Journal articles on the topic 'Easy poems'
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1
Phipps, Jake. "‘The Art of Easy Writing’: The Case of Burns and Byron." Romanticism 28, no. 3 (October 2022): 222–32. http://dx.doi.org/10.3366/rom.2022.0563.
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This article focuses on several unexplored relationships between the poetry of Robert Burns and Lord Byron. In the first part of the article, I discuss how Burns and Byron manipulated their chosen verse forms to perform an ironic account of their own productions, which are often critical not only of conventional tastes, but also of their role as poets. In the second part of this article, I turn to two satires: ‘A Dream’, a poem that featured in Burns’s debut volume, Poems, Chiefly in the Scottish Dialect (1786), and Byron’s ‘The Vision of Judgment’ (1822). Here I explore the shared satiric sympathies of the poets, examining how Burns’s and Byron’s satires reflect a similarity in temperament and geniality, despite criticising political or poetic foes, namely King George III and Robert Southey.
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Dr. Budhanath Pratihast. "A.K. Ramanujan’s Select Poems: A Humanistic Approach." Creative Launcher 5, no. 2 (June 30, 2020): 48–53. http://dx.doi.org/10.53032/tcl.2020.5.2.05.
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Attipat Krishnaswamy Ramanujan (1929-1993), needs no introduction in the word of Indian English Poetry. His poems are liked by every person because his poems are either replete with the humanistic approach or his poem have autobiographical elements. He was a poet, translator, playwright and folklorist. He belonged to a Hindu family. He was a trilingual writer who wrote in English, Tamil and Kannada. He has interpreted some works written in Sanskrit and Tamil bases on some classical and modern variants. He had four poetry collections to his credit: The Striders (1966), Relations (1971), Second Sight (1986), and The Black Hen (1995). Ramanujan’s poems are so easy and personal that these poems touch the heart of reader.
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Niles, John D. "The trick of the runes in The Husband's Message." Anglo-Saxon England 32 (December 2003): 189–223. http://dx.doi.org/10.1017/s0263675103000097.
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The Old English poem known as The Husband's Message begins in the same minimalist style as is typical of a number of poems of the Exeter Book (Exeter, Cathedral Library, 3501). A first-person speaker, an ‘I’, begins speaking without any context for speech yet being established, without any self-introduction, and without as yet any known purpose: Nu ic onsundran þe secgan wille … As with the Exeter Book elegies known as The Seafarer, The Wife's Lament and Wulf and Eadwacer, just as with all fifty Exeter Book riddles that are put into the first person singular voice, there is an implied challenge for the reader to discover who the speaker is and to fill out his or her full story. The poem thus begins with a small enigma. It is easy to tell that we are in the midst of that part of the Exeter Book that consists of close to one hundred riddles interspersed by a small miscellany of other poems, several of which are riddle-like in their resistance to easy interpretation.
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Asmael, M. Swrood weli. "A reflection of the love and spinning on notice poet Abdullah Taho (Women and the homeland)." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 221, no. 1 (November 6, 2018): 229–52. http://dx.doi.org/10.36473/ujhss.v221i1.433.
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- It is shown to us through the poems of our poet (Pashyo) that he lived floating between two great seas of love with no dam between them… his love for his beloved lady (Yar) and his inordinate love for his (homeland), all of which was reflected in his poems, so the love of (Yar) was the source of his small inspiration with the love of homeland and the treatment of the pains and tortures of his nation.
- (Pashyo) differs from the poets preceding him, he is one of scarce poets who declares with high and clear voice what his Kurdish people suffer of political and human problems through the words of his poems, he rises the mettles and addresses all the classes of his nation to uncover the occupiers and usurpers and expose them. His weapon is words that have more intensive effect that the bullets on them.
- With respect to language, (Pashyo) wrote his poems in a simple and fluent language and at the same time they rise to high technical levels of superiority and beauty and what is named as abstained easy.
- (Pashyo) was sincere and honest in his expressions, and did not write his poems for private purposes, except for the beloved love, while the rest of his poems were in the explanation and treatment of his nation's political problems.
- Within the folds of his poems, it is shown that there is a directed message controlling in an obvious way over the shape and content.
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Desyatov, V. V. "THE TEMPLE OF ACMEISM. FRAGMENTS OF A DIALOGUE BETWEEN NIKOLAY GUMILEV AND OSIP MANDELSTAM." Voprosy literatury, no. 3 (October 1, 2018): 123–69. http://dx.doi.org/10.31425/0042-8795-2018-3-123-169.
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In the article numerous allusions and direct citations that reciprocally reveal an intensive dialogue between the two Acmeist poets are pointed out and examined. The data are extracted from O. Mandestam’s and N. Gumilev’s poems and articles, as well as the latter’s narrative poems and plays: mostly texts with references to temples, with which Acmeists strongly identified their creative work on poetic as well as thematic levels. Since the erection of a temple is a recurrent image in Gumilev’s works throughout his lifetime, it is easy to assume that Mandelstam’s poems like Notre Dame, Hagia Sophia [Aya-Sofiya], and others can be seen as responses to the leader of Acmeists from his loyal disciple. Mandelstam tends to follow Gumilev’s lead in this dialogue, developing and detailing his ‘architectural philologism’. However, he also sympathizes with the idea of rebuilding a temple, the topic becoming even more pronounced after Gumilev’s untimely death.
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Maysoon Fuad, Shibi. "The Evolution of the Rajaz Meter in Modern Arabic Poetry, Al-Rajaz Poem as Narrative Poetry, as Reflected in the Works of Ṣalāḥ ‘ABD AL-Ṣabūr." Journal of Semitic Studies 64, no. 2 (August 23, 2019): 583–603. http://dx.doi.org/10.1093/jss/fgz028.
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Abstract The rajaz meter has always been folkloric, from its inception to this day. It is easy to compose verses in it, so that poets used it to express the concerns of their nation, especially following the consecutive political defeats which the Arab world has experienced. Modern Arab poets use this meter in poems that express the concerns of the common people and urge them to stand together in the face of defeats and despotic, oppressive regimes. The rajaz meter allows them to write in one voice that represents the collective as a whole. The Egyptian poet Ṣalāḥ ’Abd al-Ṣabūr (1931–81) used the rajaz meter in an innovative manner, in a way that he succeeded in making an equilibrium between poetry and prose. This can be seen in his use of the rajaz meter to compose narrative poems, as we shall see in the present study.
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Akingbe, Niyi. "Speaking denunciation: satire as confrontation language in contemporary Nigerian poetry." Afrika Focus 27, no. 1 (February 25, 2014): 47–67. http://dx.doi.org/10.1163/2031356x-02701004.
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Contemporary Nigerian poets have had to contend with the social and political problems besetting Nigeria’s landscape by using satire as a suitable medium, to distil the presentation and portrayal of these social malaises in their linguistic disposition. Arguably, contemporary Nigerian poets, in an attempt to criticize social ills, have unobtrusively evinced a mastery of language patterns that have made their poetry not only inviting but easy to read. This epochal approach in the crafting of poetry has significantly evoked an inimitable sense of humour which endears these poems to the readers. In this regard, the selected poems in this paper are crowded with anecdotes, the effusive use of humour, suspense and curiosity. The over-arching argument of the paper is that satire is grounded in the poetics of contemporary Nigerian poetry in order to criticize certain aspects of the social ills plaguing Nigerian society. The paper will further examine how satire articulates social issues in the works of contemporary Nigerian poets, including Niyi Osundare, Tanure Ojaide, Chinweizu, Femi Fatoba, Odia Ofeimun, Ezenwa Ohaeto, Obiora Udechukwu and Ogaga Ifowodo. Viewed in the light of artistic commitment, the paper will demonstrate how satire accentuates the role of these poets as the synthesizers/conduits of social and cultural concerns of Nigerian society for which they claim to speak. As representatively exemplified in the selected poems, the paper will essentially focus on the mediation of satire for the impassioned criticism of social and moral vices, militating against Nigeria’s socio-political development.
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Khan, Mamona Yasmin, Nausheen Rasheed, and Shaheen Rasheed. "Teaching Grammar through Literature to EFL Learners: A Corpus Approach." Journal of English Language, Literature and Education 2, no. 03 (March 29, 2021): 19–52. http://dx.doi.org/10.54692/jelle.2021.020368.
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A plethora of researches have been conducted to improve the grammar teaching technique of English language in order to make it easier for the students to learn English in a fun way. To teach the grammar, the corpus approach proves to be very beneficial. The focus of this study is to explore the way how literary poems can be of great use for teaching English language to the students, by using a Simple Concordance Program Scp (4.09). For this purpose, we have selected four English poems. This is an exploratory research. This study investigates the ways in which the application of Corpus Analysis Tool on poems can assist English language teaching. Hence, it makes it easy for the students in ELT classrooms to comprehend the grammatical structures. The results illustrate that the Scp (4.09) tool helps in extracting the words with higher frequency rate but as well as in the teaching of imperative, conditional sentences, present (indefinite, continuous and perfect) and simple past tenses, as it provides the concordances of the words. Further researchers can find out the word collocations by using the same tool. Moreover, the selected poems in this study, can be analyzed through other corpus tools available. This study can also be expanded to the stylistic analysis of the poems. The literary devices used by both poets can be studied, compared and taught to the students.
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Haji Jukim, Maslin. "A Collection of Poems The Rivers, Seas, and Us by Morsidi M.H: The Story about Life." Malay Literature 35, no. 1 (June 5, 2022): 127–54. http://dx.doi.org/10.37052/ml35(1)no7.
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Poetry has become a popular choice among Bruneian writers. As a result, many of those who received the Southeast Asian Writers' Awards came from the genre of poetry. Most recently, in 2021, Morsidi M.H was announced as the recipient of the award for his book, Kumpulan Sajak Sungai, Laut and Kita, which was published in 2021. This book contains 57 poems and is divided into four themes, namely Pulse and the Journey of Life (20 poems) , Homeland (7 poems), Nature and the Meaning of Life (12 poems), and Introspection and the Reality of Life (18 poems). In accordance with the contents and title, this collection of poetry presents life in line with time that is always moving forward. It works on the poet's imagination, wisdom, and emotions to produce the poems. In the Pulse and Journey of Life section alone, there is a connection between one poem and another. This attracts attention to be used as research with the objective to study and interpret all the events that the poet went through during the passage of time recorded in the form of verses of his poems. A close reading of the poems in the Pulse and Journey of Life section is not enough. Therefore, it is coupled with an expressive approach to achieve the objective of this study more effectively. The findings of this research showed that these poems share the meaning of life, which is a journey that is not considered too easy to go through, especially when confronted with many faces of human nature. This journey of life is passed along with the passage of time, and it is finally realized that there is no best way to follow this journey of life except with faith and the guidance of Islamic teachings.
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Ibikunle, Tolulope. "Serialization of Ọbasa’s Poems in The Yorùbá News." Yoruba Studies Review 5, no. 1 (December 21, 2021): 1–15. http://dx.doi.org/10.32473/ysr.v5i1.130068.
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Every newspaper has its form, structure, and pattern. The Yorùbá News published between 1924-1945 was not an exception, as it comprised of different contents ranging from the editorial opinion to home news, gossip, adverts, and serialization of different forms of narratives. D.A. Ọbasa, the publisher ́ of The Yorùbá News, also published many works of poetry. Ọbasa started the publication of excerpts of his poems in The Yoruba News under the column “Àwọn Akéwì.” Serializing these poems, therefore, means issuing them regularly and consecutively in diferent editions of the newspaper. In the various scholarly engagements with Ọbasa’s works, little or no attention has been given to the serialization of his poems in Te Yorùbá News. The focus of this easy therefore is to fill this gap by highlighting and documenting the serialized poems of Ọbasa in Te Yorùbá News. Trough intertextuality theory, the easy aims at appraising how Ọbasa transfer his knowledge of the Yorùbá oral literature to his readers through his application of oral poetic form from his serialized poems. Tis work will therefore dwell on Intertextuality and its influence on the works of Ọbasa, which will enable us to discuss his creative ability as a cultural activist.
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Trevisani, M. Ivana Bach. "Trekking in the Wood // Trekking nel bosco // Senderismo en el bosque." Ecozon@: European Journal of Literature, Culture and Environment 6, no. 1 (February 26, 2015): 187. http://dx.doi.org/10.37536/ecozona.2015.6.1.650.
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This poem, here offered in a bilingual version, was written on the occasion of a walk in the Adelasia beech forest in the Beigua Natural Park (Liguria, Italy), and it is part of a poetry collection titled Ecopoems (http://ecopoems. altervista.org). The English translator is Kiawna Brewster, who has worked under the supervision of Barbara Carle (Professor of English at Columbia University). Following the guidelines of the Manifesto of Italian Ecopoetry, the language used here is as simple and humble as the subjects speaking through these poems (animals, plants and the whole Earth). I intend this as a poetic communication which could be intelligible to all cultures, and therefore easy to translate and to widely spread, as wished by the UNESCO message of the World Poetry Day. Resumen Este poema, ofrecido en su versión bilingüe, se escribió aprovechando un paseo por el hayedo Adelasia en el Parque Natural de Beigua (Liguria, Italia), y es parte de una colección de poemas titulada Ecopoems (http://ecopoems.altervista.org Ecopoems). La traductora al inglés es Kiawna Brewster, que ha trabajado bajo la supervisión de Barabar Carle (profesora de inglés en la Universidad de Columbia). Siguiendo las directrices del Manifiesto Italiano de Ecopoesía, el lenguaje usado es tan sencillo y humilde como los sujetos que hablan a través de estos poemas (animales, plantas y toda la Tierra). Tengo la intención de que esta sea una comunicación poética inteligible para todas las culturas y, por lo tanto, fácil de traducir y extender ampliamente, tal y como desea el mensaje del Día Mundial de la Poesía de la UNESCO.
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Roshanfekr, Akram, Sadegh Askari, and Somayeh Akbarpour. "TYPES OF CHILDREN POEM IN DIVAN AL-ATFAL BY SULAIMAN AL-ISA." LiNGUA: Jurnal Ilmu Bahasa dan Sastra 12, no. 1 (June 22, 2017): 1. http://dx.doi.org/10.18860/ling.v12i1.4270.
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Children poem is a literary type which has the potential to be versified with other different types. Children poet is aware of child’s interests and mood and sometimes by using easy words and fluent phrases and proportionate to the notion tries to help the child in learning and expanding his vocabulary domain with new words. In this way, poem verses are versified with the aim of teaching notions and categorized under didactic poetry type. Sulaiman al-Issa from Syria is considered among the founders of children poem in Arabic literature. He has a Divan entitled ‘Divan al-Atfal’. The present study with a descriptive-analytic approach attempts to review it with the aim of determining the applied types in his poems. The most important result of the article is the presence of nature poem, didactic poem, and social and entertainment poetry types in Divan al-Atfal.
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Karabacak, Esra. "Cyprus in Turkish Poetry İbrahim Zeki Burdurlu and Arif Nihat Asya the Impact of Cyprus." SHS Web of Conferences 66 (2019): 01030. http://dx.doi.org/10.1051/shsconf/20196601030.
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Ibrahim Zeki Burdurlu and Arif Nihat Asya, who worked as teachers in Cyprus, expressed their impressions of Cyprus and shared the problems faced by the Turkish Cypriots. Ibrahim Zeki Burdurlu has a very soft expression. When history and Cyprus come together, the values of a literature teacher extending from Namık Kemal to Gazi Kemal are expressed. Arif Nihat Asya was a teacher in Cyprus and wrote poems similar to that of İbrahim Zeki Burdurlu. Probably the indifference of the measure and the occasional immeasurability, which are among the elements of Burdurlu's poetry, have aroused influence in Turkish Cypriot poetry. In the meantime, although the understanding of populist poetry nurtured the understanding of easy-to-write poetry, it was effective in Burdurlu's poems. In this study, Cyprus, Ibrahim Zeki Burdurlu and Arif Nihat Asya's poems in post-Republic Turkish poetry will be examined comparatively with example poems by completing them especially in terms of using language. [1–4].
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Trott, Barry. "From the Editor: Change Must Be Served." Reference & User Services Quarterly 56, no. 4 (June 21, 2017): 224. http://dx.doi.org/10.5860/rusq.56.4.224.
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As I write this column in April, it is National Poetry Month, and I have been reading a lot of poems, old and new. I came across Ruth Lechlitner’s 1938 poem “Change Must Be Served,” in which she says, “They who fear change nest in the now-moment.”1 There is a lot of change going on in our world, in our communities, and in our libraries, and it becomes very easy to do just what Lechlitner describes. We often find it easier to turn away from the relentless and difficult questions that these changes raise than to reflect on what they mean for us as librarians and as members of a community.
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Al-Abbood, MHD Noor. "The Irony of the Ballad Form in Keats’s “La Belle Dame sans Merci”." International Journal of Applied Linguistics and English Literature 6, no. 5 (July 6, 2017): 118. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.5p.118.
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Although critics commenting on Keats’s “La Belle Dame sans Merci” are divided on whether or not the poem is autobiographical, the genre of the poem as a “ballad” tends to be given short shrift in their critical interpretations, and its role in determining the meaning of the poem is largely left unexplored. Taking into account the fact that a traditional ballad is an impersonal detached mode of poem, and that a lyric is a rather subjective composition displaying the poet’s thoughts and sentiments, one would expect that Keats’s utilization of the formal features of the traditional ballad genre, including a detached, impersonal mode of writing, would rule out lyrical or autobiographical interpretations. However, reading the poem against the grain (of its ballad form), this article argues that Keats’s deployment of the ballad genre conventions does not actually preclude autobiographical interpretations, but, on the contrary, it endorses them. For Keats’s poem is lyrical and personal in nature and his use of the conventions of the traditional ballad form is to deflect the critical attention away from the poem’s autobiographical content. To make this point, this article investigates three illuminating contexts in which to place “La Belle Dame.” To begin with, “La Belle Dame” is a literary ballad that has much in common with Keats’s other poems and letters, whether at the level of poetic themes and personal concerns or at the level of language. However, the most important context to consider the ironic relationship of Keats’s lyrical content to his traditional ballad form is his revision of the poem for its first publication in the Indicator. If Keats’s intention was to reinforce the ballad conventions of the poem, downplay its lyrical implications, and strike a self-conscious pose critical of what he thought was the poem’s excessive sentimentality and easy surrender to wish-fulfilling romance, this very gesture is a confirmation that the poem, at least in its first version, is largely subjective and lyrical. As such, Keats’s seemingly objective ballad mode, later further revised and strengthened, can be regarded as a trick to disguise his true conflicted feelings about his own enthrallment by Fanny Brawn – a trick that ironically reveals as much as it attempts to conceal.
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Scherr, Barry P. "Leonid Martynov, Boris Slutsky and the Politics of Rhythm." Paragraph 33, no. 2 (July 2010): 246–59. http://dx.doi.org/10.3366/para.2010.0007.
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Leonid Martynov (1905–80) and Boris Slutsky (1919–86) began to write during Stalin's reign and were aware of the contemporary official pressure to make literature more broadly accessible as well as of the highly experimental, and thus more difficult, poetry that had come into vogue during the years leading up to the Bolshevik revolution. Martynov's response was to create verse marked by ambiguity; he employs the graphic layout and internal rhyme to avoid predictability and easy interpretation, especially in a poem's opening lines. Slutsky, in contrast, often lacks the sense of rhythmic order that usually emerges in Martynov's poems. He may disrupt the rhythm unexpectedly or vary it so frequently that no overarching pattern appears. Both, whether by unsettling the rhythm or complicating its perception, manage to recall the freer and more experimental artistic milieu of the early twentieth century.
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Classen, Albrecht. "Martin Arnold, The Dragon: Fear and Power. London: Reaktion, 2018, 328 pp., many b/w and color ill." Mediaevistik 32, no. 1 (January 1, 2020): 254–55. http://dx.doi.org/10.3726/med.2019.01.14.
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The figure of the dragon represents a topic of shared interest among medievalists and modern readers young and old. The dragon is simply ‘in’ and has always appealed to public culture throughout time and also across the world. Many medieval heroic poems, many modern narratives, films, images, and other art works are deeply determined by the appearance of dragons, mostly fearsome, terrifying, alienating creatures, unless we turn to some East-Asian cultures. Dragons have been studied already for a long time, and Martin Arnold simply adds here another, well researched monograph on this topic, which covers it very broadly, although much more could be said, of course, about individual texts or art works not dealt with here. It is not easy to come to terms with dragons because they are so ubiquitous and yet refuse easy answers. They belong to the corpus of archetypal images, but there is no hard-core scientific evidence for their existence.
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Möller, Daniel. "Sjuttonhundratalshandskrifter i rörelse." Tidskrift för litteraturvetenskap 44, no. 3-4 (January 1, 2014): 69–81. http://dx.doi.org/10.54797/tfl.v44i3-4.9358.
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Eighteenth-Century Manuscripts on the Move. Olof von Dalin’s Poetical Manuscripts and their Contexts of Publication
This article focuses on Olof von Dalin’s occasional verse, which has not yet been collected in a scholarly edition. Dalin’s occasional poems have survived thanks to a number of people. Some of them were personal friends and acquaintances of Dalin’s, while others did not move in his circles and were not personally known to him. They copied his poems and in not a few cases made sure that they were printed; they preserved them and handed them down to posterity. However, the manuscripts were often interfered with – usually for the purpose of voicing a message, most often political, which was either not present in the original text or merely hinted at. In such cases the readers appropriated the texts, adding lines of their own and making changes where ever they saw fit. Since these appropriations were made anonymously, the perpetrators’ purpose was not to pretend that the resulting poem was of their own making but to anonymously advance a political message in an attempt to affect public opinion. Since Dalin was a prolific popular poet it was easy for unscrupulous versifiers to avail themselves of his verse and to use it as a means to intervene in the political discussion of the day.
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S, Jessintha, and Jaiganesh B. "The Political Postulates Constructed in the Epic Perunkathai." International Research Journal of Tamil 4, no. 3 (July 6, 2022): 127–35. http://dx.doi.org/10.34256/irjt22319.
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During Sangam era, petty kings those who were ruling small territories or emperors who conquered many countries and built empires have followed monarchy. This was told in verses of Purananuru (400 heroic poems about kings). It said that, kingdom is hereditary; after a king, only his son has the right to rule his empire. Elderly son takes the crown and his siblings govern and support him in ruling the kingdom. The eldest one who got the right to rule differ themselves according to their mind-set. It will be a burden for those who just depend on tax collection from the people of his kingdom. Whereas it will be as easy as carrying a weight less cork for those who has nobility and excellence. Similarly, an epic King named Udhayanan, who has the right and qualities of a King was crowned by his uncle Vikkiran to rule Vaishali in his young age. This article researches and analyses the political ethics of King Udhayanan through the Tamil poem Perungathai (A Tamil poem that portraits history of King Udhayaṇan).
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Zhang, Jing. "Humanistic Solicitude in Robert Frost’s Out，Out." Learning & Education 10, no. 7 (June 7, 2022): 243. http://dx.doi.org/10.18282/l-e.v10i7.3032.
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Robert Frost tries to save the era occupied by industrial civilization with his poetry. His poems with primitive style
are simple and easy to understand, but they contain rich humanistic spirit. Out, Out, for example, is a concern for the survival of
people living on the land. The author satirizes the materialized and spiritualized times through the way of poetry, which reflects the
humanistic concern conveyed by him.
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Karlsson, Elin. "Poems for Performing Maternities: Poetries of Maternity." Performing Ethos: International Journal of Ethics in Theatre & Performance 12, no. 1 (November 1, 2022): 35–38. http://dx.doi.org/10.1386/peet_00044_1.
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I write to put the imagined threats and horrors of the very early days of motherhood into words on paper rather than leaving them as self-depleting, snowballing, internal echoes bounding within a recently emptied body. My contribution to this publication consists of four poems. Poetry provides a space for honesty. It can be pretty and seductive but just as often grimy and fearful and, in all honesty, it is most likely neither fully but a messy mix of it all. For me, the fear and worry that took place within the domestic in the very first part of motherhood was particularly connected to breastfeeding and the perceived pressures of extended family. The poems might highlight difficult feelings that seem less than ideal. But through bringing these to the fore, I want my poetic work to challenge ideals that surround the maternal role. The aim is to give mothers some much-needed recognition at a time when it is so easy to feel alienated and strange. I am also so aware that I am writing for my growing daughter. My most valued future reader. At the time of writing, the poems provide a welcome, an introduction and an important lesson that dog food is inedible. Which brings about another priority of mine, extending across all my work. Though the core matter of my work is so serious, humour and light heartedness provide an amazing tool to reach towards the audience and bring it close.
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Maynard, John. "Speaker, Listener, and Overhearer: The Reader in the Dramatic Poem." Browning Institute Studies 15 (1987): 105–12. http://dx.doi.org/10.1017/s0092472500001863.
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Robert Browning's poetry showed a special resistance to the text-oriented, aestheticizing tendencies of the New Criticism. It was easy, almost too easy, to find ways to talk about the speaker and his tone of voice; but difficulties arose the moment one tried to move from these statements, as one would in a poem by Keats or Frost, to statements about the poem. Something about the nature of the dramatic monologue itself seems to have been especially unreceptive to organic, unifying conceptions of art. It is not surprising that Roma King's broadly New Critical, The Bow and the Lyre, should have received acclaim at the time for (among other qualities) reading the unifying images in Browning's poems. But the work from that period that has had staying power, Robert Langbaum's The Poetry of Experience, is one that hardly fit the critical temper of the time. In retrospect, we may say that its power derived especially from its refusal to let New Critical dogmas circumscribe the kinds of critical approaches applied to the odd form of the dramatic monologue. Langbaum's concept of experience was (is) attractive; his historical stories of the relation between Romanticism, nineteenth-century preference in drama for character over action, and the dramatic monologue were extremely interesting ones. But what was and remains most influential was a strategy for approaching the dramatic monologue, the famous one in which the poem commands a balance of judgment and sympathy. Langbaum's readings of the Duke and the rest have been much debated and often battered. The terms he laid down for the debate have proved hearty and persistent.
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Fu, Mae. "The Influence of the Doctor’s Mind Style in Spring and All on William Carlos Williams’s Poetry Creation." International Journal of Applied Linguistics and English Literature 6, no. 4 (May 2, 2017): 81. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.4p.81.
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This article intends to investigate the doctor’s mind style on William Carlos Williams in his collection of poems Spring and All. Research shows that Williams’s doctor’s life makes him shape a different view of the world. He always observes something difficult or challenging at first and notices something easy and comfortable at last. This paper concludes that Williams’s doctor’s mind style exerts influence on his creation of poetry both in content and in form.
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Prakharenka, Liudmila. "LINGUISTIC ASPECT OF A. PYSIN’S LYRICS." Philological Review, no. 1 (May 31, 2021): 111–16. http://dx.doi.org/10.31499/2415-8828.1.2021.232708.
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The article is devoted to one of the important problems in Philology. Research was carried out to identify linguistic means of creating poetic images in the works of A. Pysin, one of the most famous Belarusian poets of the second half of the twentieth century.
Partial linguistic analysis gave rich material for determining the role of Pysin’s epithets, metaphors, various figurative meanings of the word in poetic context. Also attention is drawn to the apt descriptive expressions, conciseness and richness of content, capacity and soaring poetic expressions of A. Pysin.
The content of the considered poems by A. Pysin and the nature of their linguistic interpretation are extremely important in terms of educating pupils (students) such feelings as citizenship, patriotism and other positive qualities of the individual.
The purpose of this study is to identify the place of a poetic word in the context, its meaning in the content of the expression, the nature of this meaning, semantic compatibility with other words, etc.; trace the author’s search for the right word for the greatest semantic accuracy and imagery of expression.
The following research methods were used: descriptive, contextual analysis. The material of the research was the linguistic means of the poetic image of the lyricist A. Pysin.
A textual analysis of A. Pysin’s lyrics helps to better understand the meaning of individual figurative images of works, reveals the possibilities of the vocabulary of the language to improve the harmony of the ideal and material in the field of poetry.
An analysis of the texts of poems shows the poet’s careful concern for the accuracy of the word in his poetry. Many laconic figurative statements of A. Pysin are easy to remember, emotionally impressive and can be perceived as winged sayings.
The linguistic analysis of only a small part of the poems involves the wide use and variety of linguistic means to create highly poetic images that are impressive and memorable. These are, first of all, epithets, metaphors, paraphrases, phrases and other fixed expressions.
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Budhathoki, Mahendra Kumar. "Teaching Learning English through Hasya Rasa." Education and Development 30, no. 1 (December 31, 2020): 57–68. http://dx.doi.org/10.3126/ed.v30i1.49510.
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Language classes should be interesting and enjoyable to learn language effortlessly; learners should learn language without stress and burden in learning process. This article aims to describe rasa theory as a teaching method in language classroom. The research has occupied qualitative descriptive textual method; it is a library research. Language learning should be fun and stress free. The selected humorous poems and jokes make memorization of vocabulary items and their usages easy. The short-situational plot and dialogues make learning and memorization natural. Jokes and humorous poems help to learn language stress-freely. It becomes more effective for the learners of about six to twelve years and the beginners. This article describes only ‘hasya rasa’ among other ‘rasas’ in rasa theory. Teaching-learning English through (hasya) rasa theory is a unique and interesting method in ELT. This article provides ELT practitioners with the insight to explore more about the implication of rasa theory into ELT.
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Gamit, Jayshree R. "Two Seminal Poems, Malalacharitam and Sayajigauravm Mahakavyam of Rabindra Kumar Panda." HARIDRA 2, no. 06 (September 25, 2021): 43–48. http://dx.doi.org/10.54903/haridra.v2i06.7735.
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Malalacharitam is a biographical poem written on Malala Yousufzai, a Pakistani activist passionately working for the Girls' education. This is written for children in Sanskrit. The language of this Charitakavya is simple and lucid. The poet has described that why she is called Malala. The poet writes about her childhood, her family and friends as well as her teachers. The torturing of Taliban is very nicely described. The poet also describes about the problems of women in Pakistan, the attack of Taliban to kill her and her survival and how Malala is working for the cause of education with courage. She is honoured with the Nobel prize and many other awards. There are also beautiful pictures of Malala in the poem which add additional beauty to the book. Dr. Sweta Prajapati has contributed Upodghata in Hindi describing entire life and struggle of Malala. The charitakavya is writen in very easy language.So it's useful for those who start to learn Sanskrit.
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Rajewska, Ewa. "Tłumaczki chleb powszedni. Ludmiła Marjańska i Mary Swann." Poznańskie Studia Polonistyczne. Seria Literacka, no. 33 (October 26, 2018): 291–307. http://dx.doi.org/10.14746/pspsl.2018.33.17.
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The article discusses a translation of a Carol Shields’s novel Swann. A Mystery (1987) by a Polish poet Ludmiła Marjańska (Zagadka wiecznego pióra, 1998). Marjańska’s translation is not an easy one to assess: it contains some shifts as well as simple mistakes, but Polish versions of lyrics quoted in the novel as written by a mysterious, unacknowledged (and non-existing) poet Mary Swann are undeniably its strongest point. What makes them more interesting, they show close affinity to poems by Emily Dickinson translated by Marjańska – and to her own poetry.
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Almaktary, Hussein. "A Poetic Approach to Teaching English: Personal Account." Journal of English Studies in Arabia Felix 1, no. 2 (October 10, 2022): 1–10. http://dx.doi.org/10.56540/jesaf.v1i2.23.
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This paper accounts for teaching English vocabulary through rhythmic patterns, including short verses. It is a personal account of poetry as a valuable tool for both learners and teachers. Adopting a qualitative research design, the study set out to refute the longstanding view that poetry is hard to learn and teach. It derives illustrations from the researcher’s personal experience, who is basically, besides composing poems, a teacher of English as a foreign language and curriculum designer. Ten short poems were used to clarify that poetry, which has taken a backseat in English language teaching for years, can now be a vivid teaching approach that numerous teachers and ELT experts advocate. On the main, verse-based teaching is motivational, amusing, and scaffolding. Based on the discussion, the study recommends using simple and easy-to-understand verses to enhance vocabulary learning, partially because rhyming words are more memorable and useable in conversational English. The study concludes with some suggestions to strengthen the evidence of the viability of poetry in TESOL programs.
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Ilma, Awla Akbar. "DARI PUISI MANTRA HINGGA PUISI ESAI SEBUAH LANSKAP PERPUISIAN INDONESIA." Jurnal Penelitian Humaniora 17, no. 2 (October 1, 2016): 194. http://dx.doi.org/10.23917/humaniora.v17i2.2511.
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This research specially addresses through a sociological perspective the existence of narrative poetry that lately rampant in Indonesia. Therefore, this research assumes that the existence of a literary work is closely link with the condition of the time. Thisresearch seeks to compare with the kinds of poetry before as traditional poerty, poetry of pujangga baru, mantera poetry, and Mbeling poetry both aesthetic characteristics and social conditions. Based on the research process, it is known that the narrativepoerty has unique characteristics that are different from other types of poetry. It is known that narrative poetry is a real respond to assessment of poems that are considered difficult to understand. Therefore, this poetry tries to synergize with readers, making certain platforms, giving easy access to the meaning of the poetry. Thus sociological characteristics known as the effect of the conditions which always demanding the ease and speed. Such condition if drawn further was the effect of industrialization and technological pace.
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Al-Talabani, Abdulbasit K. "Automatic Recognition of Arabic Poetry Meter from Speech Signal using Long Short-term Memory and Support Vector Machine." ARO-THE SCIENTIFIC JOURNAL OF KOYA UNIVERSITY 8, no. 1 (April 14, 2020): 50. http://dx.doi.org/10.14500/aro.10631.
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The recognition of the poetry meter in spoken lines is a natural language processing application that aims to identify a stressed and unstressed syllabic pattern in a line of a poem. Stateof-the-art studies include few works on the automatic recognition of Arud meters, all of which are text-based models, and none is voice based. Poetry meter recognition is not easy for an ordinary reader, it is very difficult for the listener and it is usually performed manually by experts. This paper proposes a model to detect the poetry meter from a single spoken line (“Bayt”) of an Arabic poem. Data of 230 samples collected from 10 poems of Arabic poetry, including three meters read by two speakers, are used in this work. The work adopts the extraction of linear prediction cepstrum coefficient and Mel frequency cepstral coefficient (MFCC) features, as a time series input to the proposed long short-term memory (LSTM) classifier, in addition to a global feature set that is computed using some statistics of the features across all of the frames to feed the support vector machine (SVM) classifier. The results show that the SVM model achieves the highest accuracy in the speakerdependent approach. It improves results by 3%, as compared to the state-of-the-art studies, whereas for the speaker-independent approach, the MFCC feature using LSTM exceeds the other proposed models.
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Kovelman, Arkady B. "Brodsky and Clio: the Profile of Skeptical Philosophy of History." Voprosy Filosofii, no. 1 (2022): 65–77. http://dx.doi.org/10.21146/0042-8744-2022-1-65-77.
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In the wake of mounting disasters of the last century, poets and philosophers developed the notion of the total arbitrariness of history. In the wording of Karl Löwith, “the skeptic and the believer have a common cause against the easy reading of history and its meaning. Their wisdom, like all wisdom consists not the least in disillusion and resignation, in freedom from illusions and presumptions”. The Hegelian claim that history has an ultimate meaning, or final purpose, or goal was vehemently rejected, as well as Plato’s utopia of a “just city”. In his essays and poems, Brodsky postulates the randomness of history. He borrowed the notion of randomness from the book by Lev Shestov “The Apotheosis of Groundlessness”. Shestov promoted the idea of mental nomadism, or freedom from causal thinking and scientism. For Brodsky, being a nomad mentally meant to escape from both rationalist interpretation of history and the theological idea of Providence. He believed that rationalism’s greatest casualty was individualism. Besides, the doctrine of historical determinism and the notion of Providence’s general benevolence translated itself into a patient waiting for a Storm Trooper. Seeing problems with such patient waiting in place, such as deportation of Jews to death camps, Brodsky suggested that it would be much better to become a nomad. Brodsky developed his ideas against the foil of the Bible, the Republic of Plato and Hamlet by Shakespeare. He described nomadism as Israel’s Exodus from Egypt and the expulsion of poets from Plato’s Just City.
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Kim, Sangdeog Augustin. "“Thank You So Much, Father Jean Blanc!” “Mr. Yoshihiro Hayashi and Mrs. Tamako Hayashi, Thank You Very Much!” (Tcheonzamun 513th-528th)." South Asian Research Journal of Humanities and Social Sciences 4, no. 5 (October 29, 2022): 333–35. http://dx.doi.org/10.36346/sarjhss.2022.v04i05.007.
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The French missionary Dallet (1874) in his book wrote about ‘The thousand character essay’. (It is called as Tcheonzamun in Korea). Dallet (1874) explained that the ancient Chinese country, Tch’in, the people used the book to their children in order to instruct Chinese characters. Park et al. (2021a) and Park et al. (2021b) translated several Tcheonzamun poems. This time, the present researcher studied a poem of Tcheonzamun (Tcheonzamun 513th-528th), and the researcher tried to translate the poem. The title of this study is ‘Thank you so much, Mr Hayashi and Father Jean Blanc! ’ The present researcher tried to translate a part of ‘The thousand character essay (Tcheonzamun)’. The range of the poem was (Tcheonzamun 513th-528th). And the translating method was through the meaning of Chinese character for the Tcheonzamun poem. <Number in Tcheonzamun Chinese characters (Pronunciation of Korean language in English alphabet)> 517-520 車(Tcha) 駕(Ga) 肥(Bi) 輕(Gyeong) This is the second line. Please see your neighbor! Let’s talk about the livestock as an easy example! If the bridle (駕) were light (輕), it will be good for the cow or the horse when the livestock pulls the cargo. And if the livestock (車) were well fed and became fat (肥), it will be favorable for the difficult work. 525-528 勒(Leug) 碑(Bi) 刻(Gag) 銘(Myeong) This is the fourth line. As the result of your kind behaviors as shown on the second line, your neighbors will do you the following things. They write (銘) your works openly (刻). And they speak well of you (勒), and they express such a favorable feeling about you (碑)!
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Çakır, Hilal Ezgi, and Senem Ertan. "Gender Violence in Failed and Democratic States: Besieging Perverse Masculinities." Kadın/Woman 2000, Journal for Women's Studies 19, no. 2 (October 10, 2017): 151–53. http://dx.doi.org/10.33831/jws.v19i2.281.
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In this book, Rodriguez aims to understand the roots of gender violence, more specifically men’s violence against women. For this purpose, throughout the book, she gives examples of specific cases such as Nicaragua, the U.S.S.R, Austria and the U.S.A., and examines these examples through mostly psychoanalysis and sometimes through by political science perspectives. The book is an easy read as the case studies - by utilizing newspaper articles- are used as a very useful tool to exemplify the theories behind. Moreover, some literary sources such as poems and novels, or even movies are utilized to reveal male desire and male view of violence against the women which are the true roots of gender violence against women.
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Hadda, Janet. "Warding Off Chaos: Repetition and Obsession in the Poetry of Glatshteyn, Halpern, and Manger." AJS Review 13, no. 1-2 (1988): 81–102. http://dx.doi.org/10.1017/s0364009400002300.
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For as long as I have been acquainted with them, the poems in which the above lines occur have held a peculiar fascination for me. With their rhythmic refrains, Glatshteyn′s “Der Rayzeman” (“The Travelman”), Halpern′s “Der Gasnpoyker” (“The Street Drummer”), and Manger′s “Eynzam” (“Lonely”) are lodged in my mind,1 cropping up periodically in almost–and in the case of “Eynzam,” literally–musical form. Yet it is only recently that I have come to see a special connection between these three diverse works. The present article explores this connection. Specifically, I wish to address the function of repetition and show how a much-used poetic device simultaneously points to a psychological realm otherwise easy to ignore.
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Czarski, Bartłomiej. "Lemmas in the Old-Polish Armorial Poetry as a Manifestation of Genre Hybridisation." Terminus 21, Special Issue 1 (2019): 53–80. http://dx.doi.org/10.4467/20843844te.19.026.11287.
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One of the most popular panegyrical forms in the Polish-Lithuanian Commonwealth was the so-called “stemmata”. Similar to emblems, these visual works consisted of an illustration presenting a coat of arms and an epigram, often featured on the reverse side of the title card of texts printed in the old-Polish period. This paper discusses selected cases in which, influenced by emblems, lemmas are incorporated into the structure of stemmata. The study explains how the lemma is introduced in a stemma and how it affects the latter’s meaning. Particular attention is paid to cases in which mottos are treated as the title of a combination of a coat of arms and a poem. Another subject analysed here is “academic stemmata”, a sub-genre of the heraldic poem that consists of several features characteristic of emblems. The presence of lemma in the structure of stemmata is recognised as the consequence of a trend to liven up this visual form. Making the emblem more attractive was a way to draw the attention of readers, increasing its author’s chance of communicating a panegyrical message. This effect was desired not only by the authors of stemmata but above all by their powerful patrons. The presence of lemma in the structure of heraldic poems also relates to the role of mottos in the Jesuit educational system. Mottos and verba aurea were treated by Jesuit teachers as a very useful medium for presenting moral and parenetic subjects, and it was fairly easy for authors of stemmata to use them for panegyric purposes.
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Vijay, Aparna. "Mystic Philosophy and Spiritual Consciousness: A Study on Sri Aurobindo’s Select Poems." SMART MOVES JOURNAL IJELLH 8, no. 1 (January 28, 2020): 10. http://dx.doi.org/10.24113/ijellh.v8i1.10359.
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Mysticism is a broad term which expresses an area of concern rather than a specific set of beliefs. It is concerned with the nature of the ultimate reality. Mysticism can be a vague, ill-defined, religious and spiritual belief. This paper aims to explain Sri Aurobindo’s poems “The Meditations of Mandavya”, “Nirvana” and “Transformation” on the concept of spiritual consciousness and how the spirit of joy is attained. It focuses on how the poet attains the ideal of adwaita or non-duality. He also brings out the idea of “Absolute” where he drives home the meaning of spiritual unity of all beings in the universe. He is of the view that the world and our own individual existence break all the personal and egoistic limits and become one with our Earth. Mysticism is usually defined as a spiritual discipline used to make contact with the Divine. Mysticism is not an unexamined phenomenon, but one should be able to see its relevance to the human situation too. It proves the individual’s capacity to rise above the conditional factors of nature, nurture and history, to achieve a third force which might change the core and outline of collective life. The readers have themselves fallen into a trance while reading all of the mystical works. In order to understand the real feeling that a mystic poetry creates, the reader initially has to understand the really what mysticism really is. Only then one gets the accurate meaning and feeling of what a mystic poetry clearly says. There is always depth and meaningfulness in such a poetry. Then it can be stated that the reader has attained that sublime state which a poet usually wishes from his readers. It is not easy to attain that state. It requires real and thorough knowledge of mysticism. The mystical and philosophical beauty has been put forth by all the poets through their poetry.
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Kapinos, Elena V. "Constructivism of Sergei Tretyakov. Iron Pause (“Zheleznaya Pauza”). Part 1." Studies in Theory of Literary Plot and Narratology 14, no. 2 (2019): 56–83. http://dx.doi.org/10.25205/2410-7883-2019-2-56-83.
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The article deals with the first poetry book by S. Tretyakov “Iron Pause” (“Zheleznaya pauza”) published in Vladivostok in 1919 but prepared for publication earlier in Moscow – in 1915–1917. “Iron Pause” (“Zheleznaya pauza”) belongs to rare and little investigated books for which the approach used in the article with respect to poetics is topical. The author analyzed the key texts of the first and second parts of the books: “The Match Box” (“Spichechnaya korobka”), “You in Darkness Read, Like a Cat” (“Vy v temnote chitaete, kak koshka”), “Carpet” (“Kover”), “Allegro Trills” (“Treli allegro”), “Impudent People” (“Nakhaly”). All these poems are interconnected not only by common motifs, but also by verbal construction; they are characterized by intensive word dynamics and geometry, numerous metonymic substitutions, high-level sematic concentration and complicated rhythmic and phonetic patterns. Special attention in the article is paid to the undertones of the enigmatic poem “Impudent People” (“Nakhaly”) depicting some scenes of aggression, violence, “brutality” under the semblance of a festive event with fireworks. The poem’s underlying idea displays traces of works by V. Khlebnikov (“The Star Alphabet”), by V. Mayakovsly (“The War and the World” poem) and by poets belonging to the Vladivostok creative group “Tvorchestvo”. Lyrical plots of the poems assembled in the book “Iron Pause” (“Zheleznaya pauza”) are not original; they are traditional for avant-garde poetry and in a broader sense – for modernist poetry. However, Tretyakov vitalizes traditional lexical repertory of modernist poetry giving it occasional meaning and using all lexical units to achieve complex phonics and rhythmic structure. Except that the article offers the implications review of the key poems of “Iron Pause” (“Zheleznaya pauza”), “Impudent People” (“Nakhaly”), just like the entire book “Iron Pause” (“Zheleznaya pauza”), is read by the article author in presence of the Far-Eastern publicism and criticisim from newspapers and magazines published at the turn of 1920s by various Far-Eastern political and literary entities. The article bibliography includes rare 1918–1922 editions of the Far East: newspapers “Echo” («Ekho»), “Vladivo-Nippo”, “Far Eastern Review” (“Dalnevostochnoe obozrenie”), “Manchurian Life” (“Manzhurskaya zhisn’”), journals “Creation” (“Tvorchestvo”), “Biruch”, “Lel’”, “Yun’”, “Week” (“Nedelya”), etc.
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BUGBEE, JOHN. "CHAUCER'S LUCRETIA AND WHAT AUGUSTINE REALLY SAID ABOUT RAPE: TWO RECONSIDERATIONS." Traditio 74 (2019): 335–73. http://dx.doi.org/10.1017/tdo.2019.6.
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Saint Augustine “hath gret compassioun / Of this Lucresse,” declares a couplet early in Chaucer's retelling of the story of the Roman rape victim and suicide Lucretia — prompting the majority of modern commentators to conclude that the poet either never read Augustine's treatment of the story directly, or subsequently forgot what it says, or speaks here with deliberate irony. How, they ask, could anyone familiar with that text (City of God 1.19) judge it to be compassionate? But a second look reveals that the question has some positive answers, particularly when one attends not merely to the single chapter that names Lucretia but also to the surrounding thirteen-chapter discussion of rape and suicide in general. There Augustine shows compassion in several concrete ways that later summarizers omit and most modern readers overlook; the text even includes “compassion” in the strictest etymological sense of an attempt to feel-and-suffer-with a rape victim by imagining her inner world. Close attention to Chaucer's poem (the fifth in the Legend of Good Women) then uncovers more positive evidence for direct knowledge of Augustine, namely several apparent Chaucerian innovations in the story — most dramatically the fact that his Lucretia swoons just before the rape rather than “yielding” — that are easy to explain if the author was influenced by the City of God but are unnecessary or simply puzzling if not. A brief conclusion suggests points at which Chaucer's direct knowledge of Augustine's text might affect our interpretations of other poems.
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Klavan, Spencer A. "SUNG POEMS AND POETIC SONGS: HELLENISTIC DEFINITIONS OF POETRY, MUSIC AND THE SPACES IN BETWEEN." Classical Quarterly 69, no. 2 (December 2019): 597–615. http://dx.doi.org/10.1017/s0009838820000075.
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Simply by formulating a question about the nature of ancient Greek poetry or music, any modern English speaker is already risking anachronism. In recent years especially, scholars have reminded one another that the words ‘music’ and ‘poetry’ denote concepts with no easy counterpart in Greek. μουσική in its broadest sense evokes not only innumerable kinds of structured movement and sound but also the political, psychological and cosmic order of which song, verse and dance are supposed to be perceptible manifestations. Likewise, ποίησις and the ποιητικὴ τέχνη can encompass all kinds of ‘making’, from the assembly of a table to the construction of a rhetorical argument. Of course, there were specifically artistic usages of these terms—according to Plato, ‘musical and metrical production’ was the default meaning of ποίησις in everyday speech. But even in discussions which restrict themselves to the sphere of human art, we find nothing like the neat compartmentalization of harmonized rhythmic melody on the one hand, and stylized verbal composition on the other, which is often casually implied or expressly formulated in modern comparisons of ‘music’ with ‘poetry’. For many ancient theorists the City Dionysia, a dithyrambic festival and a recitation of Homer all featured different versions of one and the same form of composition, a μουσική or ποιητική to which λόγοι, γράμματα and συλλαβαί were just as essential as ἁρμονία, φθόγγοι, ῥυθμός and χρόνοι.
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Tefas, Cristian, Carina Boroș, Lidia Ciobanu, Teodora Surdea-Blaga, Alina Tanțău, and Marcel Tanțău. "POEM: Five Years of Experience in a Single East European Center." Journal of Gastrointestinal and Liver Diseases 29, no. 3 (September 9, 2020): 323–28. http://dx.doi.org/10.15403/jgld-2676.
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Background and Aims: Achalasia is an esophageal motility disorder with many available therapies. Peroral endoscopic myotomy (POEM) is a therapeutic alternative to surgical myotomy, harboring significant potential short term advantages. Our aim was to analyze a single-series POEM’s learning curve, safety and efficiency over short, medium and long-terms in an East European Center.
Methods: This observational, prospective study was carried out in the Regional Institute of Gastroenterology and Hepatology, Cluj-Napoca, Romania. Patients with symptomatic achalasia (Eckardt score>3) and pre-op evaluations consistent with the diagnosis of achalasia were included. All POEMs were performed by a highly skilled endoscopist. All patients were allowed to eat 48 hours after POEM. An esophagography was performed in all patients to exclude any leakage. The patients were asked to return for follow-up at established intervals: 1 month, 6 months, 12 months, and annually thereafter.
Results: 136 patients were included with an average duration of symptomatology of 36.75 months. The procedure was technically successful in all patients, while a clinical success rate was achieved in 87.5% (n=119) of patients after one POEM session. The success rate was 92.64% after 6 months, 91.17% after one year, 88.9% after 2 years, and 87.5% after 3 years or more; 12.5% of patients required additional treatment. Eighteen patients (13.23%) presented major early complications. Gastroesophageal reflux disease was encountered in 16 patients immediately after POEM and in 22 patients at subsequent follow-ups.
Conclusion: POEM is a safe and effective minimally invasive therapeutic option which can substitute surgical myotomy, having a high success rate and a low rate of adverse events in short, medium and long-term.
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Tsantsanoglou, Kyriakos. "The ‘Cycle’ of Arignota. Sappho’s frr. 95 and 96 V." Trends in Classics 12, no. 2 (November 24, 2020): 203–27. http://dx.doi.org/10.1515/tc-2020-0015.
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AbstractAfter preparing a detailed new edition of Sappho’s frr. 95 and 96 V., continuously transmitted in the parchment codex P. Berol. 9722, the author proposes that they constitute a ‘cycle’ of three homometric poems with a common theme articulated in successive episodes (i. 95, ii. 96.1–20, iii. 96.21–36). In the first, Sappho conveys her despair for her separation from her beloved pupils, Arignota being one of them. In the second, Arignota is presented in Sardis, where she excels among the Lydian women. She expresses a strong feeling of nostalgia for her stay in Lesbos with Sappho and for her beloved friend there, Atthis. In the third, Sappho addresses Atthis and, employing the mythological exemplum of Aphrodite’s love to Adonis and their distant meetings, declares that they will sail to the port of Geraistion in Asia Minor’s Aegean coast, whence they will travel to Sardis for meeting their old friend. The author also meditates on the possibility that the name Ἀριγνώτα (= ‘One-easy-to-be-known, Easy-to-identify’), is a renaming by Sappho of Ἀρύηνιc, the daughter of the Lydian king Alyattes, who is yearning to see her old teacher and her childhood girlfriend before her marriage to Astyages, son of Kyaxares, king of the Medes. The marriage was negotiated for ending a many years war between the two nations, a peace that coincided with the eclipse of the sun, usually dated on May 28, 585 BC.
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Nopikasari, Nora, Ani Safitri, and Agung Suhandi. "ANALYSIS WORD CLASSES IN SELECTED POEMS BY ALLAN ALEXANDER MILNE." Premise: Journal of English Education 7, no. 2 (October 1, 2018): 1. http://dx.doi.org/10.24127/pj.v7i2.1561.
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The objectives of this study are to investigate the word class or known as part of speech from the chosen poems of Alan Alexander Milne. For that reason, five poems of him are analyzed: Wrong House, Furry Bear, If I Were King, The Mirror, dan Hoppity. This study applies descriptive qualitative methods. The procedure of the study covers several steps; dividing words into word class category, analyzing them statistically and reporting the result. Out of the five analyzed poems, there are three-word class categories; verb, noun, an adjective. The most dominant used word class in the poems is noun comprising of 105 in total . This is due to the fact that noun is what the students most widely learned as beginner learners. In these poems, the noun describes the meaning of the poems. Therefore; the categorizing of the part of speech is important to enrich vocabulary and ease the understanding of the poem. This analysis is to make the readers easier in understanding the word class using a poem by Alan Alexander Milne
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Nyagemi, Bwocha. "Textualization of History in Poems from East Africa by Cook and Rubadiri." Nairobi Journal of Humanities and Social Sciences 1, no. 1 (March 15, 2017): 87–101. http://dx.doi.org/10.58256/njhs.v1i1.17.
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Using new historicism, this paper examines textualization of history in selected poems from Cook and Rubadiri anthology, Poems from East Africa (1971). A textual analysis of poems with titles that encompass appellations of real humans, such as Martin Luther King and Yatuta Chisiza, and places, such as Vietnam and Angola, have been selected in order to compare how history and historicization has been undertaken in poetry. History and historicization are examined as twin elements that ambivalently help readers in understanding the context and inspiration of the poets in the selected poems for this study. The reading established that there is a one to one correlation between the messages contained in the texts (poems) and the historicities surrounding such creations. It also established that the personalities in the poems: Martin Luther King, Yatuta Chisiza, Major Christopher Okigbo, inter alia, fought for causes that, to this day, afflict humanity as a whole. The reading also found that wars such as was the war in Vietnam, Angola, Maji Maji Revolt, and many more, mirror the current wars in various parts of the world.
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ENTWISTLE, ALICE. "Robert Creeley and Robert Duncan: A World of Contradiction." Journal of American Studies 32, no. 2 (August 1998): 263–79. http://dx.doi.org/10.1017/s0021875898005891.
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Robert Creeley's long and productive writing life has resolutely witnessed personal rather than public change. Notoriously self-absorbed, his reticent poetry is fiercely individual in style and solipsistic in outlook. Like the poet, a man of few words, wryly humorous and intelligently self-contained, Creeley's poems seem determined “to say as little as possible as often as possible.” Yet the tightly crafted economy of this poetic idiom masks a curious amplitude which is easy to overlook. The tension between the persistent “circularities” in Creeley's work, his concern with the dualistic energies of contradiction and paradox, and the brevity with which such concerns are typically addressed, is worth noting, especially in the light of Creeley's abiding friendship with fellow poet, Robert Duncan, of whom Creeley once remarked:I've always felt very close to him as a writer, although our modes of writing must seem to readers quite apart. I tend to write very sparely, and Robert has a lovely, relaxed and generous kind of movement. But…[he] showed me kinds of content that I hadn't previously recognized.
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Peters, Kate. "Examining Form and Meaning." Babel. Revue internationale de la traduction / International Journal of Translation 43, no. 3 (January 1, 1997): 206–32. http://dx.doi.org/10.1075/babel.43.3.03pet.
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Abstract This essay examines the process of poetry translation in terms of prosodic form, showing that a methodical examination of prosody can aid the translator in creating a target text that is truer to the form — and thus to the meaning — of the original poem. No facile one-to-one prosodic correspondences are proposed, rather it is suggested that a close study of prosody in the specific context of the original poetic text can guide the translator in making more intelligent, meaningful and poetic choices. For the purpose of this study, three poems by the Spanish-Americanmoi/erm'stopoet, Delmira Agustini (Uruguay 1886-1914) are examined. The historical connotations and the implicit meaning of the specific forms used are scrutinised in depth, using as a guide T. Navarro Thomas' exhaustive historical study of Spanish-language prosody, Métrica Española. The formal nature of the three poems is analysed in relation to context and then the translations are discussed, giving special attention to the approximation to form in English. Because Agustini and Spanish-American modernismo may not be well known outside the community of Spanish-literature scholars, included as an introduction is a brief description of the modernista movement, as well as a biographical sketch of the poet. There is no claim of any easy formulas or equivalences between Spanish and English prosodies, and neither the original poems nor the translations are written in exact prosodic forms, rather there is, in the translations, an allusion to forms that have poetic resonance — an implicit musical meaning — in English-language readers. Résumé Cet article analyse la traduction de la poésie sous l'angle de la métrique et montre que l'examen méthodique de la prosodie peut aider le traducteur à créer dans la langue d'arrivée un texte plus fidèle à la forme — et donc au contenu — du poème d'origine. Il ne s'agit pas, dans cet article, de proposer des équivalents prosodiques faciles d'unité à unité, mais plutôt de suggérer qu'un examen détaillé de la prosodie dans le contexte spécifique du texte poétique d'origine est en mesure de guider le traducteur à faire des choix plus intelligents, plus cohérents et plus poétiques. En vu de la présente étude, nous avons analysé trois poèmes du poète hispano-américain modernista Delmira Agustini (Uruguay 1886 -1914). Les connotations historiques et la signification implicite des formes spécifiques utilisées sont analysées en profondeur. Pour nous aider dans cette tâche, nous nous sommes servis de l'étude historique très complète de la prosodie espagnole, la Métrica Espaňola de T. Navarro Thomas. Pour étudier l'aspect formel des trois poèmes, nous mettons celui-ci en relation avec le contexte, et en suite nous discutons les traductions en nous attachant tout particulièrement à l'approche formelle réalisée en anglais. Étant donné qu'Agustini et le modernismo hispano-américain sont assez peu connus en dehors de la communauté des spécialistes de littérature espagnole, nous avons joint, a titre d'introduction, une brève description du mouvement modernista ainsi qu'une notice biographique du poète. Il n'est nullement question de fournir des formules faciles ou des équivalents entre les métriques espagnole et anglaise, et d'ailleurs ni les poèmes d'origine ni les traductions sont écrites dans une forme prosodique exacte; il serait plutôt question, dans les traductions, d'allusions à des formes ayant pour le lecteur anglophone, une résonnance poétique — une signification musicale implicite.
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Neji, Rachid. "John Donne’s Poetry between the Petrarchan Tradition and Postmodern Philosophy: A Case Study- “The Canonization”." Journal of Humanities and Social Sciences Studies 3, no. 1 (January 30, 2021): 51–56. http://dx.doi.org/10.32996/jhsss.2021.3.1.6.
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This paper sheds light on the way John Donne’s poetry (1572-1631) deconstructs the familiar notions and foreshadows a literary area of postmodern contemplation and meditation. It may be true that Donne was influenced by the medieval ideas, but in his mature years he was persuaded that literature and poetry should submit to deep changes. In fact, the centrality of love and religion in Donne’s poetry seduces him to explore and discover the tenor of the universe theoretically and practically. The journey of discovery and exploration provides him with efforts to decode the inner spirituality by accepting the subversive, ambiguous, unfamiliar, and rebellious poetic concepts. Bearing all this in mind, this article yearns to scrutinize the fact that Donne seeks to devise a poetic platform to liberate literature and poetry from conventional modes of versification. The explanation of this attitude seems to be simple and easy understandable, but also rather surprising and complicated. The analysis will show that Donne’s poetry resorts to the sacred and profane in order to criticize social perspectives, and undermine established rules of poetry. The illustration of this attitude requires a deep analysis of his love and religious poems.
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Adipat, Surattana, Kittisak Laksana, Kanrawee Busayanon, Yasa Mahamarn, Pasuda Pakapol, Alongkorn Ausawasowan, and Boonlit Adipat. "An Overview of Educational Technology for Preservice Teachers in the Digital Age." Shanlax International Journal of Education 9, no. 4 (September 1, 2021): 136–45. http://dx.doi.org/10.34293/education.v9i4.4088.
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Technological tools, including networking hardware, media, and machines, have been incorporated into education to facilitate learning for many decades. The conveyance of knowledge through technology becomes fast, easy, and enjoyable for the learner while vastly improving the understanding of concepts. Research insights reveal that through the use of technological tools, the participatory capacity of students increases, and interest levels are raised. Education has evolved, over the centuries, in its form, nature, and manner of deliverance. When written communication had not yet developed, word of mouth and observation were the most common means of passing knowledge from one generation to the next. Teaching was mostly verbal, delivered through plays, songs, and poems. Writing as a means of communication only gained significance by the end of the 15th century. The use of chalkboards and blackboards as a method of learning and teaching gained popularity at the end of the 18th century. Still, now in the 21st century, more advanced technological tools play an important role in facilitating learning and teaching. This study examines the effectiveness of educational technology in English teacher education programs, emphasising the development of preservice teachers’ language and pedagogical skills.
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Cabal, Astrid, and Alexis Levitin. "Ten Poems from Spotlight on the Word." Latin American Literary Review 47, no. 94 (June 16, 2020): 82–84. http://dx.doi.org/10.26824/lalr.208.
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Astrid Cabral is a leading poet and environmentalist from the Amazonian region of Brazil. She is the translator of Thoreau’s Walden into Portuguese. Recent collections of her poetry include The Anteroom, Gazing Through Water, Word in the Spotlight, Intimate Soot, and Cage (second expanded edition). Her poems have appeared in Pleiades, Runes, Sirena, Amazonian Literary Review, Bitter Oleander, Catamaran, Cincinnati Review, Confrontation, Dirty Goat, Evansville Review, Per Contra, Poetry East, Poets at Work, and Osiris. Her book Cage, Amazonian animal poems translated by Alexis Levitin, appeared from Host Publications in July 2008.
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Shibanov, Victor Leonidovich. "Haiku Form in Udmurt Poetry." Ethnic Culture 4, no. 3 (September 27, 2022): 45–50. http://dx.doi.org/10.31483/r-103316.
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Japanese forms of verse are beginning to occupy an important place in the Udmurt poetry of recent times. In the 1990s, the dialogue of cultures was directed mainly to the West. In the new millennium, the internal mechanisms of culture begin to actualize the classical East. There comes a time of worldview and understanding of what is happening, haiku is becoming one of the popular genres. The purpose of the study is to identify national features of the haiku genre in the Udmurt lyrics. The object of analysis is the poems of A. Leontiev, S. Matveev and Alexei Arzamazov, written in the form of a Japanese three-line poem. The method of analysis is comparative studies. The results of the study are as follows. Udmurt poets, writing in the form of haiku, strive to see the big world in a small detail, to show the eternal in a moment. The autumn landscape becomes attractive in that it conveys “light sadness” (sabi). Thus, the poets do not copy the Japanese canons, but bring a national flavor. The unexpectedness of the finale (koan) in Udmurt haiku is usually achieved by the fact that the poet passes from one spatial dimension to another.
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Masri, Muhammad Diawan. "Peran Liga Arab terhadap Konflik Palestina dan Israel." Diwan: Jurnal Bahasa dan Sastra Arab 13, no. 1 (April 24, 2022): 41–61. http://dx.doi.org/10.15548/diwan.v13i1.706.
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This study aims to see the world view of the two poets towards the Arab League on the conflict between Palestine and Israel, and how the role of the Arab League in the conflict between Palestine and Israel. The method used in this research is descriptive qualitative approach, with the type of library research. There are two types of data sources in this study, namely primary and secondary sources. The primary data sources were taken from the poem entitled "Ana Yusuf Ya Abi" by Mahmud Darwish quoted from Diwan"Al-A'mal Al-Ulaa 3", and "Al-Hub Wa Al-Bitrul" by Nizar Qabbani taken from Diwan Nizar Qabbani. The results of this study are the world view of the authors of these two poems as a form of expression of their disappointment, anxiety and restlessness towards the conflicts that occur in the Middle East in general, Palestine and Israel in particular. They see what is happening with Palestine as if they are not getting any meaningful help from the Arab League and other countries.