Journal articles on the topic 'Accessible poetry'
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Neira-Piñeiro, María del Rosario. "Children as Implied Readers in Poetry Picturebooks: The Adaptation of Adult Poetry for Young Readers." International Research in Children's Literature 9, no. 1 (July 2016): 1–19. http://dx.doi.org/10.3366/ircl.2016.0179.
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This article analyses Spanish poetry picturebooks for children and young adult readers based on adult poetry. It argues that the main changes that occur in the adaptation process involve the paratexts and literary communication, while the pictures play a prominent role in the creation of the new implied reader. The illustrations transform the original poems in many ways: they can describe, represent the poetic voice, add a story, introduce visual imagery or guide interpretation among other things. Finally, the article examines the pedagogical implications of these picturebooks and argues that they are a good resource for literary education, as they make great literature more attractive and accessible for children and young adults.
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Vydrin, Eugene. "Accessible Utopia: Animating Mimicry in Stevens's Theory of Poetry." Wallace Stevens Journal 42, no. 2 (2018): 191–206. http://dx.doi.org/10.1353/wsj.2018.0022.
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Abdullahi, Kadir Ayinde. "Poetic Style and Social Commitment in Niyi Osundare’s Songs of the Marketplace." Human and Social Studies 6, no. 2 (June 1, 2017): 73–83. http://dx.doi.org/10.1515/hssr-2017-0015.
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Abstract This essay studies some of the poetic devices employed by Osundare to project social commitment and vision in Songs of the Marketplace. It examines how the poet’s deployment of style makes his poetry more accessible to a larger audience than that of his predecessors. Like the oral traditional performance, his poetry employs rich Yoruba oral literary devices in a way that is unique and glaringly innovative. Osundare’s radical poetic style has a clearly defined concept and role. It is also central to the resolution of the polemics of governance and politics in society. The pervasive theme of the collections remains a serious concern for hope out of the decadent situation that has eaten deep into the fabric of our social existence.
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Roling, Bernd. "Victorious Virgin: Early Modern Mary Epics between Theological-Didactical and Epic Poetry (Virgo Victrix: Frühneuzeitliche Marienepik zwischen theologischem Lehrgedicht und Epos)." Daphnis 46, no. 1-2 (March 15, 2018): 30–64. http://dx.doi.org/10.1163/18796583-04601012.
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This paper deals with a neglected subgenre of biblical poetry, namely with epic poems on the life of the Blessed Virgin. After an introduction into the poetic treatment of Mary in early modern latin poetry in general, one single epic poem is discussed in detail, the Mariados libri tres of the Italian-German scholar Giulio Cesare Delfini. As it will be demonstrated, Delfini’s poem included long explanations of medico-theological problems, like the digestion of the Divine Virgin or her intellectual skills, which the poet treated in addition in separate glosses. As result the poem presents itself as hybrid between didactic and epic poetry. In addition the study contains as an Appendix a list of (approximately) all accessible Latin poems, written between 1550 and 1650, on the incarnation and birth of Christ.
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Patzner, Claire. "Tawara Machi’s Bisymmetrical Self." Columbia Journal of Asia 1, no. 2 (December 9, 2022): 37–42. http://dx.doi.org/10.52214/cja.v1i2.10137.
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Tawara Machi is one of the most famous contemporary Japanese poets after the success of her collection of poetry titled Salad Anniversary. This collection of poetry utilized vivid imagery of everyday activities and revitalized the traditional Japanese tanka poetic form. While literary critics often view her poetry as anti-feminist writing that relies heavily on the “waiting woman” trope popularized by early tanka poetry, I argue that her work is multi-dimensional and expands on this trope. Although her writing involves more passive feminism than famous Japanese feminist poets such as Hiromi Itō, it should not be dismissed as docile or unprogressive. Critics also claim her poetry is flat and one note, likely due to its accessible language and short format. However, I believe that her poems are more layered than one might think and that critics should re-examine her work, despite its overwhelming mainstream popularity. In this short essay, I analyze a selection of Tawara’s poems from her collection Salad Anniversary and prove their duality and nuance.
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Elliott, Jackie. "Early Latin Poetry." Brill Research Perspectives in Classical Poetry 2, no. 4 (March 30, 2022): 1–131. http://dx.doi.org/10.1163/25892649-12340006.
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Abstract This analysis explores aspects of the extant fragmentary record of early Roman poetry from its earliest accessible moments through roughly the first hundred and twenty years of its traceable existence. Key questions include how ancient readers made sense of the record as then available to them and how the limitations of their accounts, assumptions, and working methods continue to define the contours of our understanding today. Both using and challenging the standard conceptual frameworks operative in the ancient world, the discussion details what we think we know of the best documented forms, practitioners, contexts, and reception of Roman drama (excluding comedy), epic, and satire in their early instantiations, with occasional glances at the further generic experimentation that accompanied the genesis of literary practice in Rome.
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Blake, Jason. "On Philip Larkin's poetry." Acta Neophilologica 34, no. 1-2 (December 1, 2001): 7–16. http://dx.doi.org/10.4312/an.34.1-2.7-16.
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Using his seemingly crass and apparently pessimistic "This Be the Verse" as a point of departure, this paper examines Philip Larkin's poetry with regard to the poet's own attitude towards the reader. His highly accessible poems, penned in common language, resulted in a reputation as both a 'poet of the people' and a 'philistine'. But for all its crudeness, Larkin's mode of writing always showed a keen awareness of the distancing aspects of modernism. In other words, he was not ignorant of the current political trends of his time, rather he was consciously writing against what he deemed elitist art. In conclusion, the paper returns to "This Be the Verse" and considers the moral import of Larkin's ironically acerbic "Get out early as you can, and don't have any kids yourself˝.
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Dias, Patrick. "Commentary: How and Why Does Poetry Matter? And What Do We Do About That?" LEARNing Landscapes 4, no. 1 (April 1, 2010): 21–27. http://dx.doi.org/10.36510/learnland.v4i1.357.
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While there is a long and widely held belief that poetry matters and is a necessary component of the school curriculum, such convictions are at odds with the way poetry is taught and the general antipathy that students, especially in secondary school, hold towards it. Such disregard is well established among most school teachers who have been similarly schooled and consequently distrust their own competence as readers of poetry and unwittingly perpetuate such insecurity. Teachers need to act with some urgency to determine why poetry is such a valuable cultural and social good, and consider the easily accessible means by which poetry can be enthusiastically embraced by their pupils.
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Zou, Luwei. "Creative Heritage of A.S. Pushkin in the Literary Courses of Chinese Schools and Universities." Philology & Human, no. 4 (December 3, 2022): 179–83. http://dx.doi.org/10.14258/filichel(2022)4-13.
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The article is devoted to the creative heritage of A.S. Pushkin in the practice of teaching literature in China. In modern Pushkin studies, the teaching of the poet's works in the literary courses of schools and universities has not been given enough attention, and the study of the practice of teaching his poetic, prosaic and dramatic works in China is being carried out for the first time. Based on the information collected in the article, it was revealed that Pushkin's teaching in Chinese educational institutions took place in several stages. This allows us to trace the evolution of the study of topics, issues, and the ideological content of the poet's works included in the curriculum. At the turn of the 20th-21st centuries. Chinese primary and middle school students are accessible to Pushkin's poetic works, while they are often asked to compare similar images in Chinese poetry and Pushkin, and there covers all genres and all the main topics of the poet's work in teaching practice in Chinese universities. The article also reveals an interesting trend in Pushkin's teaching – the actualization of those facets of his heritage that help to comprehend modern times.
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Kozlov, Vladimir I., and Oksana S. Miroshnichenko. "RUSSIAN POETIC CANON: READERS’ VIEW." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 7, no. 3 (September 1, 2022): 72–83. http://dx.doi.org/10.18522/2415-8852-2022-3-72-83.
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The article analyses the survey on Russian poetic canon conducted by the Prosodia Poetry Media in 2021. The results of the survey help to deal with the general doubts about the very necessity to raise this topic today, and applicability of the concept itself. The survey, which comprises more than 20 questions, revealed different stands of the general readers, students, and experts, as well as poets themselves in their attitude to the established poetic canon, to its scope and range, to the question of who and how replenish it, and to the ways of its popularization. According to two thirds of respondents, the Russian poetic canon is limited to the names of one hundred poets. Among the criteria for particular poets belonging to canon, the respondents put forward recognition in the community of poets, and only then – among contemporaries and scholars. It was also allowed to the respondent to offer his/her own list of names of poets meant to be in the canon. At the same time, the majority of the respondents are still ready to entrust the compilation of the poetic canon to knowledgeable poetry experts. It is quite obvious that the canon is meaningful for readers, moreover, its popularization and professional study make it more accessible for the audience, which longs for getting acquainted with the heritage of Russian poetry.
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Dickie, June. "Using Features of Indigenous Poetry and Music in the Oral Performance of Some Praise Psalms in Isizulu." Journal of Translation 13, no. 1 (2017): 1–10. http://dx.doi.org/10.54395/jot-v622c.
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Translation needs to be accessible and acceptable to the receptor community. In the case of the Zulu people, the medium of communication most accessible to the majority is oral performance. Thus biblical text needs to be translated in a way that is prepared for the ear and not the eye. To be acceptable, the translation should sound like “my language,” using indigenous forms and contemporary vocabulary. When translating biblical psalms into isiZulu, they should sound like Zulu songs or poems, with all the richness of performance texture that is part of the long history of Zulu oral art. With this goal in mind, and given the tradition of Zulu praise poetry and the passion Zulu youth today have for poetry, a study was conducted in which young Zulu people, taking cognizance of their Zulu traditions in poetry and music, applied these to the translation and performance of some biblical praise psalms. The results show the value of focusing on orality, indigenous poetics, and performance in communicating effectively the message of some praise psalms.
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Kling, O. A., and E. I. Orlova. "Poetry as a dictionary." Voprosy literatury, no. 4 (August 22, 2019): 107–19. http://dx.doi.org/10.31425/0042-8795-2019-4-107-119.
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Devoted to the poetry of I. Volgin’s later years, the article introduces his two latest books, Personal Data [Personalnie dannye] (2016), and Explanatory Dictionary [Tolkovyi slovar] (2019), and points out the changes in his lyrical poetry in the 2010s. The authors especially focus on Volgin’s language, which admits the latest slang but also follows classical examples, something which typifies the language of modern literature. The ‘new’ Volgin adopts the parlance of his protagonist, a product of contemporary mass media, who is at the same time endowed with certain autobiographical features of a self-reflecting hero. The result of this code-mixing is contagious: rooted in 19th c. culture, it can express both those overtones and the present mixture of seriousness and irony. Most importantly, however, it can read a man’s life like a text, and see nature within a cultural context. In Volgin’s works, these two worlds are mutually accessible, and this feature of his poetry is one of the keys to modern poetry in general.
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Bałdyga, Katarzyna. "Obserwacja i trwanie – O liryczności wierszy ks. Janusza St. Pasierba." Colloquia Litteraria 16, no. 1 (November 19, 2014): 39. http://dx.doi.org/10.21697/cl.2014.1.03.
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Observation and endurance: on lyricism in Fr. Janusz St. Pasierb’s poemsLimiting Fr. Janusz Stanisław Pasierb’s poetry exclusively to references to the Bible and the salvation history restricts understanding of the phenomenon of his poetry. Noticing the dialogicality of the speaking subject allows for grasping the most relevant in his poetry – experience accessible to the senses is moved to a higher level. The poet accurately and with minute precision notes down what is available to the senses; also, being aware of entanglement in time and space of human experience, he incorporates into his poetry a small surplus – he rips the experience from the horizontally oriented world and immerses it in transcendent reality. Observation and endurance are pillars of thinking about lyricism; Pasierb’s poems show how the prospect of eternity consolidates the value of a single experience.
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Kuznetsova, T. N., and E. R. Mikhaylova. "WORKS OF F. SCHILLER IN THE CHUVASH LITERATURE: FEATURES OF TRANSLATION INTO CHUVASH LANGUAGE." Bulletin of Udmurt University. Series History and Philology 29, no. 6 (December 25, 2019): 982–85. http://dx.doi.org/10.35634/2412-9534-2019-29-6-982-985.
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The article is devoted to the features of translation of German poetry into the Chuvash language. Using the example of F. Schiller’s ballad “Der Handschuh” (“Glove”) and its translation into Chuvash, performed by the Chuvash poet S. Shavly, a comparative analysis of the translation and the original is carried out, and the quality of the translation of the work is determined. The purpose of the study is a comprehensive analysis of the translation of F. Schiller’s poem “Der Handschuh” into the Chuvash language, consideration of the linguistic features of the poetry translation. When translating a work, different types of lexical and grammatical transformations are used: omission of lexical units, transliteration, lexical addition, replacement of parts of speech, generalization, etc., which helped to reveal the content of the work and preserve the structure of the poetic work in the target language. S. Shavly made the German work accessible to the Chuvash audience, using the words and expressions most often found in colloquial speech of his native language.
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Ožbalt, Irma M. "Slovene poetry in English : challenges and problems." Acta Neophilologica 27 (December 1, 1994): 67–74. http://dx.doi.org/10.4312/an.27.0.67-74.
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Perusing slim, often bilingual editions of Slovene poetry in English, published on both sides of the ocean between 1954 and 1993, one inevitably has to ask: who are these elegant books for, who will read them? Editors and translators seem to have anticipated this question, and some of them define the purpose of their endeavour in longer or shorter introductions to their selections and/or anthologies. The editors of the selection from Prešeren's poetry in 1954 clearly state:" ...until now only a few isolated poems by (Prešeren) have been accessible in English. Consequently, a publication of this kind may help to fill a distinct gap for lovers of poetry and for students of literature in general," thus defining their target audience as two distinct groups of readers: those who read poetry for nothing else but pleasure, and the scholars who would study Slovene poetry and assess it in the context of world literatures.
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Ožbalt, Irma M. "Slovene poetry in English : challenges and problems." Acta Neophilologica 27 (December 1, 1994): 67–74. http://dx.doi.org/10.4312/an.27.1.67-74.
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Perusing slim, often bilingual editions of Slovene poetry in English, published on both sides of the ocean between 1954 and 1993, one inevitably has to ask: who are these elegant books for, who will read them? Editors and translators seem to have anticipated this question, and some of them define the purpose of their endeavour in longer or shorter introductions to their selections and/or anthologies. The editors of the selection from Prešeren's poetry in 1954 clearly state:" ...until now only a few isolated poems by (Prešeren) have been accessible in English. Consequently, a publication of this kind may help to fill a distinct gap for lovers of poetry and for students of literature in general," thus defining their target audience as two distinct groups of readers: those who read poetry for nothing else but pleasure, and the scholars who would study Slovene poetry and assess it in the context of world literatures.
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Macrea, Claudia-Ioana, and Blanca Arias-Badia. "Subtitling Slam Poetry for the d/Deaf and Hard of Hearing Audiences." Między Oryginałem a Przekładem 28, no. 1 (55) (March 30, 2022): 93–117. http://dx.doi.org/10.12797/moap.28.2022.55.05.
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Slam poetry is a competitive performance in which poets deliver their own, short pieces, and are judged by randomly chosen audience members. This form of performed poetry is an underexplored text type in audiovisual translation (AVT). To fill in this gap, this paper provides an introductory account of current practices in the translation of slam poetry, both at local and international competitions held onsite and online. After that, the paper describes the challenges entailed in making slam poetry accessible for the d/Deaf and Hard of Hearing by means of intralingual subtitles added to pre-recorded sessions. The focus of the analysis is placed on the translation of literary style constrained by the immediacy inherent to this form of performance, in which speech rates are typically high. Translation challenges and solutions are illustrated with examples taken from a small corpus of four poems. The study is based on the authors’ experience in collaboration with the non-profit organization Associació RED927 Literatura Oral responsible for the main slam poetry event in Barcelona (Spain).
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Moyo, Cletus, and Nkululeko Sibanda. "Deploying performance poetry in dispelling HIV and AIDS stigma: An applied theatre approach." Applied Theatre Research 7, no. 2 (December 1, 2019): 197–210. http://dx.doi.org/10.1386/atr_00016_1.
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Abstract The article is based on an applied theatre project facilitated by Cletus Moyo at the University of the Witwatersrand, Johannesburg, South Africa from 2009 to 2010. We argue that performance poetry deployed within an applied theatre paradigm has the potential to unlock the silence around HIV and AIDS issues in a way that opens up these issues for discussion and makes them accessible for exploration, even in contexts where speaking about these issues is taboo. The project targeted young people belonging to the age group that is most heavily hit by the HIV and AIDS pandemic. Notably, the young generation is also more open to performance poetry as an artform, making it more appropriate in dealing with issues affecting them. Performance poetry is a language of emotions and an artform that emphasizes speaking out. These two qualities render performance poetry a powerful medium for addressing HIV and AIDS stigma, a phenomenon that is embedded in the culture of silence.
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El-Nasir Al-Amin, Mohammed. "Aesthetic of Video Poetry in Chuma Nwokolo’s “Sudan Sudan” by Al-amin El-nasir." African Journal of Social Sciences and Humanities Research 5, no. 1 (January 22, 2022): 11–18. http://dx.doi.org/10.52589/ajsshr-avx6dacp.
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Video poetry is an embodiment of literature called 'mediature'. This paper focuses on the new forms of poetry based on virtual reality. This is located in the fields of critical hypothesis, hermeneutics, semiotics, semantics of the text and digital culture. These new forms emerging from the expedition of literature (poetry) and new media are collectively called Digital Poetry. Digital poetry is referred to as E-poetry, short for electronic poetry, meaning a wide range of approaches to poetry that have in common the prominent and crucial use of computers or digital technologies and other devices. This work studies only video poems created to be read on the media accessible online or any video player such as electronic gadget. The paper offers the close-readings of Nwokolo’s “Sudan Sudan”one of numerous video poems available on the internet. This paper has been organized around two deeply interconnected approaches: aesthetic and analytic. The first approach judges the “novelty” of the phenomenon within a historical context. The aesthetic approach that is examined on the corpus is fundamental in order to establish a sort of typology of e-poetry and, consequently, to be able to start the analytic work. The aim of the study is on the one hand to highlight the basic features of video poems in order to make them more approachable and understandable as objects of study; and on the other it is to provide those who are interested in this new area of study with a sort of critical analysis of video poetry.
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Lewis-Fokum, Yewande, Schontal Moore, and Aisha T. Spencer. "Talk the Poem: Re-positioning Poetry Recitation as Transformative Pedagogy." Caribbean Journal of Education 43, no. 1 (May 13, 2021): 85–108. http://dx.doi.org/10.46425/c064301y823.
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Poetry is often perceived by many as the genre of Literature, which is only accessible to specific kinds of individuals, with special artistic sensibilities. As much as we have moved away from formalistic notions of engaging with poetry, the text or written word itself, continues to be treated as an isolated substance, awaiting profound interpretation from those who are gifted with the skills of response. This article explores the importance of offering encounters with poetry which will enable sustainable transformation and growth for both teachers and students. The Talk the Poem (TTP) National Poetry Project was established to provide secondary students from across the island with the space and opportunity to engage with and recite Caribbean and British poetry, through interactive workshops and a national recitation competition. Through a series of critical self-reflective moments, core members of the TTP project attempted to determine the role and scope of the project in the lives of the secondary school teachers and students. This article reports findings on the positive and insightful outcomes of the TTP experience for teacher and student participants, deciphered through document analysis, team discussions, interviews, and surveys.
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Baklāne, Anda. "Latviešu 20. un 21. gadsimta dzejas vārdu krājumi statistiskā griezumā: pētījuma metodoloģija un provizoriskie rezultāti." Letonica, no. 35 (2017): 82–103. http://dx.doi.org/10.35539/ltnc.2017.0035.ab.82.103.
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The paper discusses an ongoing study of Latvian poetry of the 20th and 21st century, explains its methodology and interprets some preliminary results. The aim of the study is to explore the dynamics of usage of common poetic concepts (such as natural phenomena, concepts of emotions etc.) and look for other patterns of lexical and semantic change that have occurred in the course of time. The study is conducted by statistically analysing a digital corpus of Latvian poetry. The paper shortly discusses current trends in digital humanities and argues that, although computational methods can prove to be forbiddingly difficult to use, there are tools that are comparatively accessible even without prior training in computer programming. In addition to that, even simple inquiries in the statistics of word usage can provide interesting results and allow building a case for further research. Three computational tools have been used for this paper—Stylo package for stylometric analysis, web-based text reading and analysis environment Voyant, and the corpus analysis toolkit AntConc. The results of statistical analysis suggest that certain trends in the dynamics of usage of concepts in the 20th century can be identified. Among the concepts of meteorological phenomena, ‘wind’ has been by far the most popular concept; furthermore, the usage of meteorological and emotion concepts most prominently fluctuates in the early 1950s and after 1990, indicating the change of poetic paradigms.
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Jäuregui, Miguel Herrero De. "Emar Tode." Classical Antiquity 32, no. 1 (April 1, 2013): 35–77. http://dx.doi.org/10.1525/ca.2013.32.1.35.
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The expression “(on) this day” has an extremely pregnant meaning in different contexts of early Greek poetry. It is used in rituals and in solemn utterances, but it is much more than an emphatic way of saying “today.” It shows that the speaker is recognizing that a decisive, irreversible moment is approaching. Such knowledge of the appointed destiny is only accessible to the gods or to mortals inspired by them, which often makes the authoritative utterance “this day” a performative speech-act that brings immediate accomplishment. The study of the instances of this expression, both with ἦμαρ and ἡμέρα, in epic, religious poetry, and tragedy, also sheds light on the different Greek notions of what a decisive day was.
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Sepsi, Enikő. "Poetic Rituality in Contemporary Hungarian Theatre : An Overview." Theatron 16, no. 4 (2022): 107–17. http://dx.doi.org/10.55502/the.2022.4.107.
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In order to describe the different connections between the poetic text and the ritual executed on stage, in addition to the remarks and insights of the well-known authors (Richard Schechner, Erika Fischer-Lichte), the present study uses the relevant points of the Bielefeld-based researchers, Wolfgang Braungart and Saskia Fischer, who have both worked on formulating the concept of poetic rituality. The concept of poetic rituality refined in my previous works[labjegyzet] Enikő Sepsi, Poetic images, Presence and the Theatre of Kenotic Rituals (London – New York: Routledge, 2021); Johanna Domokos – Enikő Sepsi, eds., Poetic Rituality in Theatre and Literature (Budapest – Paris: L’Harmattan – Károli Gáspár Református Egyetem, 2020).[/labjegyzet] is a useful guide because it makes contemporary performances accessible. Among the Hungarian writers, poets, and directors we highlight some works of Attila Jász, Sándor Halmosi, János Pilinszky, Ottó Tolnai, János Térey, András Visky, and Attila Vidnyánszky, stating that the number of chapters on the history of Hungarian theatre dealing with the interaction of theatre and poetry is meager in the Hungarian reception.
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Hoben, John Lionel, Cecile Badenhorst, and Sarah Pickett. "Staging the Shadow: Writing, Academic Subjectivities, and Hidden Selves." Art/Research International: A Transdisciplinary Journal 4, no. 2 (September 16, 2019): 456–79. http://dx.doi.org/10.18432/ari29472.
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In this paper we explore our writing selves through the metaphors of concealment and display. We discovered the metaphoric possibilities opened up by Jung’s notions of persona and shadow and his emphasis on a rich psychic life that was animated by archetypes and symbolic meaning. This process helped us to glimpse alternative selves, that somehow live within us but are, like the shadow, neglected or pushed aside either due to institutional pressures to conceal or due to our own self-concept and our preferences for displaying certain identity types. Using poetic inquiry to access our unconscious feelings, we engaged in a process of writing that resulted in poetry and poetic vignettes. This type of arts-based practice helped us to disrupt the normative rationalist expectations surrounding academic work and intellectual production, and enabled us to create a space where agency and self-exploration were more accessible and transformative.
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السعيدي, ناجية ناحي دخيل الله. "الدرة ومكابدة الوصول إليها في الشعر الجاهلي = Durra and Sufferance Accessible in Pre-Islamic Poetry." Jordan Journal of Applied Science Humanities Sciences Series 18, no. 2 (June 2017): 45–62. http://dx.doi.org/10.12816/0049291.
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Stepanov, Alexander. "Monologue of K. I. Chukovsky’s Crocodile: towards the problem of sources and parallels." Children's Readings: Studies in Children's Literature 18, no. 2 (2020): 257–75. http://dx.doi.org/10.31860/2304-5817-2020-2-18-257-275.
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The author analyses the sources of Crocodile’s monologue from the tale by K. I. Chukovsky and its parallels in the Russian poetic texts, predominantly of those from the 19th century. The monologue written in iambic tetrameter with masculine pair rhymes, stands out from the polymetric composition of the poem in its length, “civic” sound, citations, and parody. It evokes associations with a number of texts of metrical, lexical, motivic, and plot commonality. All of them can be traced back to the “Prisoner of Chillon” by G. Byron, translated by V. A. Zhukovsky, and original Russian work, “Mtsyri” by M. Yu. Lermontov. In Chukovsky’s fairy tale, the original structural-semantic complex is parodically reinterpreted; creating the “younger”, “children’s” branch of the revolutionary epic (B. M. Gasparov and I. A. Paperno), the author primarily resorted to the heritage of Russian classical poetry. By adapting it to the child’s perception, he also left a semantic gap in the story that is accessible to the sophisticated reader. Crocodile’s monologue, which contains the motives of freedom, imprisonment, confession, suffering, and oppression, prepared the young reader for the perception of romantic and democratic poetry that awaited him/her at a new stage of the literary development (“works for youth”).
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Parker, Luke. "Thoreau’s luminous Homer in A Week on the Concord and Merrimack Rivers." Classical Receptions Journal 12, no. 4 (September 23, 2020): 425–44. http://dx.doi.org/10.1093/crj/claa013.
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Abstract Henry David Thoreau’s relationship to Greek literature, and Homer’s Iliad in particular, is more often remarked than analysed. This article argues that Thoreau’s engagement with Homer in his first book, A Week on the Concord and Merrimack Rivers, proves central to the themes of that work highlighted by critics as well as its less-studied formal hybrid of poetry and prose. I show that Thoreau constructs Homer as the poetic ideal in which the perennially renewed life of the natural world becomes accessible to human beings caught in the fatal and unidirectional movement of historical time. Thoreau’s ideas here may track Romantic conceptions of Homer and Greek literature more generally, but Thoreau turns contemporary uncertainty around the person of Homer into reflection on the relationship between personal experience and literary expression of ‘living nature’. This turns out to structure a larger dichotomy between poetry and prose, one in which Thoreau associates the latter with authentic experience and self-expression of an individual human life. In A Week’s engagement with Homer, then, we see Thoreau negotiating not only some core concerns of his writing but also his evolution from aspiring poet to author of the works in prose that ultimately define his career.
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Illingworth, Sam. "Are scientific abstracts written in poetic verse an effective representation of the underlying research?" F1000Research 5 (January 21, 2016): 91. http://dx.doi.org/10.12688/f1000research.7783.1.
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The central purpose of science is to explain. However, who is that explanation for, and how is this explanation communicated once it has been deduced?Scientific research is typically communicated via papers in journals, with an abstract presented as a summary of that explanation. However, in many instances they may be written in a manner which is non-communicatory to a lay reader. This study begins to investigate if poetry could be used as an alternative form of communication, by first assessing if poetic verse is an effective form of communication to other scientists. In order to assess this suitability, a survey was conducted in which two different groups of participants were asked questions based on a scientific abstract. One group of participants was given the original scientific abstract, whilst the second group was instead given a poem written about the scientific study. Quantitative analysis found that whilst a scientific audience found a poetic interpretation of a scientific abstract to be no less interesting or inspiring than the original prose, they did find it to be less accessible. However, further qualitative analysis suggested that the poem did a good job in conveying a similar meaning to that presented in the original abstract. The results of this study indicate that whilst for a scientific audience poetry should not replace the prose abstract, it could be used alongside the original format to inspire the reader to find out more about the topic. Further research is needed to investigate the effectiveness of this approach for a general audience.
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Illingworth, Sam. "Are scientific abstracts written in poetic verse an effective representation of the underlying research?" F1000Research 5 (April 26, 2016): 91. http://dx.doi.org/10.12688/f1000research.7783.2.
Full textAbstract:
The central purpose of science is to explain. However, who is that explanation for, and how is this explanation communicated once it has been deduced?Scientific research is typically communicated via papers in journals, with an abstract presented as a summary of that explanation. However, in many instances they may be written in a manner which is non-communicatory to a lay reader. This study begins to investigate if poetry could be used as an alternative form of communication, by first assessing if poetic verse is an effective form of communication to other scientists. In order to assess this suitability, a survey was conducted in which two different groups of participants were asked questions based on a scientific abstract. One group of participants was given the original scientific abstract, whilst the second group was instead given a poem written about the scientific study. Quantitative analysis found that whilst a scientific audience found a poetic interpretation of a scientific abstract to be no less interesting or inspiring than the original prose, they did find it to be less accessible. However, further qualitative analysis suggested that the poem did a good job in conveying a similar meaning to that presented in the original abstract. The results of this study indicate that whilst for a scientific audience poetry should not replace the prose abstract, it could be used alongside the original format to inspire the reader to find out more about the topic. Further research is needed to investigate the effectiveness of this approach for a general audience.
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Akhter, Maswood. "Language and Style of Sunetra Gupta’s Fictional Narratives." Studies in ELT and Applied Linguistics 1, no. 1 (October 31, 2021): 58–70. http://dx.doi.org/10.3126/seltal.v1i1.40606.
Full textAbstract:
My aim in this paper is to offer a critical discussion on certain linguistic and stylistic aspects in the fictional pieces by Sunetra Gupta, an important Bengali diaspora author based in Oxford. In her debut novel, ‘Memories of Rain’ as well as in her others, Gupta effortlessly intersperses prose with poetry; her writing is complex, fusing stream of sensuous poetic imagery with stream of consciousness. A powerful delivery of interior monologue, figurative language, and continuous time-shifts invites the novelist’s comparison with Virginia Woolf. Memory becomes a vital player in many of her novels, be it Memories of Rain, Moonlight into Marzipan or So Good in Black. Giving it the centre stage automatically leads her towards an experimental narrative technique, since memory – a highly subjective and elastic category blending fantasy with the past – keeps intervening in the linear flow of the plot. Interestingly, her stream-of-consciousness technique transforms language and punctuation marks from normative linguistic symbols into poignant emotional tools. By exploring the limits of ambiguity in language, as I argue here, Gupta has evolved a personal literary idiom in which prose is pushed into a territory formerly accessible only to poetry. The issue of intertextuality is also discussed, with special reference to Memories of Rain where the influence and interplay of diverse texts provide the novelists context and meaning, and shape its narrative and characters.
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McKnight, Lucinda. "Arthro-Coda: Poetic Notes (Re)forming Patti Lather’s “Top Ten+ List: (Re)thinking Ontology in (post) Qualitative Research”." Cultural Studies ↔ Critical Methodologies 18, no. 3 (April 17, 2017): 202–15. http://dx.doi.org/10.1177/1532708617704454.
Full textAbstract:
This poem forms a diffraction of Patti Lather’s article listing ten learnings from the ontological turn. This work is intended to be read alongside Lather’s original article, so the reader can appreciate how poetry and prose form and entangle reciprocally. Ostensibly coalescing as notes from a face-to-face, simultaneously video-conferenced meeting to discuss Lather’s list, this poem pulls together fragments from multiple intra-actions and pushes meaning apart, as do the human and other speakers it calls into being. It avoids dramatic claims to making a difference, but suggests an infinitesimal, insect antennae shift via the ways it may brush against the reader’s skin and increase awareness of the more-than-human. This may even activate a tiny wriggle-release from a stuck place. Lather’s list emerges through the narrows of poetic inquiry as changed, alternatively accessible, more intensely affective, yet still resonant with her advice and spiky with further, many-legged, tangential questions.
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Kühn, Ana Érica Reis da Silva. "Paulo Leminski e a expressão poética da “várzea” / Paulo Leminski and the poetic expression of the “floodplain”." O Eixo e a Roda: Revista de Literatura Brasileira 30, no. 3 (October 8, 2021): 10. http://dx.doi.org/10.17851/2358-9787.30.3.10-37.
Full textAbstract:
Resumo: Este artigo analisa como Paulo Leminski forjou uma expressão poética da “várzea” para a sua poesia, visando tornar a sua obra criativa acessível ao público mediano. A “várzea” é uma palavra utilizada pelo poeta, e consta nas suas cartas e poemas. Trata-se de uma referência ao que está à margem da cultura erudita. Consideramos que os recursos que favorecem a comunicação com o leitor horizontal, a exemplo dos jogos paronomásticos e sonoros, a brevidade e a coloquialidade, tão presentes na dicção leminskiana, fazem parte do que o poeta concebeu como “várzea” poética. Para tecermos nossa análise, nos debruçamos sobre poemas, ensaios críticos, e, também, sobre as epístolas enviadas ao amigo Bonvicino. As cartas guardam um diálogo teórico-crítico que lança luz sobre o entendimento e o encaminhamento que Leminski concedeu a sua poesia.Palavras-chave: Paulo Leminski; poesia; comunicação; leitor.Abstract: This article analyses how Paulo Leminski forged a poetic expression of the “floodplain” for his poetry, aiming to make his creative work accessible for the ordinary public. The “floodplain” is a word used by the poet, and appears in his letters and poems. It is a reference to what is on the outside of erudite culture. We consider that the resources that promote communication with the horizontal reader, such as paronomasia and sound games, brevity and colloquiality, so present in Leminski’s diction, are part of what the poet conceived as poetic “floodplain”. To weave our analysis, we focus on poems, critical essays, and also on the epistles sent to his friend Bonvicino. The letters contain a theoretical-critical dialogue that sheds light on the understanding and direction that Leminski gave to his poetry.Keywords: Paulo Leminski; poetry; communication; reader.
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Kühn, Ana Érica Reis da Silva. "Paulo Leminski e a expressão poética da “várzea” / Paulo Leminski and the poetic expression of the “floodplain”." O Eixo e a Roda: Revista de Literatura Brasileira 30, no. 3 (October 8, 2021): 10. http://dx.doi.org/10.17851/2358-9787.30.3.10-37.
Full textAbstract:
Resumo: Este artigo analisa como Paulo Leminski forjou uma expressão poética da “várzea” para a sua poesia, visando tornar a sua obra criativa acessível ao público mediano. A “várzea” é uma palavra utilizada pelo poeta, e consta nas suas cartas e poemas. Trata-se de uma referência ao que está à margem da cultura erudita. Consideramos que os recursos que favorecem a comunicação com o leitor horizontal, a exemplo dos jogos paronomásticos e sonoros, a brevidade e a coloquialidade, tão presentes na dicção leminskiana, fazem parte do que o poeta concebeu como “várzea” poética. Para tecermos nossa análise, nos debruçamos sobre poemas, ensaios críticos, e, também, sobre as epístolas enviadas ao amigo Bonvicino. As cartas guardam um diálogo teórico-crítico que lança luz sobre o entendimento e o encaminhamento que Leminski concedeu a sua poesia.Palavras-chave: Paulo Leminski; poesia; comunicação; leitor.Abstract: This article analyses how Paulo Leminski forged a poetic expression of the “floodplain” for his poetry, aiming to make his creative work accessible for the ordinary public. The “floodplain” is a word used by the poet, and appears in his letters and poems. It is a reference to what is on the outside of erudite culture. We consider that the resources that promote communication with the horizontal reader, such as paronomasia and sound games, brevity and colloquiality, so present in Leminski’s diction, are part of what the poet conceived as poetic “floodplain”. To weave our analysis, we focus on poems, critical essays, and also on the epistles sent to his friend Bonvicino. The letters contain a theoretical-critical dialogue that sheds light on the understanding and direction that Leminski gave to his poetry.Keywords: Paulo Leminski; poetry; communication; reader.
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T’Sjoen, Yves. "‘Koloniseren is een smaak die je moet leren’ – Hugo Claus en Het leven en de werken van Leopold II (1970)." Tydskrif vir Letterkunde 46, no. 1 (November 9, 2017): 151–66. http://dx.doi.org/10.17159/2309-9070/tvl.v.46i1.3473.
Full textAbstract:
The première of Claus’ play Het leven en de werken van Leopold II (The Life and Works of Leopold II), in November 1970 (by the company Nederlandse Comedie), was directed by the author himself. After a second and again rather unsuccessful run (1972–1973, Arena, director: J. Tummers) it disappeared from the stage for nearly thirty years: there was no other production of Claus’ play in the Low Countries until the autumn of 2002 (KVS, director: R. Ruëll). Undoubtedly Het leven en de werken van Leopold II is one of the lesser-known plays by the Flemish author Hugo Claus (1929–2008). While writing it, at the end of the sixties, Claus was simultaneously working on two poetry collections. Van horen zeggen contains accessible poems, sometimes rather anecdotal, with many references to the contemporary political situation. These poems show a clear affinity with the neo-realistic poetry that was dominant in Dutch-language literature in the sixties. Also in 1970, on the same day as Van horen zeggen, Claus published Heer Everzwijn (Lord Wild Boar), manneristic poetry showing another poeta faber. Given Claus’ interest in the history of the Congo Free State (see also the novel De geruchten [The rumours]) and the way he caricatures King Leopold II and his government in Het leven en de werken, it is worth investigating the political and social perspectives articulated in both his drama and his poetry. What are the similarities between the poet and the playwright? How can we explain his interest in the way Leopold mistreated the people of the Congo? In this essay I present the ideological and social points of view adopted by Claus in a broad literary and political context, studying his play on Leopold’s atrocities in what would later (in 1908) become a Belgian colony, alongside the poetry he produced in the same period.
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Illingworth, Sam. "Are scientific abstracts written in poetic verse an effective representation of the underlying research?" F1000Research 5 (August 25, 2016): 91. http://dx.doi.org/10.12688/f1000research.7783.3.
Full textAbstract:
The central purpose of science is to explain (Purtill, 1970). However, who is that explanation for, and how is this explanation communicated once it has been deduced?Scientific research is typically communicated via papers in journals, with an abstract presented as a summary of that explanation. However, in many instances they may be written in a manner which is non-communicatory to a lay reader (Halliday & Martin, 2003). This study begins to investigate if poetry could be used as an alternative form of communication, by first assessing if poetic verse is an effective form of communication to other scientists. In order to assess this suitability, a survey was conducted in which two different groups of participants were asked questions based on a scientific abstract. One group of participants was given the original scientific abstract, whilst the second group was instead given a poem written about the scientific study. Quantitative analysis found that whilst a scientific audience found a poetic interpretation of a scientific abstract to be no less interesting or inspiring than the original prose, they did find it to be less accessible. However, further qualitative analysis suggested that the poem did a good job in conveying a similar meaning to that presented in the original abstract. The results of this study indicate that whilst for a scientific audience poetry should not replace the prose abstract, it could be used alongside the original format to inspire the reader to find out more about the topic. Further research is needed to investigate the effectiveness of this approach for a non-expert audience.Alternative version:Are scientific papers understood,By anyone from outside of the field;And is an abstract really any good,If jargon means its secrets aren’t revealed?Could poetry present a different way,Of summing up research in a nutshell; Presented in a language for the lay,Yet still useful for scientists as well?This study aimed to find if it was true,That poems could be a way to convey fact;By splitting sample researchers in two:And giving each a different abstract.The findings showed that whilst prose was preferred,Related meanings from both were inferred.
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Kablova, T. B., and S. O. Pavlova. "Ukrainian folk songs in music education of pupils." Musical art in the educological discourse, no. 2 (2017): 128–32. http://dx.doi.org/10.28925/2518-766x.20172.12832.
Full textAbstract:
The article deals with the pedagogical potential of Ukrainian folk song in terms of music education of students. Folklore has always been and is one of the most powerful means of moral aesthetic education. The authors analyse the song of Ukrainian folklore and highlight the importance of folklore values: historical, philosophical, educational, moral, aesthetic, and creative ones. The main components of teaching potential of Ukrainian folk music is intonation feature, simplicity of melodies and rhythmic structure, expression and richness of melody, harmony and close relationship between poetic and musical texts, deep emotion, authenticity, profound statement thoughts, poetry, clean image, deep highly and true meaning, reflection the history of the people, their thoughts and feelings. Folk ensembels are the most accessible and authentic embodiment of the Ukrainian folk songs. Ukrainian folk music has a great pedagogical value and helps educate a highly moral individual, who would have aesthetic, philosophical and artistic aesthetic qualities; develops interest in folk music, artistic taste and imagination. On the other hand, there is a remarkable arttherapeutic component of Ukrainian folk song.
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Abilkamitkyzy, Rysgul. "REPETITION OF SOUNDS IN THE WORKS OF THE POET U. ESDAULETH." Bulletin of the Eurasian Humanities Institute, Philology Series, no. 3 (September 15, 2022): 124–33. http://dx.doi.org/10.55808/1999-4214.2022-3.12.
Full textAbstract:
The article deals with the use and repetition of sounds in the works included in the collection of U. Esdaulet "Gumyr zhas". A word in versification is not only an element of a sentence, designed to complement or decorate a lyrical image. The word itself, and more specifically, the letters and sounds of which it is composed, can form a picture or its details in a poem. U. Esdaulet often uses this property of speech, using a number of phonetic devices in his works, such as anaphora, epiphora, various refrains, assonance and alliteration. The latter is one of the most common ways to create a special sound pattern of U. Esdaulet's speech. Analyzing the frequency of words in the poet’s works, their specificity, there was an attempt to reveal their artistic essence. Through a poetic text, he added to the treasury of the national language, creating new colors, new phrases brought a new poetic spirit. Demonstratinga high poetic skill through accessible words and phrases, he created new epithets, thereby singing the high aesthetics of the language. Choosing the most suitable means of language in the development of artistic poetry, he creates a unique work of art. Here the poet can skillfully choose the possibility of changing the aesthetic meaning of words. Thus, the poet creates original artistic images.
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Палий, Сергей Александрович. "Biblical Allusions about Human in the F. I. Tyutchev Poetry." Слово и образ. Вопросы изучения христианского литературного наследия, no. 2(4) (September 15, 2021): 55–65. http://dx.doi.org/10.31802/wi.2021.4.2.005.
Full textAbstract:
В данной статье рассмотрены аллюзии Ф. И. Тютчева к Библии, касающиеся таких тем, как любовь в браке, любовь к друзьям, ответственность за служение перед людьми, образы порочности людей, необходимого обращения к Богу, смирения, покаяния. Автор анализирует фрагменты лирики Тютчева с опорой на труды исследователей творчества поэта и толкования библейских отрывков, которые являются маркерами отсылок, и приходит к выводу, что нравственное учение в поэзии мысли Фёдора Ивановича раскрывается во многих ярких образах в соответствии с учением Православной Церкви. Таким образом, поэт выполняет свою высшую миссию человека творчества: возвещает людям в доступной для них форме истины христианства и побуждает их к духовному деланию. F. I. Tyutchev’s allusions to the Bible, concerning such topics as love in marriage, love for friends, responsibility for serving before people, images of people’s depravity, the necessary appeal to God, humility, and repentance are discussed in this article. The author analyzes fragments of Tyutchev’s lyrics based on the works of researchers of the poet’s work and the interpretation of biblical passages, which are markers of references, and concludes that the moral teaching in the poetry of Fyodor Ivanovich’s thought is revealed in many vivid images in accordance with the teachings of the Orthodox Church. Thus, the poet fulfills his highest mission of a person of creativity: he proclaims to people the truths of Christianity in an accessible form for them and encourages them to spiritual work.
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Dudareva, Marianna A. ""Digital turn" in art and the problem of entelechy of modern poetry." Revista Amazonia Investiga 11, no. 53 (July 4, 2022): 348–52. http://dx.doi.org/10.34069/ai/2022.53.05.34.
Full textAbstract:
This article is devoted to two processes in modern society - digitalization and apophaticization. We are witnessing a “digital turn” in contemporary art, which leads to its massization and makes it more accessible, but at the same time, a person becomes metaphysically detached, cannot penetrate the aura of art, feel it metaphysically, which leads to the desacralization of great works of painting and literature. However, literature exists in a large dialogue of cultures, it contains the entelechial principle, that is, the meanings and codes of other eras and cultures. In the center of the research is the problem of the entelechy of culture, which requires axiological and ontological study. It is the entelechial principle in culture that makes it possible to withstand the onslaught of digitalization and technocratization. Research methodology: a holistic analysis of a literary text in the ontohermeneutic way with the use of a semantic research method. An otnohermeneutic analysis of a literary work, the poetic book "Tyutchev's Swans" by the Russian poet A. Shatskov, allows us to understand how entelechy manifests itself in modern culture.
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Semaan, Gaby. "The Hunt In Arabic Poetry: From Heroic to Lyric to Metapoetic." American Journal of Islamic Social Sciences 35, no. 3 (July 1, 2018): 76–79. http://dx.doi.org/10.35632/ajiss.v35i3.483.
Full textAbstract:
In his book, The Hunt in Arabic Poetry: from Heroic to Lyric to Metapoet- ic, Jaroslav Stetkevych traces the evolution of Arabic hunt poetry from its origins as an integral part of the heroic ode (qaṣῑda) to becoming a genre by itself (ṭardiyya) during the Islamic era, and then evolving into a meta- poetic self-conscious expression of poets in our modern time. The book is a collection of a revised book chapter and a number of revised articles that Stetkevych published between 1996 and 2013 discussing Arabic hunt poet- ry at different periods spanning from the pre-Islamic age, known in Arabic as “al-‘Aṣr al-jāhiliyya” (Age of Ignorance), to the contemporary era. This does not diminish the coherence of the book nor detract from Stetkevych’s welcomed thematic approach and his contribution to literary criticism on Arabic poetry and the socio-political and linguistic factors that influenced its development and evolution. Stetkevych divides his 256-page book into three parts. The first part, entitled “The Heroic and the Anti-Heroic in the Early Arabic Ode: The Qaṣῑdah,” consists of three chapters and discusses the evolution of the qa- ṣῑda (ode) during the Age of Ignorance. Stetkevych dissects the structure of the ode and shows how hunt poetry was an integral part of it (not an independent genre). In doing so, Stetkevych draws a vivid picture of the life and geosocial terrain of the period spanning from pre-Islamic to the mid-Umayyad eras. In the first chapter, “The Hunt in the Pre-Islamic Ode”, Stetkevych uses examples mainly from the Mu‘allaqāt of Rabī‘ah ibn Maqrum, Labād Ibn Rabī‘ah, and the famous Imru’ al-Qays to illustrate the different roles hunt poetry played based on where it fell in the structure of the ode. He further establishes that the hunt section of the ode served as the origin for what later became a genre in its own right, known as ṭardiyya. In the second and third chapters, “The Hunt in the Ode at the Close of the Archaic Peri- od” and “Sacrifice and Redemption: The Transformation of Archaic Theme in al-Ḥuṭay’ah”, Stetkevych distinguishes between the different terms for “hunt” and the ṭard that would be the “chivalrous hunt” that takes place from the back of a horse. Parsing these distinctions with poems from ‘Ab- dah Ibn al-Ṭabῑb, al-Shamardal, and ‘Amr Ibn Qamῑ’ah, among others, the author sketches how hunt poetry began taking its own shape as a freestand- ing genre during the Umayyad period: when hunt poetry “is no longer ex- plicitly ‘chivalrous’… we are now in the realm of falconry” (55). The second part of the book, “The Hunt Poem as Lyric Genre in Classi- cal Arabic Poetry: The Ṭardiyyah”, is made up of four chapters that discuss the maturation of the hunt poem under ‘Abbasid rule. During that period, the cultural, economic, scientific, and social renaissance left its impact on poets and poetry. Hunt poetry became a genre of its own, taking an inde- pendent form made of hunt-specialized shorter lyrics. Stetkevych begins this section in chapter 4, “The Discreet Pleasures of the Courtly Hunt: Abū Nuwās and the ‘Abbasid Ṭardiyyah”. He shows how the move of hunt po- etry from subjective to objective description was utterly distinctive under “Abu Nuwas, the master of archaic formulas, who is capable of employing those formulas in conceits that are no longer archaic” (102). Chapter 5, “From Description to Imagism: ‘Alῑ Ibn al-Jahm’s ‘We Walked over Saffron Meadows’,” shows how Ibn al-Jahm and other Abbasid poets such as Ibn al-Mu‘tazz and Abū Firās al-Ḥamdānī “exercise considerable stylistic freedom in developing their own markedly varied but distinctive ṭardiyyah-po- ems from the broadly imagist to the highly lyrical to the fully narrative” (131). Stetkevych shows how the rhythm of hunt poetry was liberated as the Abbasid poets moved from the rajaz meter used in pre-Islamic hunt poetry to modifying and modulating “the ṭawῑl meter to create the unique rhythmic qualities” (131). In chapter 6, “Breakthrough into Lyricism: The Ṭardiyyahs of Ibn al-Mu‘tazz,” the author uses multiple examples to show how “the ṭardiyyah not only found that new lyrical voice but also allowed it … to become a closely integrated and even more broadly formative part of that poet’s multi-genre ‘project’ of a ‘new lyricism’ of Arabic poetry” (183). Chapter 7, “From Lyric to Narrative: The Ṭardiyyah of Abu Firas al-Ḥam- danῑ,” demonstrates how the prince poet “abandons the short lyric mono- rhyme for the sprawling narrative rhymed couplets (urjuzah muzdawijah)” (9). Stetkevych notes that although this “shift did not result (yet) in the achievement of a separate narrative genre, it can …be rightfully viewed as a step in the exploration of the possibility of a large narrative form” (187). The third and final section, “Modernism and Metapoesis: the Pursuit of the Poem,” discusses the revival of hunt poetry by modernist poets after being neglected for centuries. Chapter 8, “The Modernist Hunt Poem in ‘Abd al-Wahhab al Bayatῑ and Aḥmad ‘Abd al Mu‘ṭῑ Ḥijazῑ,” examines two poems of the two poets, both entitled Ṭardiyyah. Stetkevych argues that the Iraqi free-verse poet, al-Bayatῑ, transformed the “genre-and form-bound, rhymed and metered lyric… into a formally free exploration of the dra- matic and tragic image of the hunted hare as a metaphor for the political and cultural predicament of modern man” (9). Meanwhile, Hijazi’s Ṭardi- yyah transforms “the poignant lyricism of the traditional hunt poem into an expression of the poet’s personal experience of political exile and poetic restlessness and frustration” (10). The author concludes that the two poets’ explorations into ṭardiyyah “helped not only to preserve and activate the classical metaphor of hunt/ṭardiyyah into modernity, but in equal measure to validate and enrich the achievements of modern Arabic poetry” (242). In the last chapter, “The Metapoetic Hunt of Muḥammad ‘Afῑfῑ Maṭar,” Stetkevych—through interpretation, comparison, and criticism—shows how Maṭar’s modern poetry while “hermeneutically connected to the old genre… [is] very personal mythopoesis” (10). Stetkevych’s book does not discuss Andalusian hunt poetry, such as that of ‘Abbās Ibn Firnās, Ibn Hadhyal and Ibn al-Khaṭīb, nor the Ṭardiyyah of the contemporary Egyptian poet ‘Abdulraḥman Youssef, published in 2011 after the revolution in Tunisia and two days before the Egyptian revolution started. While including such examples would have further bol- stered this already strong and convincing argument and further illustrated the evolution of hunt poetry from the pre-Islamic era into modern times, their absence does not take away from the book writ large. Stetkevych’s excellent English translations of the poetry cited make his examples more accessible to readers who do not know Arabic. Overall, the book is a very valuable addition to literary criticism of Arabic poetry written in English and will surely be a great asset for scholars, students, and others interested in Arabic poetry as a reflection of a cultural and humanistic experience.
Gaby SemaanAssistant Professor of ArabicUniversity of Toledo
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Semaan, Gaby. "The Hunt In Arabic Poetry: From Heroic to Lyric to Metapoetic." American Journal of Islam and Society 35, no. 3 (July 1, 2018): 76–79. http://dx.doi.org/10.35632/ajis.v35i3.483.
Full textAbstract:
In his book, The Hunt in Arabic Poetry: from Heroic to Lyric to Metapoet- ic, Jaroslav Stetkevych traces the evolution of Arabic hunt poetry from its origins as an integral part of the heroic ode (qaṣῑda) to becoming a genre by itself (ṭardiyya) during the Islamic era, and then evolving into a meta- poetic self-conscious expression of poets in our modern time. The book is a collection of a revised book chapter and a number of revised articles that Stetkevych published between 1996 and 2013 discussing Arabic hunt poet- ry at different periods spanning from the pre-Islamic age, known in Arabic as “al-‘Aṣr al-jāhiliyya” (Age of Ignorance), to the contemporary era. This does not diminish the coherence of the book nor detract from Stetkevych’s welcomed thematic approach and his contribution to literary criticism on Arabic poetry and the socio-political and linguistic factors that influenced its development and evolution. Stetkevych divides his 256-page book into three parts. The first part, entitled “The Heroic and the Anti-Heroic in the Early Arabic Ode: The Qaṣῑdah,” consists of three chapters and discusses the evolution of the qa- ṣῑda (ode) during the Age of Ignorance. Stetkevych dissects the structure of the ode and shows how hunt poetry was an integral part of it (not an independent genre). In doing so, Stetkevych draws a vivid picture of the life and geosocial terrain of the period spanning from pre-Islamic to the mid-Umayyad eras. In the first chapter, “The Hunt in the Pre-Islamic Ode”, Stetkevych uses examples mainly from the Mu‘allaqāt of Rabī‘ah ibn Maqrum, Labād Ibn Rabī‘ah, and the famous Imru’ al-Qays to illustrate the different roles hunt poetry played based on where it fell in the structure of the ode. He further establishes that the hunt section of the ode served as the origin for what later became a genre in its own right, known as ṭardiyya. In the second and third chapters, “The Hunt in the Ode at the Close of the Archaic Peri- od” and “Sacrifice and Redemption: The Transformation of Archaic Theme in al-Ḥuṭay’ah”, Stetkevych distinguishes between the different terms for “hunt” and the ṭard that would be the “chivalrous hunt” that takes place from the back of a horse. Parsing these distinctions with poems from ‘Ab- dah Ibn al-Ṭabῑb, al-Shamardal, and ‘Amr Ibn Qamῑ’ah, among others, the author sketches how hunt poetry began taking its own shape as a freestand- ing genre during the Umayyad period: when hunt poetry “is no longer ex- plicitly ‘chivalrous’… we are now in the realm of falconry” (55). The second part of the book, “The Hunt Poem as Lyric Genre in Classi- cal Arabic Poetry: The Ṭardiyyah”, is made up of four chapters that discuss the maturation of the hunt poem under ‘Abbasid rule. During that period, the cultural, economic, scientific, and social renaissance left its impact on poets and poetry. Hunt poetry became a genre of its own, taking an inde- pendent form made of hunt-specialized shorter lyrics. Stetkevych begins this section in chapter 4, “The Discreet Pleasures of the Courtly Hunt: Abū Nuwās and the ‘Abbasid Ṭardiyyah”. He shows how the move of hunt po- etry from subjective to objective description was utterly distinctive under “Abu Nuwas, the master of archaic formulas, who is capable of employing those formulas in conceits that are no longer archaic” (102). Chapter 5, “From Description to Imagism: ‘Alῑ Ibn al-Jahm’s ‘We Walked over Saffron Meadows’,” shows how Ibn al-Jahm and other Abbasid poets such as Ibn al-Mu‘tazz and Abū Firās al-Ḥamdānī “exercise considerable stylistic freedom in developing their own markedly varied but distinctive ṭardiyyah-po- ems from the broadly imagist to the highly lyrical to the fully narrative” (131). Stetkevych shows how the rhythm of hunt poetry was liberated as the Abbasid poets moved from the rajaz meter used in pre-Islamic hunt poetry to modifying and modulating “the ṭawῑl meter to create the unique rhythmic qualities” (131). In chapter 6, “Breakthrough into Lyricism: The Ṭardiyyahs of Ibn al-Mu‘tazz,” the author uses multiple examples to show how “the ṭardiyyah not only found that new lyrical voice but also allowed it … to become a closely integrated and even more broadly formative part of that poet’s multi-genre ‘project’ of a ‘new lyricism’ of Arabic poetry” (183). Chapter 7, “From Lyric to Narrative: The Ṭardiyyah of Abu Firas al-Ḥam- danῑ,” demonstrates how the prince poet “abandons the short lyric mono- rhyme for the sprawling narrative rhymed couplets (urjuzah muzdawijah)” (9). Stetkevych notes that although this “shift did not result (yet) in the achievement of a separate narrative genre, it can …be rightfully viewed as a step in the exploration of the possibility of a large narrative form” (187). The third and final section, “Modernism and Metapoesis: the Pursuit of the Poem,” discusses the revival of hunt poetry by modernist poets after being neglected for centuries. Chapter 8, “The Modernist Hunt Poem in ‘Abd al-Wahhab al Bayatῑ and Aḥmad ‘Abd al Mu‘ṭῑ Ḥijazῑ,” examines two poems of the two poets, both entitled Ṭardiyyah. Stetkevych argues that the Iraqi free-verse poet, al-Bayatῑ, transformed the “genre-and form-bound, rhymed and metered lyric… into a formally free exploration of the dra- matic and tragic image of the hunted hare as a metaphor for the political and cultural predicament of modern man” (9). Meanwhile, Hijazi’s Ṭardi- yyah transforms “the poignant lyricism of the traditional hunt poem into an expression of the poet’s personal experience of political exile and poetic restlessness and frustration” (10). The author concludes that the two poets’ explorations into ṭardiyyah “helped not only to preserve and activate the classical metaphor of hunt/ṭardiyyah into modernity, but in equal measure to validate and enrich the achievements of modern Arabic poetry” (242). In the last chapter, “The Metapoetic Hunt of Muḥammad ‘Afῑfῑ Maṭar,” Stetkevych—through interpretation, comparison, and criticism—shows how Maṭar’s modern poetry while “hermeneutically connected to the old genre… [is] very personal mythopoesis” (10). Stetkevych’s book does not discuss Andalusian hunt poetry, such as that of ‘Abbās Ibn Firnās, Ibn Hadhyal and Ibn al-Khaṭīb, nor the Ṭardiyyah of the contemporary Egyptian poet ‘Abdulraḥman Youssef, published in 2011 after the revolution in Tunisia and two days before the Egyptian revolution started. While including such examples would have further bol- stered this already strong and convincing argument and further illustrated the evolution of hunt poetry from the pre-Islamic era into modern times, their absence does not take away from the book writ large. Stetkevych’s excellent English translations of the poetry cited make his examples more accessible to readers who do not know Arabic. Overall, the book is a very valuable addition to literary criticism of Arabic poetry written in English and will surely be a great asset for scholars, students, and others interested in Arabic poetry as a reflection of a cultural and humanistic experience.
Gaby SemaanAssistant Professor of ArabicUniversity of Toledo
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Mulligan, Joseph. "Mediating Andean Modernity: The Literary Oracular in Muerte por el tacto by Jaime Saenz." Bolivian Studies Journal 26 (December 10, 2021): 83–106. http://dx.doi.org/10.5195/bsj.2021.252.
Full textAbstract:
Upon his return from Berlin in 1939, Jaime Saenz started working in La Paz for intelligence agencies and public relations offices of Bolivia and the United States, which led to correspondent positions with Reuters and McGraw-Hill World News. His trajectory into Cold War Bolivian state nobility seemed all but guaranteed. However, on the brink of this breakout moment, he renounced his job —and professionalism altogether— committing himself to a life of literature and alcoholism as his marriage unraveled. In response to repeated interventions, he justified his every loss with a further indictment of the precautious, which was an outgrowth of his belief in the existence of a higher truth that was both accessible and impervious to analytical reason. In this article, I ask how Saenz’s poetry from the 1950s metabolized the rhetoric of indictment which it had inherited from the Tellurism of the Chaco generation. How might Muerte por el tacto (1957) be symptomatic of a broader aim of restoring to modern poetry its oracular legitimacy? On what grounds did Saenz indict precautious defenders of historical culture? And how did such an indictment mediate “national energy” (Tamayo) as it came into language through the nativist discourse of the land? Paying focal attention to regimes of revelation in Saenz’s early poetry and the historical conditions of its production, this article updates a discussion among Transatlanticists about the legitimization of irrationalism in 20th-century poetics and politics by assessing the socio-symbolic value of the oracular in the regionalist discourse of modernism.
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Gonçalves Lima, Maria De Fátima. "Contemporary Lyricism of Delermando Vieira." Guará 7, no. 2 (November 30, 2017): 25. http://dx.doi.org/10.18224/gua.v7i2.6222.
Full textAbstract:
The talk of the Delermando lyric, the enigmatic and obscure way your, expresses the perspectives of contemporary lyric cannot be placed in doubt as to your meaning. According to Hugo Friedrich, in your modern lyrical structure (1978), the obscurity of fascinates the reader lyric as disconcerting. The magic of the word and your sense of mystery act deeply, making themselves understandable. This theory supports the idea of poetry as a self-contained creation, plurissignificativa, "consisting of an entanglement of absolute forces voltages, which act in pré-racionais strata, suggestively but also travelling in areas of vibrations Mystery of the concepts "(FRIEDRICH, 1978, p. 16). In this sense, the poetic work of Delermando Vieira has as a priority the polysemy of language with its mysteries and shades, a poetry made of riddles, resulting in a not too accessible. O Lirismo Contemporâneio de Delermando VieiraA fala da lírica de Delermando, na sua maneira enigmática e obscura, exprime as perspectivas da lírica contemporânea que não pode ser colocada em dúvida quanto à sua significação. De acordo com Hugo Friedrich, em sua Estrutura da lírica moderna (1978), a obscuridade dessa lírica fascina o leitor “na medida em que o desconcerta. A magia de sua palavra e seu sentido de mistério agem profundamente, fazer-se compreensível” (Idem,p.16). Esta tese defende a ideia da poesia como uma criação auto-suficiente, plurissignificativa, “consistindo em um entrelaçamento de tensões de forças absolutas, as quais agem sugestivamente em estratos pré-racionais, mas também deslocam em vibrações as zonas de mistério dos conceitos” (Friedrich, 1978, p.16). Nesse sentido, a obra poética de Delermando Vieira tem como prioridade a polissemia da linguagem com seus mistérios e matizes, mesmo que este poeta seja acusado muitas vezes de enigmático. No entanto, a poesia é mesmo um enigma e um ouriço não muito acessível.
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Shreiber, Maeera Y. "“Oh Mohammed, Are You Still Awake?”: Admiel Kosman, Martin Buber, and the Poetics of Engagement." AJS Review 43, no. 01 (April 2019): 169–87. http://dx.doi.org/10.1017/s0364009419000059.
Full textAbstract:
An award-winning poet, an accomplished Talmudist, and a frequent contributor to the pages of Haaretz, Admiel Kosman is hardly new to the scene of contemporary Hebrew letters. However, his work only recently became accessible to English readers when the first translated volume of his poetry appeared in 2011. Reading his work within the context of Martin Buber, whom Kosman regards as his “rebbe,” one discovers a profound challenge to principles of relation—political as well as personal—that are grounded in fixed categories of identity and belonging. Drawing upon the Song of Songs, which whispers throughout his work, Kosman offers us a strong counterresponse to the dominant model of the lyric monologue, with a poetics that aspires towards the dialogic.
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Merrill, Jason. "Fedor Sologub in English-Language Anthologies: 1915-1950." RUDN Journal of Studies in Literature and Journalism 27, no. 2 (July 6, 2022): 257–85. http://dx.doi.org/10.22363/2312-9220-2022-27-2-257-285.
Full textAbstract:
The history of the reception of the Russian Symbolist movement in English begins in the 1890s. Readers in Great Britain and the United States could read about the Russian Symbolist Fedor Sologub long before any of his works were translated into English. During World War I and a parallel wave of interest in Russia, Sologub is one of the most popular Russian writers in the English-speaking world. Some of his poetry and prose works are translated into English and during the years 1915-1950 are included in no fewer than 28 Englishlanguage anthologies. During the first years of this period, almost all of his prose that is accessible to English readers is selected and translated by two translators, John Cournos and Stephen Graham. His poetry, on the other hand, is selected and translated by several translators over the course of this entire period. Anthologies with works by Sologub appear in two main waves: from 1915 until the middle of the 1920s, and in the 1940s after the outbreak of WWII. These anthologies demonstrate how Sologub was presented to English-speaking audiences during these years. This article examines English-language anthologies from this period, comparing what, if anything, is said about Sologub in their introductions to the works by Sologub they include. Some presented him as the quintessential decadent, while others tried to show the various sides of Sologub’s works. It is often the case in anthologies that the opinions of Sologub presented by editors are not supported by the works by Sologub these same editors selected for inclusion. The article ends with three bibliographical appendices listing Sologub’s anthologized poetry and prose and the anthologies that included them.
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Williams, Mark. "Astrological Poetry in late medieval Wales: the case of Dafydd Nanmor’s ‘To God and the planet Saturn’." Culture and Cosmos 12, no. 02 (October 2008): 3–22. http://dx.doi.org/10.46472/cc.0212.0203.
Full textAbstract:
This paper examines the major astrological poem which survives from late medieval Wales, Dafydd Nanmor’s ‘Cywydd to God and the planet Saturn’. A close reading of the poem suggests that actual horoscopes, rather than just a vague knowledge of astrology, were accessible in Wales at the end of the Middle Ages. As a result, Dafydd Nanmor’s poem can now be dated to September 1479. This is set in the context of the sociology of English astrology at the end of the Middle Ages; by the middle of the 15th century, astrology was percolating down from the court an universities into the cultural life of the merchant classes, and it is argued that the spread of astrological material to Wales in the same period forms part of the same process.
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भण्डारी Bhandari, इन्द्रबहादुर Indrabahadur. "कविता समीक्षाको शैलीवैज्ञानिक आधार {Stylistic Features of Poetry Analysis}." Academia Research Journal 1, no. 1 (November 8, 2022): 108–13. http://dx.doi.org/10.3126/academia.v1i1.49208.
Full textAbstract:
कविता विधा रचनाका दृष्टिले सर्वसुलभ, छिटोछरितो र सर्जकको आफनो रुची र खुबीअनुसारको लोकप्रिय विधा हो। यस विधामा सर्जकले आफनो रुची र खुबीअनुसार सानोभन्दा सानो रचना पनि सिर्जना गर्न सक्छ भने वृहत्तम विशालकायकृतिको पनि रचना गर्न सक्छ । यसका लागि सर्जकमा प्रतिभा, व्युपत्ति र अभ्यासको आवश्यकता पर्छ । काव्य रचना गर्दा सर्जकमा काव्यको सैद्धान्तिक स्वरुप प्रति सचेत हुनु आवश्यक हुन्छ । सिर्जनामा सर्जकले नवीनताको खोजी गर्न लेखकलेजीवनजगतका अतिरिक्त पूर्व सिर्जना भएका कृतिको व्यापक अध्ययनलाई जोड दिनु पर्छ । परिपक्व सर्जकबाट मात्र उत्कृष्ट र मूल्यवान कृतिको सिर्जना हुने गर्छ र त्यस्ता कृतिको समालोचना गर्न समालोचकहरु लालायित हुने गर्छन । मूल्यवान कृतिको समालोचनाबाट पाठकले त्यसको गुणतत्वलाई आफनो जीवनशैलीसँग जोडने गर्छन । कृति समालोचना गर्ने विभिन्नमान्यताहरुमध्ये शैलीविज्ञान आधुनिक भाषाशास्त्रीय मान्यता हो । शैलीविज्ञान कृतिकेन्द्रित भएर समालोचना गर्ने पद्धति हो । यसले कृति भित्रका विशेषताहरूलाई केलाउने कार्य गर्छ । शैलीविज्ञानले साहित्यिक कृतिको संरचना, बनोट र बुनोट आदिलाई खोतल्छ । सैद्धान्तिक विश्लेषणद्वारा त्यसमा अन्तरनिहित कला सौन्दर्य र साहित्यिकताको उदघाटन गर्दछ ।शैलीवैज्ञानिक आधारमा कृति लेखन गर्नका लागि भाषाविज्ञानका क्षेत्रमा पाइने विभिन्न प्रविधिको प्रयोग गरिन्छ । कृतिकोशैलीवैज्ञानिक अध्ययन विश्लेषणका क्रममा त्यस कृतिको विधागत प्रकृति, विश्लेषणको क्षमता, ज्ञान र त्यसको अध्ययनमहत्वपूर्ण हुन्छ । शैलीविज्ञानमा विकल्प चयन, अग्रभूमि निर्माण, विचलन, समानान्तरता र शैली चिन्हको आदिका आधारमाकृतिको विश्लेषण गरिन्छ ।
{
In terms of composition, poetry is the most accessible, fast and popular science according to the creator's taste and talent. In this genre, the creator can create even the smallest works according to his taste and talent, and he can also create the largest giant works. For this, the creator needs talent, pedigree and practice. While composing a poem, it is necessary for the creator to be aware of the theoretical nature of the poem. In order for the creator to search for innovation in creation, the writer should emphasize a comprehensive study of previously created works in addition to the life world. Excellent and valuable works are created only by mature creators and critics are reluctant to criticize such works. By criticizing a valuable work, the reader connects its quality with his lifestyle. Stylistics ia modern linguistic theory among the various theories of criticizing a work. Stylistics is a workcenteredmethodofcriticism.Itservestohighlightthefeatureswithinthework.Stylologyexaminesthestructure,toneandtextureofa literarywork.Duringtheanalysisofsomestylisticstudies,theliterarynatureofthatwork,theabilityofanalysis,knowledgeanditsstudyareimportant.Instylistics,theworkisanalyzedon thebasisofselectionofoptions,foregrounding,deviation,parallelismand stylistic markers etc.}
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Notable Books Council, RUSQ. "From Committees of RUSA: Notable Books List 2015." Reference & User Services Quarterly 54, no. 4 (June 19, 2015): 61. http://dx.doi.org/10.5860/rusq.54n4.61.
Full textAbstract:
The Notable Books Council, a group of readers' advisory experts within the Reference and User Services Association (RUSA), a division of the American Library Association, has announced its selections for the 2015 Notable Books List.Since 1944, the goal of the Notable Books Council has been to make available to the nation's readers a list of about twenty-five very good, very readable, and at times very important fiction, nonfiction, and poetry books for the adult reader. A book may be selected for inclusion on the Notable Books List if it possesses exceptional literary merit, expands the horizons of human knowledge, makes a specialized body of knowledge accessible to the nonspecialist, has the potential to contribute significantly to the solution of a contemporary problem, or presents a unique concept.
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Everist, Mark. "Review." Royal Musical Association Research Chronicle 20 (1987): 91–97. http://dx.doi.org/10.1080/14723808.1987.10540921.
Full textAbstract:
The origins of The Earliest Motets (to c.1270): A Complete Comparative Edition lie in Hans Tischler's 1942 Yale doctoral dissertation, in which all the motets in D-W677, 1-Fl Plut.29.1 and D-W1099 were systematically transcribed. Tischler's dissertation has contained the only available transcriptions of the unica in these sources for nearly forty years, though works with concordances have been accessible in publications by Aubry, Rokseth, Anglès and Anderson. The Earliest Motets (henceforth EM) takes his dissertation as its core, and adds the motets of E-Mn 20486, F-Pn lat. 15139, F-Pn n.a.f. 13521, D-Mbs Mus.Ms. 4775, the chansonniers, and odd motet voices and texts found in various narrative works and poetry anthologies. Such a publication is therefore a major landmark of twentieth-century musicology.
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Ichim-Radu, Mihaela Nicoleta. "Vasile Alecsandri: Unique Aspects of the Biographical Itinerary vs. Recovery of the Writer's Memory." Intertext, no. 1/2 (57/58) (October 2021): 76–81. http://dx.doi.org/10.54481/intertext.2021.1.08.
Full textAbstract:
Among the writers of his generation, Alecsandri is the most comprehensive one, expressing not only the patriotic aspirations and desires, but also the discoveries from the universe of the private life and trying to make himself noticed in almost all the main literary genres and species. By different circumstances, Alecsandri gets to travel through Moldavia, Wallachia, Bucovina and Transylvania, to the European part of Turkey, to Italy, Austria, Germany, France, Spain, Great Britain, North of Africa, either for personal pleasure, to accompany Elena Negri, who was trying to find a more favourable climate for her fragile health, or for official business. All these travels and each of them separately are part of the development of his creation, leaving marks in his fiction and poetry and “it is printed on the screen of the human experience which defines his public and private personality”. In one of these travels, Alecsandri will discover the folk poetry, discovery which will profoundly mark his destiny as a writer and it will also have immeasurable consequences on the entire development of the Romanian literature from the last century, but also from the years to follow. As a result of the translations into French, German and English of the folk poems or of some of his original poems, Alecsandri becomes one of our first modern writers who became famous also abroad, being accessible to the foreign world.