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"

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, no. 3 (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, no. 2 (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, no. 6 (2019): 1819–21. http://dx.doi.org/10.22161/ijels.46.30.

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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, no. 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, and Hedye Kasiri. "Investigating the Manifestations of Nostalgia in the Poems of Amiri Firuzkuhi." International Journal of Multicultural and Multireligious Understanding 7, no. 11 (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, no. 2 (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 (May 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, no. 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, no. 38 (March 1, 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, and Sethu Kalpana S. "Meera the Poet and Dravidian Ideology." International Research Journal of Tamil 4, S-5 (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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