures de Bouguereau, qui s'articulent, entre autres, sur le « corps morcelé » lacanien, ces images de la désunion, de la désincarnation, de l'émasculation, ainsi que de la gestalt, qui a à voir avec l'unité et la plénitude. Ces deux concepts sont des éléments essentiels d'une « libre association » psychanalytique, car tandis que le premier signale la réalisation de la construction illusoire du moi d'un sujet, la seconde est une construction imaginaire qui a des effets constitutifs et formateurs sur l'organisme ainsi que sur la croissance psychologie des humains
This dissertation is an interdisciplinary Lacanian venture to address childhood representations in William Wordsworth’s The Prelude and some of William Adolphe Bouguereau’s paintings. Childhood is a romantically-charged image, often associated with the nostalgic glorification of childhood or with a fixation on children as the embodiments of quintessential beauty and savageness. Wordsworth and Bouguereau, however, as two canonical Romantics, prove these readings untenable, for childhood representations in their artworks is a space onto which they have projected their own innermost as adults, be it pleasant feelings, such as sense of unity, reassurance, and attachment, or unpleasant feelings, such as anxiety, sense of loss, and mourning. Childhood has variegated modalities in Romantic literature and painting, but similar approach to this image is one of the common denominators between these two artists, the study of which also unfolds a great deal about the historical epochs in which they were living, as well as their responses to their milieus as two very astute and talented observers. This study also disentangles the mass of varying child ideologies that dominates the 19th century as the “child century,” a century in which artists and activists wrote “for” and/or “about” children for pedagogical, entertaining, ideological, illuminating, historical reasons. While Wordsworth wrote “about” childhood as a metaphor to delve into the psychological intersections of childhood and adulthood, Bouguereau took the same position in the majority of his paintings, but he fell into the pitfall of confusing “for” and “about” children in few of his “miserabilist” paintings, which are today justly accused of romanticizing children’s misery. This strand of his paintings has definitely not been instanced in this study. Given our twenty-first century awareness of the unconscious and its connections to childhood memories, it is illuminating to map out nuanced childhood representations in Wordsworth’s The Prelude and Bouguereau’s paintings in the light of Lacan’s psychoanalysis. For one thing, Lacan, whose doctoral dissertation was Paranoid Psychosis and Its Relation to the Personality (1932), dedicated a great deal of his analyses to the psychic paradigms formed in childhood that define our personalities as adults. He turned Freud’s hectic theories of the unconscious into formalistic and structured data predicated on the subtleties of language. Text-oriented, Lacan’s model provides us with an approach which uses the rhetoric and semantic specificities of a text, painting or poetry, as a point of departure to bring in the fore the psychic operations at play, that which Peter Brooks calls the “play zones” of a text. Lacanian applied psychoanalysis can do away with the teleological explanations most psychoanalytical approaches seek to find, for it raises discussions rather than to close them. With these considerations, this study aims to unravel psychic operations encapsulated in childhood representations in Wordsworth’s The Prelude and Bouguereau’s paintings, which hinge on, among others, Lacanian “fragmented body” (corps morcelé), the images which have to do with disunity, disembodiment, emasculation, and so on, or gestalt matrix, which has to do with unity and wholeness. These two concepts are essential parts of a psychoanalytical “free association,” for while the former signals the realization of the illusory construct of a subject’s egos, the latter is an imaginary construct that has constitutive and formative effects on organism as well as humans’ psychological growth

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Wong, Chu-wah. „The poems of Yu Guangzhong and childhood reverie an analysis with reference to Gaston Bachelard's anima poetics = Yu Guangzhong shi ge yu tong nian de meng xiang : yi Bashenla de Annima shi xue zuo yi fen xi /“. Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B41004942.

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Bücher zum Thema "Poets of childhood"

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Sift: Memories of childhood. Exeter: Impress Books, 2010.

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A lucky American childhood. Iowa City: University of Iowa Press, 1996.

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Jordan, June. Soldier: A poet's childhood. New York: Basic Civitas Books, 2000.

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Exiled memories: A Cuban childhood. Austin: University of Texas Press, 1990.

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There'll always be an England: A poet's childhood, 1929-1945. Tarset [England]: Bloodaxe Books, 2003.

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Galvin, Patrick. Song for a poor boy: A Cork childhood. Dublin: Raven Arts, 1990.

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In the blood: A memoir of my childhood. London: Faber and Faber, 2006.

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In the blood: A memoir of my childhood. Boston: David R. Godine, 2007.

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9

Margaret, Gibson. The prodigal daughter: Reclaiming an unfinished childhood. Columbia: University of Missouri Press, 2008.

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The prodigal daughter: Reclaiming an unfinished childhood. Columbia: University of Missouri Press, 2008.

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Buchteile zum Thema "Poets of childhood"

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Munro, Lucy. „Infant Poets and Child Players: The Literary Performance of Childhood in Caroline England“. In The Child in British Literature, 54–68. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230361867_4.

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Shatova, Irina. „Тема війни і миру в сучасній українській поезії“. In Biblioteca di Studi Slavistici, 289–309. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0238-1.25.

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The Perception of War and Peace in Modern Ukrainian Poetry. Ukrainians are going through a very difficult, traumatic, catastrophic experience. Contemporary Ukrainian poetry about the war, for instance, is closely connected with the themes of women and childhood during the war. The tragedy of mothers who stayed with their children in Ukraine or went abroad to save their children is sometimes depicted in a folk-poetic style or acquires an interpretation close to the biblical one. There is a tragic, mythologized, figure of a warrior woman, and a widow. There are also poems that express the feelings and experiences of Ukrainians during the war, their psychological trauma and transformation, and the horrific experience of being physically present at war. Like most Ukrainians after February 24, 2022, the poets are acutely aware of the war against Ukrainian identity and language. The invasion of Ukraine has greatly accelerated the process of national self-identification, as evidenced by the poetry. Most Ukrainian authors are not interested in the war as such, but in the human being at war: at the front and in the rear. An individual person, his or her suffering, pain, trials, emotions, feelings, traumas, struggle, love, and death have become the main object of depiction. The heroes of Ukrainian contemporary poetry are ordinary people who were destined to defend their homeland and become warriors; they are also civilians in the rear and evacuated, suffering from the cruel burden of war but finding the strength to resist stress and fatigue.

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Ibrahim, Awad. „Tupac Shakur: Spoken Word Poets as Cultural Theorists“. In Literary Cultures and Twentieth-Century Childhoods, 255–72. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-35392-6_15.

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Conrad, Rachel, und Cai Rodrigues-Sherley. „Kali Grosvenor, Aurelia Davidson, and the Agency of Young Black Poets“. In Literary Cultures and Twentieth-Century Childhoods, 219–36. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-35392-6_13.

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González-Moreno, Fernando, und Margarita Rigal-Aragón. „Reading, Understanding, and Praising Poe’s Illustrated Oeuvre: From Childhood to Old Age“. In Retrospective Poe, 155–76. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-09986-1_9.

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McKenzie, Ellen. „Heroes, Victims, Sacrifices, and Survivors: A Qualitative Analysis of Early Childhood Teachers’ Social Media Posts During COVID-19“. In Educating the Young Child, 33–65. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-96977-6_3.

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„CHILDHOOD“. In The Frenzied Poets, 33–44. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8500946.6.

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Paige, Anna. „A Multidisciplinary Approach to Teaching Poetry in the Classroom“. In Advances in Early Childhood and K-12 Education, 218–34. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-2971-3.ch018.

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Poetry is a powerful tool to further trust and empathy within the classroom while teaching skills that align with elementary curricula. In the classroom, poetry encourages students to express themselves while supporting writing, comprehension, reading proficiency, and public speaking skills. Modeled after other successful writing-in-the-schools programs across the country, the Young Poets program in Billings, Montana engages students Grades 3–12 in creative brainstorming, analysis, and problem solving, while creative writing fosters a sense of agency in these students, who begin to see themselves as writers. Across 12 weeks, students develop an appreciation for the work of their peers and develop an ability to articulate their work aloud to others. In this chapter, journalist, poet, and educator Anna Paige discusses her successes and missteps teaching poetry in the classroom and how she's adapted this model to fit with a Title 1 school in Billings, Montana.

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Rawson, Beryl. „Representations“. In Children and Childhood in Roman Italy, 17–92. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780199240340.003.0002.

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Abstract Sacred to the departed spirit of Q^ Sulpicius Maximus, son of Quintus and of the Claudian tribe, a native of Rome. He lived for eleven years, five months and twelve days. He performed at the third celebration of the Competition, amongst 52 Greek poets, and the favour which he attracted through his young age was turned to admiration by his talent: he acquitted himself with honour. His extemporaneous verses are inscribed above, to show that his parents have not been carried away by their affection. Q Sulpicius Eugramus and Licinia lanuaria, his desolate parents, have set this up for their devoted son and for themselves and their successors.

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„Anne Bacon,née COOKE(1528?-1610)“. In Early Modern Women Poets (1520-1700), herausgegeben von Jane Stevenson Peter Davidson, Meg Bateman, Kate Chedgzoy und Julie Saunders, 22–23. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198184263.003.0013.

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Abstract Anne bacon was The second of The five highly educated daughters of Sir Anthony Cooke. She married The physically gross, but intelligent and formidable Nicholas Bacon, Lord Keeper of The Great Seal of England to Qµeen Elizabeth, early in The 1550s, as his second wife. They had three children, Anthony and Francis, and a daughter, who died in childhood. Anthony became a not wholly successful politician, but Francis became one of The most prodigious intellects of The age. Anne was widowed in 1576, and Thereafter took full advantage of her status as femme sole. As widow, she resided at Goreham bury, in receipt of one third of Sir Nicholas’s patrimony, a position which gave her a great deal of power over her sons, who were perpetually short of money.

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Konferenzberichte zum Thema "Poets of childhood"

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Hock, Hans Henrich. „Foreigners, Brahmins, Poets, or What? The Sociolinguistics of the Sanskrit “Renaissance”“. In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.2-3.

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A puzzle in the sociolinguistic history of Sanskrit is that texts with authenticated dates first appear in the 2nd century CE, after five centuries of exclusively Prakrit inscriptions. Various hypotheses have tried to account for this fact. Senart (1886) proposed that Sanskrit gained wider currency through Buddhists and Jains. Franke (1902) claimed that Sanskrit died out in India and was artificially reintroduced. Lévi (1902) argued for usurpation of Sanskrit by the Kshatrapas, foreign rulers who employed brahmins in administrative positions. Pisani (1955) instead viewed the “Sanskrit Renaissance” as the brahmins’ attempt to combat these foreign invaders. Ostler (2005) attributed the victory of Sanskrit to its ‘cultivated, self-conscious charm’; his acknowledgment of prior Sanskrit use by brahmins and kshatriyas suggests that he did not consider the victory a sudden event. The hypothesis that the early-CE public appearance of Sanskrit was a sudden event is revived by Pollock (1996, 2006). He argues that Sanskrit was originally confined to ‘sacerdotal’ contexts; that it never was a natural spoken language, as shown by its inability to communicate childhood experiences; and that ‘the epigraphic record (thin though admittedly it is) suggests … that [tribal chiefs] help[ed] create’ a new political civilization, the “Sanskrit Cosmopolis”, ‘by employing Sanskrit in a hitherto unprecedented way’. Crucial in his argument is the claim that kāvya literature was a foundational characteristic of this new civilization and that kāvya has no significant antecedents. I show that Pollock’s arguments are problematic. He ignores evidence for a continuous non-sacerdotal use of Sanskrit, as in the epics and fables. The employment of nursery words like tāta ‘daddy’/tata ‘sonny’ (also used as general terms of endearment), or ambā/ambikā ‘mommy; mother’ attest to Sanskrit’s ability to communicate childhood experiences. Kāvya, the foundation of Pollock’s “Sanskrit Cosmopolis”, has antecedents in earlier Sanskrit (and Pali). Most important, Pollock fails to show how his powerful political-poetic kāvya tradition could have arisen ex nihilo. To produce their poetry, the poets would have had to draw on a living, spoken language with all its different uses, and that language must have been current in a larger linguistic community beyond the poets, whether that community was restricted to brahmins (as commonly assumed) or also included kshatriyas (as suggested by Ostler). I conclude by considering implications for the “Sanskritization” of Southeast Asia and the possible parallel of modern “Indian English” literature.

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PACIURCA, Aliona. „Sources of Inspiration in Composer Tudor Chiriac’s Creations. “Miorița” the Poem“. In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0010.

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Tudor Chiriac has had numerous sources of inspiration in his creations. While the composer has been consistent in terms of composition principles and key concepts, his sources of inspiration have varied greatly showing his inexhaustible originality and endless imagination. Tudor Chiriac has noticed the beauty, originality and virtues of folklore and popular music since his early childhood, and still is to this day fond of the specific national ethos and melos. Tudor Chiriac followed into Constantin Brăiloiu's footsteps when he supported the development of Romanian academic music in its own musical genres. Thus, due to his clear vision of the development of Romanian music and of the background against which the composition techniques specific to the 20th and 21st centuries have evolved, Tudor Chiriac has refined folklore suggestions in his own, unmistakable manner. Myths, fairy tales and legends are another highly attractive source of inspiration for many creators. Their value lies in the connection to the primordial archetypal meaning endowed with a rich, often esoteric symbolism. Tudor Chiriac has used several themes and symbols inspired by Romanian mythosophy. An edifying example is the poem Miorița, generally acknowledged as a masterpiece in terms of the symbiosis of a ballad theme with the most modern compositional techniques. Tudor Chiriac emphasized the semantics of musical works and the creation of an original ideational concept perceptible by the listener. Therefore, he made a rigorous selection of literary creations from poets/writers from both banks of the Prut River, thus enhancing and further emphasizing the message behind his works.

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Kulagin, A. „ECHOES OF “THE CAPTAIN'S DAUGHTER” IN THE POETRY OF A.S. KUSHNER“. In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3743.rus_lit_20-21/270-274.

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The author examines several poems by Alexander Kushner, containing reminiscences from Pushkin’s novel “The Captain’s Daughter”. All of them are connected with the snowstorm episode from the second chapter of the novel. In Kushner’s creative mind, this episode brings together some important lyrical themes of the poet: the historical fate of the “big country”; winter bad weather, with its rich semantic load suggested by Pushkin’s novel; military childhood; the ability of a person, a creator, to foresee the course of things, growing with age; the special role of Pushkin as a “counselor” in Russian culture.

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Korolev, Michael, Leonid Fedotov, Alexander Ogloblin, Alexander Kopyakov und Dmitry Baranov. „P118 Russia’s first experience of POEMS as a childhood“. In Faculty of Paediatrics of the Royal College of Physicians of Ireland, 9th Europaediatrics Congress, 13–15 June, Dublin, Ireland 2019. BMJ Publishing Group Ltd and Royal College of Paediatrics and Child Health, 2019. http://dx.doi.org/10.1136/archdischild-2019-epa.473.

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Serdesniuc, Cristian. „Symbols and Artistic Ways of Coming Back into Childhood to Grigore Vieru“. In Conferinta stiintifica nationala "Lecturi în memoriam acad. Silviu Berejan", Ediția 6. “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2023. http://dx.doi.org/10.52505/lecturi.2023.06.24.

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First of all, Grigore Vieru is a children`s poet because, under the sign of imagination, he returns through intermedia of them to the lost universe of childhood. The metaphysic return to the distant past means the revenue to the traditions and inland isolation. Being reached to the innocent universe, the poet is totally moved to primordial places by the contact with the mother`s image and the returning to the frame of the native borders. The insistent looking for childhood, by Vieru means nothing but ``looking for himself``. Through the sing of reflection and reminding, the poet redesigned in an artistic way the whole universe of native places which fully marked for him a living creature. The image of the past is suggested esthetically by revealing expression, and the rhymes of Vieru are identified as a confession with the lack of artificial and inner miniature. Being transposed in the hypostasis of a child, the poet gets down in the deep creature of himself to sanctify the universality and for calling the modern man through the perpetuation of spiritual and moral values.

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Barnés, Antonio. „The paths of dreams. A rereading of Antonio Machado’s Galleries“. In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-9.

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Poetic creation and encounter with God are two concepts that the Spanish poet Antonio Machado relates to dreams and childhood. He thus recovers the dream as a sphere of contact with God, overcoming in a certain way the faith/reason dialectic that modernity takes pleasure in emphasising. The dream is beyond reason, and there comes the divine inspiration which can then be translated into “a few true words”. Poetic language thus acquires a status far superior to that of delight: it is the key that allows us to touch the mystery. The relationship between dream and childhood also allows Machado to explore a lost innocence to which one always aspires to return.

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Kostić, Ljiljana. „Književnim tekstom pobediti strah – dečji strahovi u poeziji i prozi Dušana Radovića“. In Savremeno predškolsko vaspitanje i obrazovanje – tendencije, izazovi i mogućnosti. University of Kragujevac, Faculty of Edaucatin in Uzice, 2023. http://dx.doi.org/10.46793/spvo23.235k.

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Dušan Radović’s children’s oeuvre was based on his partnership with his little recipients. Showing understanding for children’s position and their problems, he treated them as his equals, by supporting, encouraging and educating them. Aware of the fact that a children’s poet must be wise so as to be able to teach them something and have them trust him, he revealed the truths of life to them as well as the things they were not familiar with. A significant place in Radović’s oeuvre was occupied by the problem of childhood fears and the ways of overcoming them. The paper deals with Radović’s literary texts in which various childhood fears are thematized and also with the ways of using these texts in the context of overcoming prschoolers’ fears.

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Κalogirou, G., und M. Caracausi. „Childhood and the trauma of war in Nikiforos Vrettakos' short stories and poems“. In VI Международная научная конференция по эллинистике памяти И.И. Ковалевой. Москва: Московский государственный университет им. М.В. Ломоносова, 2021. http://dx.doi.org/10.52607/9785190116113_149.

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Lacomba, Paula. „Le Corbusier y Lilette Ripert. Les Maternelles vous parlent, hacia una pedagogía más humana“. In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.758.

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Resumen: La escuela de l´Unité d´habitation de Marseille se desarrolló a lo largo de más de una década. Los primeros dibujos realizados por Le Corbusier datan de 1944 y surgen varias evoluciones del proyecto hasta alcanzar la propuesta que finalmente se ejecuta en 1953. Durante este periodo surge la voluntad de atender a los principios pedagógicos de Céléstin Freinet de l´Ecole Moderne que estudiará y aplicará en la arquitectura que propone. Las técnicas planteadas por Freinet se desarrollaron en el centro de l´Unité por Lilette Ripert, una ferviente admiradora de Le Corbusier y colaboradora de Freinet, que reflejará en sus escritos, cartas, poemas y dibujos la capacidad de entender la escuela desde su uso. Se trata de una arquitectura que se desarrolla en paralelo a un sistema educativo y tiene la gran capacidad de adaptarse a los cambios que se proponen y seguir teniendo unos espacios docentes de calidad. Es una arquitectura hecha para sus usuarios y que permanece viva a pesar del paso del tiempo. Abstract: The school of l´Unité d´habitation de Marseille developed over more than a decade. The first drawings date back to 1944 and emerge several project proposals until the final one is reached by 1953. During this process Le Corbusier came across with Céléstin Freinet´s pedagogical principles and decided to study and apply them in his architecture. These techniques promoted by Freinet were lately developed in the school by Lilette Ripert, a fervent admirer of Le Corbusier and contributor of Freinet. She was able to understand the school from its use, and showed it in her writings, drawings, letters and poems. The project finally built develops in parallel to the educational system and has the ability to adapt to all changes without losing its spatial qualities. It is indeed a piece of work done with and for its users. Despite the passage of time, it is still alive. Palabras clave: Les Maternelles; Lilette Ripert; Céléstin Freinet; pedagogy; childhood; Le Corbusier. Keywords: Les Maternelles; Lilette Ripert; Céléstin Freinet; pedagogía; infancia; Le Corbusier. DOI: http://dx.doi.org/10.4995/LC2015.2015.758

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