Journal articles on the topic 'Hard poems'
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Tarman, Bulent, and Emin Kılınç. "Poetry in the Social Studies Textbooks in Turkey." Journal of Culture and Values in Education 1, no. 1 (June 25, 2018): 50–62. http://dx.doi.org/10.46303/jcve.01.01.4.
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The purpose of this paper is to examine social studies textbooks to investigate the use of poetry in the social studies textbooks in Turkey. This paper also examines whose poets have been represented in the textbooks. The authors applied content analysis to evaluate social studies textbooks. Content analysis is a research method that uses a set of procedures to make valid inferences from text. It is also described as a method of analyzing written, verbal or visual communication messages. Content analysis allows the researcher to test theoretical issues to enhance understanding of the data. The results showed that very few poems were used in the social studies textbooks. The finding of the study revealed that poems in the 4th grade textbooks relate to topics that were interest to students the nature and humanism. Poem about Şavşat, described the beauty of Turkish homeland in the four seasons. Vetch Field poem in the 5th grade social studies textbook, described a bride who has to work in the field. This poem seems to be written for girls since the language indicates ‘girls’ several times. It emphasizes how hard to be a bride in the vetch field. Remaining poems were used to promote students’ patriotic values. These poems emphasizes flag, homeland, heroism etc.
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Berezkina, Svetlana. "S. P. Shevyrev’s Poems for сhildren (1857–1858)." Children's Readings: Studies in Children's Literature 19, no. 1 (2021): 337–59. http://dx.doi.org/10.31860/2304-5817-2021-1-19-337-359.
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The article is concerned with the analysis of S. P. Shevyrev’s poems for children that had been written in 1857–1858. These years were hard for the poet; the majority of magazines were rejecting his works. The reason for this was S. P. Shevyrev’s run-in with gr. V. A. Bobrinsky (cousin of Alexander II), which turned into a fist-fight. In 1857–1858 his poems regularly appeared only in two magazines: “Zvezdochka” and “Luchi, a magazine for girls”, published by A. O. Ishimova for the schoolgirls of noble boarding schools. The article considers two themes in S. P. Shevyrev’s poems for children. He was writing religious poems for the children who were thoroughly familiar with the Bible and that allowed him to keep complexity of his plots. His second theme was the working life of Russian peasantry, which he depicted with exceptional love. S. P. Shevyrev in his poems always merges deep piety of Russian peasants and their hard labors. The article offers the poet’s unpublished poem about the fate of a poor orphan boy.
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Hercock, Ned. "Hard Objects in George Oppen's Discrete Series." Modernist Cultures 13, no. 4 (November 2018): 496–517. http://dx.doi.org/10.3366/mod.2018.0227.
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This essay examines the objects in George Oppen's Discrete Series (1934). It considers their primary property to be their hardness – many of them have distinctively uniform and impenetrable surfaces. This hardness and uniformity is contrasted with 19th century organicism (Gerard Manley Hopkins and John Ruskin). Taking my cue from Kirsten Blythe Painter I show how in their work with hard objects these poems participate within a wider cultural and philosophical turn towards hardness in the early twentieth century (Marcel Duchamp, Adolf Loos, Ludwig Wittgenstein and others). I describe the thinking these poems do with regard to industrialization and to human experience of a resolutely object world – I argue that the presentation of these objects bears witness to the production history of the type of objects which in this era are becoming preponderant in parts of the world. Finally, I suggest that the objects’ impenetrability offers a kind of anti-aesthetic relief: perception without conception. If ‘philosophy recognizes the Concept in everything’ it is still possible, these poems show, to experience resistance to this imperious process of conceptualization. Within thinking objects (poems) these are objects which do not think.
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Garnida, Susie Chrismalia, and Mateus Rudi Supsiadji. "METHODISM IN WILLIAM BLAKE'S THE CHIMNEY SWEEPER." ANAPHORA: Journal of Language, Literary and Cultural Studies 1, no. 1 (July 31, 2018): 29–32. http://dx.doi.org/10.30996/anaphora.v1i1.2087.
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This article explores one of Blake's poems entitled The Chimney Sweeper which sees gloomily the condition of child labour during the industrial revolution in Britain. In the poem, it seems that Blake critizes the use of children to work for family income. Especially, this article discusses Blake’s ironical discussion on the Methodism's teaching to work hard in order to have the eternal life in the poem.
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Popova, Matrena. "Eastern forms in Yakut poetry: transformation features (the works of A. Parnikova-Sabara-Ilge as a case-study)." SHS Web of Conferences 134 (2022): 00092. http://dx.doi.org/10.1051/shsconf/202213400092.
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This article attempts to comprehend the innovations of Yakut poets in the creation of small-form genres in modern Yakut poetry, namely forms borrowed from the Eastern poetry, to be more exact, the poetry created by Anna Parnikova-Sabaray-Ilge as a case-study. The tendency of the poetess in her poetic stylization of the Eastern genres is to enrich the modern genre systematizing the examples from the treasury of world literature. As early as the 1960s and 1970s, Yakut poets sought to master oriental forms. However, in their poems they did not strictly follow the requirements of certain oriental forms. Only in the early 2000s young poet A. Parnikova managed to keep to the special requirements of the hard forms, namely the eastern ghazals. Although the author managed to nationalize the imagery, for example, the author used lilies instead of tulips, we consider her poem a model of oriental forms in the Yakut style.
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Goldhill, Simon. "Framing and polyphony: readings in Hellenistic poetry." Proceedings of the Cambridge Philological Society 32 (1986): 25–52. http://dx.doi.org/10.1017/s0068673500004818.
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‘Then babble, babble words, like the solitary child who turns himself into children, two, three…” Beckett.In this paper, I intend to discuss three central Hellenistic poems: Callimachus' Hymn to Zeus, Theocritus' Idyll 11 and Idyll 7. Each of these poems holds a privileged position in the discussion of the Hellenistic era as well as in each poet's corpus. I am certainly not offering here what could be called complete or exhaustive readings of these works – that would be far beyond the scope of a paper of this length; rather, I want to focus on a key point of interpretation in each poem. In the Hymn to Zeus, I am going to investigate the language of truth; in Idyll 11, the poem's structure of frame and song; and in Idyll 7, the poem's programmatic force. There are two aims in this strategy: the first is to investigate the topic of the ‘poet's voice’ in Hellenistic poetry. The three poems and the three topics of my discussion are linked in the concern for how a poet places himself within his poetry – ‘Who speaks?’, as Roland Barthes put it. The interest in poetry and how a poet relates to his poetry is a constant and fascinating theme through these works, and each of the topics I have chosen to discuss will illuminate this interest from a different aspect. Secondly, through a consideration of these three key moments of interpretation, I shall be arguing for an increased awareness of the complexity and subtlety of Hellenistic poetry. I intend to show how critics' approaches and decisions with regard to these nodes of interpretation, which may be regarded as paradigmatic, have led to a worrying oversimplification of Hellenistic poetry. I hope to show in some measure how the intellectual complexity which makes these poems so hard to read and to criticize, can also be a source of their continuing interest and delight for us.
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Wiman, Christian. "Three poems: Interior; Hard Night; Rhymes for a Watertower." Critical Quarterly 43, no. 3 (October 2001): 65–66. http://dx.doi.org/10.1111/1467-8705.00377.
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Horn, Fabian. "DYING IS HARD TO DESCRIBE: METONYMIES AND METAPHORS OF DEATH IN THEILIAD." Classical Quarterly 68, no. 2 (December 2018): 359–83. http://dx.doi.org/10.1017/s0009838819000053.
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Homer'sIliadis an epic poem full of war and battles, but scholars have noted that ‘[t]he Homeric poems are interested in death far more than they are in fighting’. Even though long passages of the poem, particularly the so-called ‘battle books’ (Il.Books 5–8, 11–17, 20–2), consist of little other than fighting, individual battles are often very short with hardly ever a longer exchange of blows. Usually, one strike is all it takes for the superior warrior to dispatch his opponent, and death occurs swiftly. The prominence of death in Homeric battle scenes raises the question of how and in which terms dying in battle is being depicted in theIliad: for while fighting can be described in a straightforward fashion, death is an abstract concept and therefore difficult to grasp. Recent developments in cognitive linguistics have ascertained that, when coping with difficult and abstract concepts, such as emotions, the human mind is likely to resort to figurative language and particularly to metaphors.
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Mengjiao, Wang, and Tatiana A. Ponomareva. "“Keep silence to poetry”: “silence” in M.S. Petrovykh’s life and writing." RUDN Journal of Studies in Literature and Journalism 25, no. 1 (December 15, 2020): 101–10. http://dx.doi.org/10.22363/2312-9220-2020-25-1-101-110.
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The motive and image o “silence” in M.S. Petrovykh’s lyrics is connected with her poetic worldview, understanding of the creative nature and social reality. Image “silence” defines the lyrical plot of the conceptual poem “One thing I want to say to poets...”. The poem reveals the type of creative and life behavior that the author professes. One the basis of some biographical facts of M. Petrovykh, which are confirmed in verse, the lexical and semantic level of poems in which the image and motive “silence” are presented is analyzed in this paper. “Silence” was the theme not only of M. Petrovykh, A. Akhmatova, but also of other writers of the era of the 1930s and 1950s, which is due to the atmosphere of the time. External and internal censorship dictated the style of behavior. But the poet must get to the hard core of what is happening and recreate the true reality, write the truth. The meaning of “keep silence to poetry” is precisely this. This is not just an aphorism, but the meaning of genuine creativity.
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Pearce, S. J. "Bracelets are for Hard Times: Economic Hardship, Sentimentality and the Andalusi Hebrew Poetess." Cultural History 3, no. 2 (October 2014): 148–69. http://dx.doi.org/10.3366/cult.2014.0068.
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Of thousands of poems written in Hebrew between the closure of the canon of the Hebrew Bible and the dawn of modernity, a single exemplar is identified as having been written by a woman, known only as the wife of her husband, Dūnash ben Labrāṭ. Modern scholarship on this poem has primarily been interested in it as a unique and curious artefact of a woman writer working in Hebrew. The present article will reconsider that poem in light of documents in the Cairo Genizah that deal, from a documentary perspective, with the same concerns and activities that the poet treats in verse, specifically the ways in which women supported themselves financially in the absence of their husbands. This study will argue that the work of the supposed Andalusi Hebrew poetess reflects economic and social realities faced by women in Muslim Spain and more broadly in the Mediterranean society documented in the Genizah. The exchange of personal effects between the woman depicted in the poem and her husband stands as a literary comparison for records of similar exchanges and calls for a more historicized reading of Genizah poetry that moves beyond the question of the poet's gender.
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ГорбачевСкИй, чеСлав антоновИч. "Поэтический и образный строй стихотворения Е.Л. Владимировой «Я всего лишь тюремный поэт...»." Acta Neophilologica 1, no. XXI (June 1, 2019): 53–57. http://dx.doi.org/10.31648/an.4360.
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This article analyzes one of the poems written by the Russian poetess Elena Vladimirova. The author protests against prisons and hard forced camps systems established by Joseph Stalin, in which Elena Vladimirova spent more than eighteen years. We focus on such features of the poem as a poetic and figurative system and images-sym-bols, time and space, and two main “points of view”: “the supervisor’s estate” and “the slave’s estate”. The conclusions of the analyzed poem may initially seem unexpected: the boundaries between freedom and imprisonment are very unstable and subtle in the totalitarian state.
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Deborah Stevenson. "Falling Hard: 100 Love Poems by Teenagers (review)." Bulletin of the Center for Children's Books 62, no. 3 (2008): 117. http://dx.doi.org/10.1353/bcc.0.0475.
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Sultan, Sabbar S. "The Image of the City in the Poetry of Two European Poets and Two Arab Poets." Academic Journal of Interdisciplinary Studies 9, no. 5 (September 21, 2020): 239. http://dx.doi.org/10.36941/ajis-2020-0101.
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The city as a physical entity engages an outstanding position in world literature. Some writers show its admirable and gorgeous sides. The majority of writers, however, see the city as the place of hard times, difficult life and endless commitments. The four poets chosen in this study (T.S.Eliot, Frederico Lorca, Abdul Wahab Al Bayati and Ahmad Abdul Mu'ti Hijazi ) belong to the second category.These four modernist poets have highlighted its negative psychological and mental impacts on the its dwellers and the ecosystem as a whole. The purpose of the study centers on highlighting the negative moral, psychological and emotional impacts the city leaves on creative writers, particularly poets. Indeed they always find a sharp contrast between their hunches and imaginings on the one hand and the depressing reality of the city's mode of living on the other. As regards the methodology used throughout the study, it foregrounds the thematic aspects of the poems selected with a particular reference to the representations of the city and its dull world. A close reading of these poems and the biographical information will be the guiding line. Some of the parallels and differences between the poets in question are included. The main findings and conclusions of the study can be summarized in the following points. The city is the center of civilization and emblem of national pride of all countries. However, it has many disadvantages such as the dwellers' keen sense of spiritual loss, alienation and displacement, especially among hypersensitive people like poets. Many sociologists, psychologists and philosophers have investigated this issue of the city's frustrating life. The poets' contribution to this topic can be considered as a fresh version that readers look forward to and are enthusiastic about.
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Lāms, Edgars. "Andreja Papārdes dzeja 20. gadsimta sākuma laikmeta un latviešu dzejas kontekstā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 56–63. http://dx.doi.org/10.37384/aplkp.2020.25.056.
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Andrejs Papārde’s real name is Miķelis Valters (1874–1968), he was born and raised in Liepāja in a family of dock workers. Valters is a versatile personality – a Doctor of Juridical Science, a social worker, a politician and a diplomat with outstanding accomplishments in Latvian history. Valters was also an art theorist and poet. He signed his literary works with a pseudonym Andrejs Papārde. In literature, Papārde announces himself in the 1890s with works of short prose and reflections, later also with poetry. In book shape, his poetry is published after the 1905 Russian Revolution. He has three collections of poems published. The first collection of poems “Tantris” was published in 1908 in Helsingfors. The collection consists of little poems in short verses, without titles, but listed with roman numerals from one to eighty-nine. The poems are written in free verse, without rhymes, and they are characterized by allegoric expression and symbolic characters. The poetry is allegorically symbolic, with no specific place and time. The inflecting sound of verses is dominated by a pessimistic and depressive feel. The common gloomy atmosphere of the poems in the collections is formed by the imagery of pessimistic expressions, the dominance of the black colour and a severely dramatic sense of the world of the main character. The scenes with depressive characters capture the horror of a global apocalypse as well as the fear of an individual threat. The atmosphere of misery and hopelessness is created by grim stylistics and negative semantic characters. The very few characters of positive expression cannot dispel the overall dreary and sorrowful mood. Andrejs Papārde’s second poem collection “Ēnas uz akmeņiem” comes out in 1910 in Riga. The collection consists of seventy poems numbered with Arabic numerals. Interestingly, the pages are not numbered, thus only the number of a poem can be indicated in the references. All of the poems are of small scale, ranging from five to twelve lines, most of them are poems of six to eight short lines. All of the poems from the collection are without titles, written in free verse and without rhymes. The form of the poems is almost compressed to a maximum. The free verse and the intelligent dimension of the poems allow perceiving Papārde’s poetry similarly to Japanese haiku or tanka. Verses filled with depressive feelings in a way persist in his second collection of poems, however this time in not so unvaryingly dull manner and not so fatally obedient. More often, but not entirely levelled, optimistic tunes are played. The night continues to reign, there is still a lot of black colour, but more often there are mentionings of mornings. Notably, for expressing optimistic feelings, verbs are used in the future tense. Papārde’s second poem collection “Ēnas zem akmeņiem” ends on an optimistic tune, but that is certainly not a naive optimism of non-existing problems. Papārde’s third poem collection “Mūžība” subtitled “Mana dziesma” was published in 1914 in Helsingfors. Unlike in the previous collections, in this one, all of the poems have titles, and they are no longer numbered. The author consistently keeps writing in a rhymeless free verse. Almost like with inertia, there is still skepticism and disappointment. But there is much more confidence than before, the willingness to withstand difficulties, hard times, and there is hope for the tomorrow, for the “Easter morning”, for a new day. In this poem collection, Papārde and the main character slowly turn into an ambassador of light and an admirer of the sun, thus joining the many sun worshipers and the light announcers in Latvian literature. The character system close to romanticism, individual sovereign subjectivity, intimate sounding verses, dynamic use of abstractions and symbols are all associated with the 20th-century romanticism, or in other words, the neo-romanticism. The dominance of the pessimistic atmosphere differentiates this poetry as a depressive neo-romanticism or so-called catastrophic romanticism poetry.
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Chalid, Tegar Risadi. "The racial discrimination of white and black As seen in benjamin zephaniah’s poems." Jurnal Ilmiah Langue and Parole 1, no. 1 (June 23, 2017): 174–82. http://dx.doi.org/10.36057/jilp.v1i1.18.
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The problem in this thesis is the racial discrimination from white community against black community that was their former slave in the past, the author analyzes three poems by Zephaniah based on the issue of racial discrimination. Poem represents the poet’s feeling about the social phenomena that surrounds him, and these poems are also the form of protest against racial discrimination.
The purpose of this study is to analyze the treatment from white communities against black communities that consider that their race to be superior compared to their former slaves. The manifestation of racial discrimination can be seen from the attitude of prejudice, insulting words and remarks, and the acts of oppression on black community. In this writing, library research is taken as the method of data collection. As for the method of data analysis, the author performs systematic procedures by understanding of the poem, the theme of racial discrimination, and also the theory of psychology. Data collection technique uses qualitative techniques in finding the data in form of explanation on the phenomenon that occurs. In the technique of data analysis, the writer uses genetic structuralism techniques by analyzing the oppression of black society in Zephaniah’s poems through psychology theory.
The findings in this thesis are: 1) in the poem of The Race Industry, white society always oppresses black society so that they have to work hard but do not get the result that they deserves, 2) in poem We Refugee, white society always have prejudice against black people because of their skin color and not because of their actions, 3) in Dis Poetry, white community always says provocative words and remarks to offend black people.
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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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Suhardi, NFN, and NFN Salamah. "Kajian Semiotik Puisi-Puisi Karya Sosiawan Leak." SUAR BETANG 17, no. 2 (December 1, 2022): 139–50. http://dx.doi.org/10.26499/surbet.v17i2.349.
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This study attempts to describe the meaning of the poems by Sosiawan Leak by using a semiotic approach. This research was conducted using the descriptive qualitative method. The research data consists of four poems entitled “Oportunis”, “Semua Tumbuh Bersama”, “Kuburan Bajang”, and “Tangan yang Rusak” which were taken from a poem collection of Wathathitha. The data was collected through a read-note technique. The data was then analyzed and interpreted descriptively using interactive techniques. The results of the study indicate that the issues raised in the poems are quite diverse and complex. The poem “Oportunis” describes the social reality of the attitude of enriching oneself in some officials. The poem “Semua Tumbuh Bersama” describes the reality of life about all the problems that grow together. The poem “Kuburan Bajang” alludes to the issue of social crimes against the backdrop of free sex, namely the removal of a fetus resulting from an illicit relationship. The poem “Tangan yang Rusak” illustrates how important and noble the attitude of hard work is. In general, Leak's poems can be used as material for reflection or self-reflection in order to improve self-quality in a better direction.AbstrakPenelitian ini bertujuan mendeskripsikan makna yang terkandung dalam puisi-puisi karya Sosiawan Leak dengan pendekatan semiotik. Data penelitian terdiri atas empat puisi Sosiawan Leak yang berjudul “Oportunis”, “Semua Tumbuh Bersama”, “Kuburan Bajang”, dan “Tangan yang Rusak” yang diambil dari kumpulan puisi Wathathitha. Data tersebut dikumpulkan melalui teknik baca-catat. Data kemudian dianalisis dan diinterpretasikan secara deskriptif dengan menggunakan teknik interaktif. Hasil penelitian menunjukkan bahwa persoalan yang diangkat dalam puisi-puisi tersebut cukup beragam dan kompleks. Puisi “Oportunis” menggambarkan realitas sosial tentang sikap memperkaya diri sendiri pada sebagian pejabat. Puisi “Semua Tumbuh Bersama” menggambarkan realitas kehidupan tentang segala persoalan yang tumbuh bersama. Puisi “Kuburan Bajang” menyinggung persoalan seputar tindak kejahatan sosial yang dilatari seks bebas, yakni pengangkatan janin hasil hubungan gelap. Adapun puisi “Tangan yang Rusak” menggambarkan betapa penting dan mulianya sikap bekerja keras. Secara umum puisi-puisi Leak dapat dijadikan bahan refleksi atau perenungan diri dalam rangka meningkatkan kualitas diri ke arah yang lebih baik.
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Gambarova, Gulnar. "Zahid Khalil - As representative of modern children's poetry." Scientific Bulletin 2 (2020): 157–60. http://dx.doi.org/10.54414/srdw4500.
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Writing on children's literature, topics that are of interest to them are difficult to explore and the works that shape the aesthetic taste of children are hard to come by. Some of the keynote speakers have devoted their lives to the creation of this literature. One of the poets who wrote modern children's poetry is Zahid Khalil. He brings to life literature about topics that children try to learn, observations of life, and tries to create a series of original images. The article analyzes children's poems, which play an important role in Zahid Khalil's creativity, and explores their themes, ideas and significance for children.
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Stankovic, Vlada. "Serbs in the poetry of Theodore Prodromos and anonymous Manganeios." Zbornik radova Vizantoloskog instituta, no. 43 (2006): 437–50. http://dx.doi.org/10.2298/zrvi0643437s.
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Numerous rhetorical writings of the Comnenian period constitute a fruitful field of research, both with respect to historical data, i.e. hard historical facts hidden, though still recognizable, behind the peculiar and somewhat abstract mode of expression of the authors of the twelfth century, and with regard to the poetics of the literary works themselves, i.e. the internal elements characteristic not only for the genre chosen, but also for each particular author. A comparative, historical and literary approach to these works renders their sense clearer and their complex allusions more readily understood. This is a matter of some importance, since allusions constitute one of the basic elements of historical rhetoric, which reached its peak at the time of Emperor Manuel Komnenos (1143-1180), especially during the first half of his reign, i.e. till the end of the fifties of the twelfth century. The poetry of Theodore Prodromes and of the somewhat younger Anonymous ('Prodromos') Manganeios is an excellent example of this intertwining of historical and literary elements, i.e. of the presentation of historical data through rhetorical patterns. One has to concentrate on individual works attempting to determine, as far as possible, the date of composition, the circumstances of writing and the purpose of a particular poem, the occasion for which it was written and the character of the expected audience, in order to better understand both the poetry written by these two rhetoricians and the individual features of the authors, as well as their respective positions in the circle around Emperor Manuel Komnenos. The poems dealt with in the present paper stand out for calling the Serbs by their real name. This naming practice was invariably employed by both rhetoricians in cases when new achievements of the basileus were to be announced and proclaimed immediately after the event, on the occasions of first reports, first celebrations of the new victories and accomplishments of the emperor, in short, whenever precision and accuracy of expression were imperative. Comparable to contemporary news and reports, under these circumstances both Theodore Prodromes and Anony mous Manganeios insisted on the real names of the defeated peoples and on the realistic description of the circumstances under which Byzantine, i.e. imperial, victories were gained. Writing soon after the event, these two poets had neither time nor interest in availing themselves of the artificial, ideologically loaded designations of the adversaries of Byzantium. On the contrary, their aim was to clearly point out the identity of the defeated barbarians by using concrete language and precise naming and to thus announce the emperor's victory over them. Within these limits, they could, of course, deploy their literary skills in different ways and put their poetic art on display through impressive and euphonic images, depicting the ideal of the basileus on the one hand and mocking those who dared stand up against him on the other. In contrast to innumerable encomia dedicated to Emperor Manuel Komnenos on different occasions, also including some writings of the two poets under discussion themselves, the current topicality of some of the their poems bears witness to the short time that had passed between the time they were composed and the event they described. It is in these poems that the Serbs are invariably called by their actual name, without the deployment of synonyms, as to explain or qualify the ethnonym (see in the first place W. Horandner Theodoras Prodromes. Historische Gedichte, Wien 1974, XXX. Recueil des historiens des croisades, Historiens grecs II, ed. E. Miller, Paris, 1881 761-763 (Manganeios, no. 26)). In order to get a better grasp of the overall poetics of these two poets, it is of some relevance to investigate the reasons underlying the use of particular ethnonyms. In this case it is the precise reference to the Serbs as the defeated enemies of the emperor, not to the Dalmatians, which is the name given to the Serbs in many of their poems which summarize the events of the past years and which are consequentially not conceived as depicting current events. An analysis of the poems of Theodore Prodromos and Anonymous Manganeios devoted to Manuel's expedition against the Serbs in 1149 enables us to better assess the documentary value of their verses, the connection of Prodromos' poem with the later historians of the Comnenian period, John Cinnamus and especially Nicetas Choniates, as well as the differences between the two authors (for instance, Prodromos' view from Constantinople as opposed to the position of the immediate witness assumed by Manganeios). What both poets unequivocally confirm in their political verses is that the purpose of a poem dictated the style in which it was written and the strength of rhetoric used in it.
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Levandovskii, Andrei Nikitich. "Everyday life of the Sakhalin exiles reflected in their songs and poems." Человек и культура, no. 6 (June 2021): 62–68. http://dx.doi.org/10.25136/2409-8744.2021.6.35081.
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This article examines the everyday life and mentality of the Sakhalin exiles based on their songs and poems, using the historical-comparative and historical-genetic methods. This gives a different perspective on these problems, since the sources created by the exiles were not widely used. One of the few examples is the memoirs of I. P. Yuvachev and articles of L. Y. Sternberg and B. O. Pilsudsky. However, they could not be referred to as ordinary prisoner, unlike the creators of many hard labor songs and poems. In the course of research, the author determines that although there was virtually no original song culture on Sakhalin, however, it was replaced by the rich culture of versification, which alongside the common motifs of home, love and the hard fate of the exiles, touched upon the characteristic local problems. The author assumes that such state of affairs was caused by the overall atmosphere of distrust and reticence prevalent on the island. This explains the high popularity of poems, since they could be written for a narrow circle of friends or stored inside the desk, unlike songs, which were supposed to be performed for a wide audience.
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Wróbel, Elżbieta. "„Ta gorsza” – czyli o kilku wierszach Elżbiety Szemplińskiej." Poznańskie Studia Polonistyczne. Seria Literacka, no. 32 (October 2, 2018): 95–111. http://dx.doi.org/10.14746/pspsl.2018.32.5.
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In the article, the author brings back the forgotten poet of the interwar period Elizabeth Szemplińska. The starting point of the discussion is the political and social situation that occurred in Poland in the thirties. The economic crisis, from which the whole of Europe was struggling from, favored radicalization among the Polish intelligence. Szemplińska openly admitted to her communist sympathies. The article remembers young poets from the Quadriga group, one of whom was also Nina Rydzewska. The group suggested the slogan „poetry socialized” showing the misery and suffering of the lowest social class. The author focused on the analysis of several lines from Szemplińska’s poems, in which the poet shows a woman of the proletariat crippled by hard work.
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Foss, Chris. "Poems as Hard as Canon-Balls: Exploding the Romantic Object of Study." Essays in Romanticism 16, no. 1 (January 2008): 7–23. http://dx.doi.org/10.3828/eir.16.1.1.
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Stevenson, Deborah. "Hard-Boiled Bugs for Breakfast and Other Tasty Poems by Jack Prelutsky." Bulletin of the Center for Children's Books 74, no. 4 (2020): 188–89. http://dx.doi.org/10.1353/bcc.2020.0864.
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Loshchilov, I. E., and I. S. Poltoratsky. "“The First Regional Siberian Poem...”: Alexey Achair, “Cossacks” (1927)." Studies in Theory of Literary Plot and Narratology 17, no. 1 (2021): 281–337. http://dx.doi.org/10.25205/2410-7883-2021-1-281-337.
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The article precedes the republishing of the poem of the Harbin poet Alexei Achair (Gryzov; 1896–1960) “Cossacks”, completed by the author at the end of 1927. It was published twice in 1929 in hard-to-reach publications for the modern reader: in two issues of the collection “Free Siberia” (Prague) and in the newspaper “Russian Word” (Harbin). The forgotten poem deserves attention as a case of early imitation of Marina Tsvetaeva’s poems, primarily the Pied Piper, and also as a detailed essay reflecting the regional mentality of the “storm and onslaught” period of the “Young Churaevka” circle. In addition, this is the largest in volume and the most significant in scale work of Air, the only poem published during his lifetime. Achair reproduced the characteristic techniques of Tsvetaeva’s “big form” poetics and tried to put them at the service of the propaganda of Siberian regionalism. Along with Tsvetaeva, who determined the artistic structure of the poem, echoes of Soviet poetry (Khlebnikov, Mayakovsky, Selvinsky) are also heard, which makes the overall impression of the poem mosaic.
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King, Don. "The Early Writings of Joy Davidman." Journal of Inklings Studies 1, no. 1 (April 2011): 47–67. http://dx.doi.org/10.3366/ink.2011.1.1.6.
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Joy Davidman’s place in the canon of twentieth century American literature deserves more attention than it has heretofore received. For instance, in her role in the late 1930’s as poetry editor for New Masses (the weekly voice of the Communist Party of the United States of America), Davidman published poets such as Langston Hughes, Margaret Walker, Alexander Bergman, and Aaron Kramer. At the same time, her poems in Letter to a Comrade (1938) touting a Communist agenda, while clearly written in the tradition of “proletarian literature,” are nonetheless well done; although a political agenda drives her selection of subject matter in these poems, they are not simply set pieces. She uses irony effectively and her imagery is evocative and striking. In fact, Davidman was very much a conscious craftswoman, spending the summers of 1938, 1940, 1941, and 1942 at the MacDowell Colony, a writers’ retreat in New Hampshire, where she honed her skills. For instance, her best piece of fiction, Anya (1940), is a direct result of her time at the colony. She understood the intellectual energy it takes to become an effective writer of poetry, fiction, and non-fiction, and she never backed away from hard work. Her commitment to writing—especially her voice, her rhetoric, her style, and the literary influences informing her work—merit more scholarly attention. In this essay I explore Davidman’s early devotion and commitment to the craft of writing; in addition, I evaluate the poems, fiction, and non-fiction she produced before she wrote for New Masses and published Letter to a Comrade.
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Sansom, Dennis L. "“What you look hard at seems to look hard at you”: Metaphysics and the Poetry of Gerard Manley Hopkins." Journal of Aesthetic Education 55, no. 3 (October 1, 2021): 33–58. http://dx.doi.org/10.5406/jaesteduc.55.3.0033.
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Abstract Gerard Manley Hopkins once said, “What you look hard at seems to look hard at you.” This phrase not only encapsulates the central emphasis of Hopkins’s poetry but also suggests a proper relationship between philosophy and art. The aesthetic experience of artworks can provide pivotal experiences for metaphysical interpretations, and I attempt to show that Hopkins’s poetry gives such a foundational and informative experience for philosophical investigations. Hopkins develops his poetic expressions based on what he calls the ability of language to inscape and ingress profound experiences of reality. The metaphysics of Duns Scotus in which the particular embodies or transubstantiates the universal underlies these ideas and inspires Hopkins to write poetry. My point is not to say that a philosopher can offer the true meaning of Hopkins’s poetry and that, once we get the philosophical meaning, we can dismiss the poems. Rather, Hopkins’s poetry presents the kind of experiences that a philosopher can use to make meaningful metaphysical interpretations of the world.
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Panova, E. A. ""And in the first plane the second plane breathes deeper": a linguopoetic analysis of Yunna Morits’ poem "Just a sound shining through the leaves…" (to the 85th anniversary of the birth)." Russian language at school 83, no. 3 (May 19, 2022): 75–83. http://dx.doi.org/10.30515/0131-6141-2021-83-3-75-83.
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The article is devoted to a linguopoetic analysis of one of those poems by Yu. Morits that are hard to understand. The main features of the literary work under consideration are the allegorical and "coded" nature of the depicted situation. The paper traces how the lyrical plot and the semantic structure of the text unfold using the method of "slow reading" and examining various aspects of the text organisation (its composition, word semantics, syntax, and the image of the lyrical hero). Careful attention is given to the auto- and intertextuality interplay in the poem. The paper suggests possible ways to understand the keywords and images; at the same time, it is noted that the complex semantic structure of the text permits ambiguous interpretations.
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Ronda, Margaret. "“Work and Wait Unwearying”: Dunbar's Georgics." PMLA/Publications of the Modern Language Association of America 127, no. 4 (October 2012): 863–78. http://dx.doi.org/10.1632/pmla.2012.127.4.863.
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This essay argues that the georgic poems of Paul Laurence Dunbar offer his most incisive representations of the hardships faced by African Americans after Reconstruction. Written in the context of Jim Crow laws, vagrancy statutes, and other coercive means of restricting the mobility of southern blacks and extracting compulsory labor from them, these poems present the hard agrarian work characteristic of the rural Black Belt. They confront the pervasive rhetoric of racial uplift through labor, popularized by Booker T. Washington, that dominates American social discourse on race in the late nineteeth and early twentieth centuries, by revealing the negative freedom of black agrarian labor. At the same time, these poems assert the humanity and blamelessness of African Americans in the face of institutional racism. The essay aims to recast Dunbar's legacy by turning attention from his dialect poetry toward his georgic analyses of the uneven modernization of racialized labor.
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ALI, TARIQ OMAR. "Agrarian Forms of Islam:Mofussildiscourses on peasant religion in the Bengal delta during the 1920s." Modern Asian Studies 51, no. 5 (April 11, 2017): 1311–39. http://dx.doi.org/10.1017/s0026749x16000093.
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AbstractDuring the 1920s, a new genre of didactic poems prescribing the proper Islamic practice of everyday peasant lives were published out of printing presses in deltaic, eastern Bengal's small towns. This article argues that these printed poems constituted a discourse of agrarian Islam that prescribed reforms in peasant material life—work, commerce, consumption, attire, hairstyle, and patriarchal authority—as a means of ensuring the viability of peasants’ market-based livelihoods. The article examines the emergence of a small-town Muslim intelligentsia that authored and financed the publications of these poems out of the Bengal delta's small-town printing industry. Eschewing communalism as an analytical frame in understanding South Asian Muslim identities, this article argues that Bengali peasant Muslim subjectivity was located in peasant engagements with agrarian markets. Agrarian Islamic texts urged Muslim cultivators to be good Muslims and good peasants, by working hard, reducing consumption, and balancing household budgets.
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KARABULUT, Tuğba. "Repositioning the Representation of Femininity in H.D.'s "Garden"." fe dergi feminist ele 14, no. 2 (December 15, 2022): 90–102. http://dx.doi.org/10.46655/federgi.1176837.
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Hilda Doolittle, an American poet, playwright, and novelist known by the initials H.D., was one of the few female figures of the male-dominated early modernist era. Her early works are of crucial importance as they are associated with Imagism, the literary movement shaped by Ezra Pound as a reaction to the wordiness, indirectness, and sentimentality of Victorian and Romantic poetry. H.D. played an important role in Imagism. Ezra Pound, who suggested that Hilda Doolittle append the signature “H.D., Imagiste” to her works, introduced her as the leader of Imagism. Her first poetry collection, Sea Garden (1916), which includes twenty-seven poems, is a paragon of Imagist poetry. The poems were composed in free verse without thematic boundaries and with the use of harsh and impersonal style and diction, natural imagery, a melodious rhythm, and economical word choice. However, H.D.’s “The Garden,” an image-focused poem from this collection, goes far beyond Imagism. It is not simply a nature poem; the narrator glorifies fierce natural objects such as hard roses, rigorous winds, and thick air to represent women’s potential strength, resilience, and productivity. It also subverts the stereotypical representation of femininity and female vulnerability by displacing dominant patriarchal myths. The poem is brimming with encoded images that metaphorically reconstruct female imagery and representation. This paper investigates how “The Garden” unfolds hidden and disregarded concepts of femininity to reposition the female figure in the ideal imaginary “Garden” by saving her from the confinement of the man-made “Garden” in order to suggest a new representation of femininity, mirroring Pound’s call to “Make It New!”
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Tomoiagă, Ligia. "The Concentration and Sublimation of Time as Memory in Louise Glück's Poetry." Papers in Arts and Humanities 2, no. 1 (June 8, 2022): 26–39. http://dx.doi.org/10.52885/pah.v2i1.92.
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The preoccupation with the mythical time of the world, of humanity, and of each individual's life comes as one of the most powerful poetic tools in Louise Glück's poems. From evoking the foundational times of the Garden of Eden, or the "immutable" hard nut represented by Greek mythology, the poet concentrates whatever may suggest an evolution in time in those initial 'moments'. Her reading of the history of human soul seems to suggest that everything stopped with the first page, or the first words. This study will come with many suggestions of poems that support this vision on Glück's use of memory or anamnesis (ἀνάμνησις) as the only path to understanding humanity.
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Oroskhan, Muhammad Hussein. "Devotional Mysticism: An Analogical Study of Hafez-e Shirazi and William Blake." Theory and Practice in Language Studies 11, no. 5 (May 1, 2021): 475–80. http://dx.doi.org/10.17507/tpls.1105.03.
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Mysticism is a method of thinking not wildly shared by the majority of the people around the entire world whereas unique individuals sap at the roots of this concept. Less a coherent movement than a way of thinking, the concept of mysticism is not systematically defined as a firm set of ideas but is more tended to be shaped by the individuals dealing with this concept. In this respect, each person carries this notion in his further exploration on his own accord since the concept is highly individualistic. As such, William Blake directed the concept toward a sort of devotional mysticism emphasizing on the individual's hard effort in achieving unity with God. In a similar manner, Hafez-e Shirazi, a classical Persian poet, undertook more or less the same method in signifying the notion of mysticism to his further investigations in his poems. Hence, through this paper, an attempt is made to explore the poems of these two poets regardless of their different cultural and geographical backgrounds to prove that each poet more or less has applied the same method called devotional mysticism in achieving unification with God. Moreover, the aforementioned research is based on the theoretical framework of comparative literature propounded by Francoise Jost and developed and expanded by Shunqing Cao in their seminal works on comparative literature.
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Doğru, İhsan. "Yahya Kemal and Nizar Qabbani: Two Poet-Diplomats in Spain and “Andalus” in their Poems." CLEaR 4, no. 2 (September 1, 2017): 20–33. http://dx.doi.org/10.1515/clear-2017-0009.
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Abstract Yahya Kemal and Nizar Qabbani were two poets who served as diplomats in Spain in the past century on behalf of the governments of Turkey and Syria. Yahya Kemal wrote two poems about Spain, “Dance in Andalusia “ and “Coffee Shop in Madrid”. “Dance in Andalusia,” a poem written about the Flamenco dance, has become very famous. In this poem, he described the traditional dance of the Spanish people and emphasized the place of this dance in their lives and the fun-loving lives of the people of Spain. In almost all of the poems which Nizar Qabbani wrote about Spain, on the other hand, a feeling of sadness rather than joy prevails. He gives a deep sigh in his poems as he regards Andalusia as the one-time land of his ancestors. His most important poem with respect to Spain is the poem entitled “Granada”. This poem is considered to be one of the most significant odes in the Arab literature describing Granada, the pearl of Andalusia, Arab influences there, the Alhambra palace and the sadness felt due to the loss of the city by Arabs. This study analyzes the two most important poems written by Yahya Kemal and Nizar Qabbani concerning Spain, namely “Dance in Andalusia” and “Granada”. Whenever it is deemed appropriate, other poems of the two poets regarding Spain will be dwelt upon and what kind of an influence Andalusia left in their emotional world will be revealed.
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Ergashev, Abdiolim. "Poems About The Youth Of Sahibkiran Amir Temur." American Journal of Social Science and Education Innovations 2, no. 08 (August 30, 2020): 590–603. http://dx.doi.org/10.37547/tajssei/volume02issue08-97.
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The historical era of Kashkadarya-Surkhandarya has existed since ancient times. In particular, poems about Amir Temur and Babur are widely spread.
Until now, some of the Bakhshi living in this territory have been written and published, such historical epics as" Oichinar", "About Babur", "Birth of Sahibkiran", "Birth and youth of Amir Temur", " Temur and Boyazid", "Great Amir Temur", " Ahmad Yassavi", " Alisher Navoi", "Makhtumkuli".
We wrote and published an epic about the birth and childhood of Amir Temur "the birth of Sahibkiron" from Ruzi Bakhshi Kulturaev, an epic "the birth and youth of Amir Temur" from Chori Bakhshi Umirov.
If both epics concerned the birth of the historical person Amir Temur, his childhood, then widely known fantastic inventions, epic sponsors, characteristic of traditional epics, as well as the image of mythological evil forces.
First of all, when it became known about the birth of Amir Temur, evil forces, ill-wishers in different kingdoms are trying to destroy him both before and after birth. But no matter how hard they try, epic sponsors, holy spirits, teachers are not enough because of their desire to help Temur and mother Teginabegim.
Since Amir Temur's father Taragai Bakhadir went on a long battle journey, he lives with his mother Teginabegim in Amir Chaku's house.
Temur grows from childhood strong, energetic, smart. Since childhood, he captivates the minds of children with various national games. Increased is strength. The poem reflects how he lived through his childhood.
In the Poems about the birth and youth of Amir Temur, the life, successes of that time, and the way of life of the people are well covered. Along with the names of such historical figures and places as Amir Temur and his saints, father, mother, Amir Chaku, Bayonkulikhan Bukhara, Kesh, Zanjisaray in the epic, there are a number of fantastic images.
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Zhatkin, Dmitry N., and Nikolay L. Vasilyev . "A forgotten poem by I.A. Bunin." Philological Sciences. Scientific Essays of Higher Education, no. 1 (January 2021): 133–37. http://dx.doi.org/10.20339/phs.1-21.133.
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The article introduces into scientific circulation a poem which was not included into the collected works of I.A. Bunin (1870–1953) and in the reference and bibliographic literature about the writer’s creative work: “Deaf Anxiety — how hard you hurt me!..”, published under his name on July 2, 1896 in the newspaper “Odessa news” — among two other well-known works of the poet: “The Tide (Dedicated to. A.M. Fedorov)”, “From Petrarch”. This poem was probably written in Odessa, where Bunin stayed for a few days at the dacha of his friend, the poet, translator, and journalist A.M. Fyodorov (1868– 1949), who helped to published Bunin's poems in three issues of the “Odessa news” (1896. June 16, 23, and July, 2). Both writers were fascinated at this time by the creative works of the Italian poet A. Nеgri (1870–1945) and tried to translate them with the help of their friends who knew Italian. However, there are no direct comparisons with the poetry of A. Nеgri in Bunin’s poem. Nevertheless, understanding of the poetics of the forgotten classic poet helps to clarify the evolution of Bunin’s creative works, in particular to see elements of elegiac romanticism and presymbolism in his earlypoetry.
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Hadjittofi, Fotini. "SLEEPING EUROPA FROM PLATO COMICUS TO MOSCHUS AND HORACE." Classical Quarterly 69, no. 1 (May 2019): 264–77. http://dx.doi.org/10.1017/s0009838819000545.
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The rape (or threatened rape) of a sleeping Europa in Plato Comicus has curiously not attracted any attention from critics commenting on later texts which narrate the story of Europa. Yet, the motifs of night, sleep and dreaming play a prominent role in the Europa poems of both Moschus and Horace. This article will investigate the role of these motifs and argue for a closer connection between these two poems than has thus far been allowed. It will also maintain that, in both poems, the suggestion that the heroine was (or could be) raped in her sleep is lurking in the background and that, if taken into consideration, it can significantly expand our scope of interpretation and perhaps account for some features which would otherwise be hard to explain. While it is not unlikely that the two authors to be discussed here had direct access to Plato Comicus' Europa, my argument does not rely on knowledge of this comedy, which could, after all, be parodying an earlier tragedy. Rather, the main thesis of this article is that a classical or early Hellenistic version of Europa's myth (which Plato Comicus may either reflect or be the source of) had the young woman raped in her sleep. This tradition, then, informs these two later poems, which may or may not have been directly influenced by Plato Comicus’ rendition.
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SAAD, HAIDER LUAIBI. "SUFFERING OF WOMAN IN THE POETRY OF ALFRED TENNYSON." Journal of Education College Wasit University 2, no. 25 (December 5, 2021): 1687–706. http://dx.doi.org/10.31185/eduj.vol2.iss25.2758.
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Woman was and stills the center of any family; consequently she is the center of the whole society. The social suffering of women was of different forms which varied from suppression in education to isolation, deprivation of love and market-marriage. Woman in all societies lived in hard circumstances and was yoked to enslavement to man's prejudice and proud feeling of superiority. Alfred Tennyson highlighted woman's torture and problems trying to get his people acquainted with such suffering and open his people's eyes and minds to the tragedy of woman's maltreatment. He used his poetry to exhibit his beliefs in such plights. This paper deals mainly with Tennyson's treatment of woman's issues. First, it gives a biographical sketch of Tennyson's life, emphasizing those incidents and situations that affected his outlook towards woman which he depicts in his poems that defend her issues in society. Of those poems are “The Princess”, “, “Mariana” and “The Lady of Shalott”. The paper casts a light on one of these poems which is "The Princess" and ends with a conclusion that brings the final findings of the study out where the reader can make use of Tennyson's ways of understanding and presenting woman's problems.
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E, Soundarya. "Arivumathi and Dravidianism." International Research Journal of Tamil 4, S-5 (August 25, 2022): 260–66. http://dx.doi.org/10.34256/irjt22s540.
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Superstitions, rituals, religion, and godly principles that arose from the emergence of the Dravidian movement and the rise of the Dravidian race are enslaving the people. It was through this that those human beings created ups and downs among themselves and locked up the slave animals for themselves. Untouchability was an act of demeaning a man. This atrocity of untouchability was seen in restaurants, art halls, buses, and even schools, with separate cups, separate seats, and separate sections. In addition to demeaning women, there were many oppressive policies in Tamil Nadu, such as that a woman is a slave to a man, home, and society. The Dravidian movement was a movement that emerged to rescue the people from many more such forms of oppression. Even Tamil, the oldest language of the Dravidian languages, began to lose its uniqueness at some point. In order to bring the Tamil language out of this decline, the speakers of the Dravidian movement like Thanthai Periyar, Anna, and Kalaignar promoted Tamil through their self-conscious speeches. Similarly, many poets of the Dravidian movement, like Bharathidasan, Suradha, Vanithasan, etc., through their writings, worked hard to make the Tamil language flourish on our soil again. Arivumathi is one of those who have been attracted by such principles and who is now a poet of the Dravidian movement. The Dravidian thoughts found in his poems can be seen in poems such as his unique Tamil principles, his attachment to race, the restoration of slavery, and his concept of untouchability.
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Vunić, Krešimir. "Shelley’s ‘To a Skylark’ and Thomas Hardy." Tabula, no. 19 (December 8, 2022): 75–88. http://dx.doi.org/10.32728/tab.19.2022.5.
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The interpretation of poetry is certainly an intellectually demanding, and ultimately fulfilling task, and one of the means by which the scholar can approach the work of a great poet is when he/she encounters the work of a great precursor to which the latter poem is indebted, but one must bear in mind that the latter work, must be one in which there is an authentic voice. In this paper the endeavour is to investigate one such instance: the relationship between Shelley’s ‘To a Skylark’ (1820) and Thomas Hardy’s ‘Shelley’s Skylark’ (1901). The conjecture here is that Hardy’s poem is not one in which the mere influence of an earlier poem is predominant, but evinces an intentional irony. Furthermore, irony is manifested in Hardy’s poem not only in statement but also in form. After an introduction on the reception of Shelley’s poetry both in criticism and among poets, a close reading of both poems, and how they interact, follows.
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Alieva, Fatima Abdulovna. "CREATIVE ACHIEVEMENTS OF THE POET-SONGWRITER OF MODERNITY MAZHID AKHMEDOV." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 22 (June 15, 2020): 28–31. http://dx.doi.org/10.31029/vestiyali22/4.
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The article analyses the poetry of Kubachi poet-songwriter Mazhid Akhmedov, whose work has found artistic embodiment of the burning problems of modernity, his poems tell about good and evil, about honor and dishonor, about patriotism, hard work, love for his native land, fellow villagers. The collection especially richly presents love lyrics, which use all kinds of poetic devices and means – epithets, metaphors, comparisons, and figurative expressions characterized by special expressiveness, as well as bearing the imprint of ethnicity.
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Nabigulaeva, Marzhanat Nabigulaevna, and Akhmed Magomedovich Murtazaliev. "Children's poetry by Rasul Gamzatov." Litera, no. 10 (October 2021): 117–30. http://dx.doi.org/10.25136/2409-8698.2021.10.34165.
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The object of this research is the works of Rasul Gamzatov, while the subject is his poetics and style of children's poems. Detailed analysis is conducted on the genre and ideological-thematic peculiarities of children's poems by R. Gamzatov. Attention is focused on the techniques and means of expressiveness of the literary image. Rasul Gamzatov's children's poetry has not previously become the object of comprehensive research. The author observes the lack of scientific research that touch upon this side of the poet’s activity, namely substantive, formal, and artistic peculiarities of his poems for children. This topic requires in-depth scientific examination. The conclusion is made on the extensive representation of children's poetry in the works of Rasul Gamzatov, the key motifs of which are hard work, education, patriotism, love for the mother, plea for peace on earth, and propaganda of the traditional highland upbringing. The scientific novelty consists in the attempt of holistic study of the poetics, as well as genre, stylistic and ideological-thematic peculiarities of children's poetry. The author’s special contribution to this research lies in shedding light on the little-studied aspect of R. Gamzatov's works, which arouses interest in further research of his literary heritage.
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Fausto, Paulo Eduardo Bittencourt, and Gustavo Silveira Ribeiro. "Injúria hermética: A ruína paralisante da forma / Hermetic Injury: The Paralyzing Ruin of Form." Cadernos Benjaminianos 15, no. 2 (March 13, 2020): 113. http://dx.doi.org/10.17851/2179-8478.15.2.113-128.
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Resumo: Este ensaio visa elaborar uma interpretação de um dos poemas da obra Claro Enigma (1951), de Carlos Drummond de Andrade, intitulado “Oficina Irritada”. Recuperando a forma do soneto, Drummond reaparece em mais um de seus poemas metalinguísticos, em que explora, dessa vez, alguns recursos e imagens clássicos, não abrindo mão de suas características marcantes, como a ironia e a melancolia. Tendo como substrato teórico os conceitos como os de “sobrevivência” e “latência”, respectivamente formulados por Didi-Huberman e Hans Ulrich Gumbrecht, a análise se dá sob o viés da fantasmagoria, a fim de demonstrar como são mobilizadas no referido poema formas e tempos distintos, sob o signo da paralisia. Após uma longa contextualização acerca dos conceitos e do momento histórico no qual se insere esse título da obra drummondiana, pode-se inferir que não somente o poema apresenta questões de seu tempo como também as transcendo, trazendo reflexões sobre a própria composição poética em um tempo de catástrofe absoluta.Palavras-chave: Drummond; sobrevivência; latência; melancolia; poesia.Abstract: This essay intends to elaborate an interpretation of one of the poems from Claro Enigma (1951), written by Carlos Drummond de Andrade, named “Oficina Irritada”. Reclaiming de sonnet’s form, Drummond reappears in one more of his metalinguistic poems, in which he explores some classic resources and images, not giving up on his main characteristics, such as irony and melancholy. Having as a supporting theory the concepts such as “survival” and “latency”, respectively formulated by Didi-Huberman and Hand Ulrich Gumbrecht, the analysis is built under the bias of phantasmagoria, by means to demonstrate how different forms and times are mobilized in the referred poem, under the sign of paralysis. After a long explanation about the concepts and the historical context in which this title of Drummond’s work is at, it may be inferred that not only the poem shows issues of his time, but also transcends them, bringing reflections about poetry composition in an age of absolute catastrophe.Keywords: Drummond; survival; latency; melancholy; poetry.
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Samborska-Kukuć, Dorota. "‘It Seems I’m Scattered by the Wind’: Liber tristium – Franciszek Pik Mirandola’s Debut Poetry Volume." Ruch Literacki 58, no. 2 (March 1, 2017): 151–62. http://dx.doi.org/10.1515/ruch-2017-0023.
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Summary Franciszek Pik Mirandola’s debut poetry volume, whose title Liber tristium (1898) was inspired by a book of elegies of the 16th-century Polish-Latin poet Ianicius, is a projection of the poet’s own psychological dilemmas in a tone of voice echoing the splenetic mode of Baudelaire and Kazimierz Przerwa-Tetmajer. His poems are uneven; their weaknesses are hard to overlook. Yet in spite of his all too obvious dependence on the fin de siècle (and Young Poland’s) poetics and mannerisms, he manages to rise above the run-of-the-mill laments and decadent clichés. Taken as a whole, the poetry of the idiosyncratic pharmacist from Krosno has the ring of an authentic inner struggle of an alienated individual looking for some metaphysical signs that would give meaning to his life. In his search he draws on Schopenhauer and the currently fashionable Hinduistic themes, but he does it with commendable good sense. He should also be praised for his ‘aquatic’ poems, especially the sonnet cycle Nieznajomi (Strangers).
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Berkovich, E. M. "On an ‘unannounced polemic’ that lasted a quarter of a century. The K — K mystification." Voprosy literatury, no. 5 (November 29, 2021): 166–87. http://dx.doi.org/10.31425/0042-8795-2021-5-166-187.
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E. Berkovich writes about the polemic around one of the most famous poems about the Great Patriotic War — ‘Felt boots’ [‘Valenki’], more recognisable by its first line (‘My comrade, in death throes…’ [‘Moy tovarishch, v smertelnoy agonii…’]). Krasikov published a posthumous collection of poems Black diamond. Poems [ Chyorniy almaz. Stikhotvoreniya] by the war veteran and poet A. Korenev in 1994, including the poem ‘Blizzard. Night…’ [‘Viuga. Noch…’], which had never been published in Korenev’s lifetime and which echoes almost completely ‘Felt boots,’ penned by I. Degen. Ever since then, a number of people, including Korenev’s daughters, have argued that the poem is authored by Korenev alone and was misattributed to Degen, whereas in reality it was Korenev who happened on a handwritten copy of ‘Felt boots,’ passed from hand to hand during the war, and decided to appropriate what hethought an unclaimed poem. Berkovich retraces the history of the argument around ‘Felt boots,’ incorporating into his article extracts from publications by L. Lazarev, who knew Degen well, and his own correspondence with the author of the mystification Krasikov and the journalist Rakhlin, and confirms the poem’s attribution to Degen.
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Chatterjee, Arnab. "William Golding’s Apocalyptic Vision in Lord of the Flies and Pincher Martin." Prague Journal of English Studies 6, no. 1 (July 26, 2017): 45–56. http://dx.doi.org/10.1515/pjes-2017-0003.
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Abstract Humanity has long been haunted by the notions of Armageddon and the coming of a Golden Age. While the English Romantic poets like Shelley saw hopes of a new millennium in poems like “Queen Mab” and “The Revolt of Islam”, others like Blake developed their own unique “cosmology” in their longer poems that were nevertheless coloured with their vision of redemption and damnation. Even Hollywood movies, like The Book of Eli (2010), rehearse this theme of salvation in the face of imminent annihilation time and again. Keeping with such trends, this paper would like to trace this line of apocalyptic vision and subsequent hopes of renewal with reference to William Golding’s debut novel Lord of the Flies (1954) and his Pincher Martin (1956). While in the former, a group of young school boys indulge in violence, firstly for survival, and then for its own sake, in the latter, a lonely, shipwrecked survivor of a torpedoed destroyer clings to his own hard, rock-like ego that subsequently is a hurdle for his salvation and redemption, as he is motivated by a lust for life that makes him exist in a different moral and physical dimension. In Lord of the Flies, the entire action takes place with nuclear warfare presumably as its backdrop, while Pincher Martin has long been interpreted as an allegory of the Cold War and the resultant fear of annihilation from nuclear fallout (this applies to Golding’s debut novel as well). Thus, this paper would argue how Golding weaves his own vision of social, spiritual, and metaphysical dissolution, and hopes for redemption, if any, through these two novels.
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Bharadwaj, S. "Dylan Thomas’s “In Country Sleep”: His Paradoxical Sensibility." Studies in Linguistics and Literature 4, no. 4 (September 9, 2020): p12. http://dx.doi.org/10.22158/sll.v4n4p12.
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In “In Country Sleep”, Dylan Thomas offers the Yeatsian paradoxical sensibility, the process of magnanimous impersonal art as salvation to the tumultuous Auden who condescends to the mortal levelling charges of conspiracy, war mongering, tilting and toppling against him as his performance as an artist of Yeatsian pagan altruistic art songs has undone his success, popularity and appeal among the contemporary poets. Auden, despite the loss of his grandeur, continues with the Eliotian metaphysical process of aesthetic amoral art song that has made him great in the early phase. The time-conscious political poets of the thirties, while heading towards the romantic ideals of their early phase, mounts up their rage against Thomas for his deviation in the later art songs from his early poems of pity. The young Movement poets commend Auden’s early poem for the parable of pure poetry and aesthetic success and defends his avenging move against Thomas. The introductory poem implies that it is Thomas’s introspective process of individuation and integration, coherence and co-existence, his paradoxical sensibility, his tragi-comic vision of Grecian altruistic art song that guards his sober and benign functioning as an ardent emulator of the pagan altruistic tradition of Hardy, Yeats, Houseman and Blake, as a poet of reconciliation, harmonization and cosmopolitan culture analogous to his functioning in the early poem 18 Poems.
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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.
Full textAbstract:
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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Wortley, John. "Aging and the Aged in “The Greek Anthology”." International Journal of Aging and Human Development 47, no. 1 (January 1, 1998): 53–68. http://dx.doi.org/10.2190/uccb-v22t-5rgy-n9t1.
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A large collection of short Greek poems made in the tenth and eleventh centuries at Constantinople contains items ranging back many centuries. These shed some light on many aspects of Hellenic life and attitudes, but light of what validity it is hard to be certain as these poems are to a certain extent literary conceits. Insofar as they are more than that, they reflect some interesting attitudes to aging and the aged, especially women. They reflect (for instance) scorn for the woman who used to trade the charms which she has now outlived, but a surprising degree of affection for the elderly woman who has aged gracefully and retained her lover's devotion. They reflect the qualms and fears of the man who perceives the onset of old age, the anger of the one who fights against it, and the calm of him who is resigned to it. They provide some evidence of the ills that drove working men and women into retirement and some rare evidence of what constituted a working life, at least for charioteers.
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Thomas Baby, Kappalumakkel. "The Skylark: A Symbol of Poetic Inspiration for Generations with Special Reference to Shelley and Hughes." Pertanika Journal of Social Sciences and Humanities 30, no. 2 (June 15, 2022): 723–42. http://dx.doi.org/10.47836/pjssh.30.2.16.
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The skylark is a tiny brown bird with a small crest on its head. It is slightly larger than a sparrow and is popularly known for its uninterrupted song during its upward flight. The bird is found in most parts of England and many European countries. A closer examination of English poetic tradition reveals that several English poets have anthologised this tiny bird, including famous poets such as Wordsworth, Shelley, Hopkins, Meredith, Rossetti, Rosenberg, and C Day-Lewis. The late poet laureate Ted Hughes also wrote about the skylark in our times. Even Shakespeare and Goethe have eulogised the skylark in their plays. Since Thomas Hardy has written a poem about ‘Shelley’s skylark,’ it is evident that traditionally ‘To a Skylark’ by Shelley is the most popular of all ‘Skylark’ poems. However, Hughes’s poem on skylark merits our attention because it is entirely different from the general trend of all other skylark poems written until his time. Therefore, this study explores how the skylark became a symbol of poetic inspiration for different generations of poets by analysing the two famous poems on skylark written by Shelley (1792–1822) and Hughes (1930–1998). While Shelley depicts the skylark as a pure spirit of joy, Hughes considers it an embodiment of cosmic energy resulting from the bird’s struggle for flight against the earth’s gravitational pull. Therefore, the different perceptions of Shelley and Hughes about the skylark constitute the essence of this discourse.
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Azad, Md Jahidul. "Female Depression through Symbolism: A Study on the Selected Poems of Adrienne Rich." IJOHMN (International Journal online of Humanities) 5, no. 6 (December 10, 2019): 10. http://dx.doi.org/10.24113/ijohmn.v5i6.150.
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This paper talks about Adrienne Rich’s support and standing with the women through her selected poems. The paper discusses the depression of women because of male dominance. Rich uses symbolism to display women depression. She also tries to clear the position of woman in the society. The research demonstrates the position of women through psychoanalysis, social problems and female point of view. This paper also tries to identify Rich’s view on feminism. Adrienne Rich has highlighted the hard reality in her writings. This paper also clarifies Adrienne Rich’s thinking or point view regarding feminism and sexuality. Her experiences regarding the depression of women are displayed here through symbolism. Thus the focal point of the paper is to show how Adrienne Rich shows female depression through symbolism.