Relevant bibliographies by topics / Heaven – poetry

Academic literature on the topic 'Heaven – poetry'

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Published: 25 July 2024
Last updated: 26 July 2024

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Journal articles on the topic "Heaven – poetry"

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Frost, Elisabeth. "Poetry: Under Heaven." Yale Review 88, no. 4 (October 2000): 51. http://dx.doi.org/10.1111/0044-0124.00451.

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Pontani, Filippomaria. "Bronze Heaven in Archaic Greek Poetry." L'antiquité classique 80, no. 1 (2011): 157–62. http://dx.doi.org/10.3406/antiq.2011.3798.

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Pontani, Filippomaria. "Bronze Heaven in Archaic Greek Poetry." L'antiquité classique 80, no. 1 (2011): 157–62. http://dx.doi.org/10.3406/antiq.2011.4014.

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Papsheva, G. O., and O. N. Matveeva. "SYMBOLS OF HEAVEN OBJECTS IN MASTERPIECE BY N.S. GUMILEV: MOON’s SYMBOLS." Bulletin of Udmurt University. Series History and Philology 32, no. 5 (October 14, 2022): 1072–78. http://dx.doi.org/10.35634/2412-9534-2022-32-5-1072-1078.

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In this article there are the main symbolical meanings of the moon in N. Gumilev's poetry as parts of ‘cosmism’ model. The main semantic groups are represented, similar and opposite meanings of the moon are compared, influence of the biographic facts on interpretation of national folklore is defined, individual and author's concept of lunar "Pale maiden" is proved, the especial importance of travelling as way of world’s researching is showed. The static data defining quantity of mentions of the moon in the poetry are interpreted. The hypothesis of further observations of heavenly bodies and other space object’s interpretation in N. Gumilev's masterpiece as an aspect of individual art model is represented.
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Pashtakova, T. N. "Heavenly-born characters in the published myths of Verbitsky: the words Tyanar and Tangara." Altaistics, no. 3 (October 5, 2023): 43–50. http://dx.doi.org/10.25587/2782-6627-2023-3-43-50.

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This article discusses Altai myths with the mention of the name of the character Tyanar,published in the work “Altai aliens” by Vasily Verbitsky. However, in order to clarify the primordial characterof the Tyanar in the Altai myths, we find out the history of the recording of myths by Verbitsky, and analyzethe myths about celestial characters. For the same purpose, we find out other Altai mythological storiesabout the messengers of the heavenly world in the Altai cosmogony and compare them with the Yakut storiesin which the character Tanara is present. The article traces the cult of Heaven in the Sakha (Yakutia) in termsof comparative and shamanic ritual with the poetry of Altai, Khakassia, Tuva and Buryat. We analyzedsimilar terms for the concept of Heaven and destinations that symbolize the worship of heaven. The authorbelieves that the cult of Heaven in the Sakha (Yakut) kept the general typological features. It manifests itselfin ritual and ceremonial complex of Ysyakh festival. Sky personified Urduk Ajyylar ‘Supreme Deity’, onpresentation of the Yakuts, living in different layers of heaven.
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Dutbayeva, S. S. "Linguaculturological Features of the Images of the Celestial World in the Russian Poetry of the 1990’s." Bulletin of Kemerovo State University 21, no. 4 (December 31, 2019): 1095–104. http://dx.doi.org/10.21603/2078-8975-2019-21-4-1095-1104.

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Modern philology studies language at the junction of different directions, e.g. hermeneutics and cultural studies, cognitive linguistics and literary criticism, linguaculturology and textology, etc. As a rule, combined methods provide the most interesting results. The article describes the images of the sky / heaven in the Russian poetry of the late XX century, the period of Russian history known as “the dashing nineties”. Contemporary poets seemed to have a very peculiar perception of that period. Their vision of traditional mythological and cultural symbols differed from commonly accepted interpretations. They described Russia as a dead woman or as a man at a crossroads, while the sky was a lost paradise that retained the peace and tranquility that are not to be found on the earth any more. The gap between heaven and earth is shown by the chaos of birdcalls, machinery noise, and nuclear clouds. Heaven and earth are connected by the World Tree, which unites the macroand microcosm. Man seeks balance and harmony but cannot find them. In the 1990’s, mankind was repeating the stage it had passed in the early XX century, when cherry orchards gave place to railways, and the old world order was coming to an end. In such periods, people do not look at the sky for solace; they mind their own step and see heaven reflected in the rails. The poetry of the 1990’s is filled with deep symbolism. The present analysis revealed several image clusters of the sky: mythological, religious, culturological, philosophical (eschatological), scientific and technological, and folklore. These clusters are interconnected and complement each other.
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Abdurahmanova Saadat Khalid. "THE MOTIVE OF ASCETICISM IN EMILY DICKENSON’S POETRY." International Academy Journal Web of Scholar, no. 1(43) (January 31, 2020): 7–12. http://dx.doi.org/10.31435/rsglobal_wos/31012020/6880.

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This paper is an attempt to analyze the poetry of Miss Emily Dickinson (1830-1886) contributed both American and World literature in order to reveal the extent of asceticism in it. Asceticism involves a deep, almost obsessive, concern with such problems as death, the life after death, the existence of the soul, immortality, the existence of God and heaven, the meaningless of life and etc. Her enthusiastic expressions of life in poems had influenced the development of poetry and became the source of inspiration for other poets and poetesses not only in last century but also in modern times. The paper clarifies the motives of spiritual asceticism, self-identity in Emily Dickenson’s poetry.
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Upreti, Soni, and Dr Vidya Shanker Sharma. "From Heaven Lake: Travelling Across Cultures by Vikram Seth." SMART MOVES JOURNAL IJELLH 8, no. 4 (April 28, 2020): 310. http://dx.doi.org/10.24113/ijellh.v8i4.10550.

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Travelling across culture is an endeavour to spread knowledge about the visiting provinces, on the route of the China, Nepal and India to his readers. This research work focuses on the prominent novelist, poet, and nonfiction writer, Vikram Seth. He who has been known as a citizen of the world. He is a cultural traveller. The work of Vikram Seth is a large variety of encyclopaedic and traditional forms and the places of his poetry and prose moves across the world, making literary homes of distant lands and cultures.
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Wiyatmi, Wiyatmi. "MEMAHAMI MOTIF PERKAWINAN BIDADARI DENGAN LAKI-LAKI BUMI SEBAGAI SPIRIT FEMINISME DALAM FOLKLORE INDONESIA." Diksi 29, no. 1 (March 29, 2021): 41–50. http://dx.doi.org/10.21831/diksi.v29i1.33108.

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(Title: The Poetry’s Potencies As Emotion Therapy Media in Society 5.0). This study aims to describe the function of poetry as a medium for emotional therapy in society 5.0. The data from this study are poetry texts written by students. Data were collected through test techniques (poetry writing) and non-tests (interviews, observations, and documentation). Based on the results of the study, it is said that aside from being a medium for brainstorming one's thoughts, feelings and experiences, poetry has the potential to become a medium for emotional therapy. Dictionaries, Enjambments, typography, and arrangement of lines can be said to represent the soul of the poet when angry, happy, in love, traumatized, experiencing sadness, and other emotions. The entire contents of the poem is a reflection of the emotions that the poet naturally experienced, saw, and felt in the packaging of words that were solid and full of meaning.Keywords: poetry, emotion therapy, therapy media, society 5.0(Title: Understanding The Motif of Midwifery With Earth Men as The Spirit of Feminism in the Indonesian Folklore). Folklore is one of the intellectual works that was born as an expression of the world view of the supporting community. One of the folklore motifs found in a number of ethnic groups in Indonesia is that which tells about the marriage between earth men and angels from heaven. Among these folklore are Jaka Tarub (Java), Putri Surga (Papua), Cerita Air Tukang (Maluku), Betawol (Miraculous North Kalimantan), Malim Deman and Puti Bungsu (Riau), Tomanurun (Toraja), and Si Lanang and Punai (South Kalimantan). This study tries to compare and understand the motif of marriage between men of the earth and deities by using the perspective of feminism. The results showed that the deities had higher positions and abilities than men of the earth who married him. This means that the upper world (heaven or heaven) the place of origin of the deities in social stratification is considered higher than the underworld, even though the two complement each other. The existence of the motif of marriage between men of the earth and desities found in a number of ethnic groups in Indonesia shows a high appreciation for the figure of the mother as an ancestor who inherited certain ethnicities, which is a manifestation of the spirit of feminism in a number of folklores in Indonesia.Keywords: deities, world above, world below, feminism
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Rubino, Carl A., and Deborah Boedeker. "Descent from Heaven: Images of Dew in Greek Poetry and Religion." Classical World 79, no. 6 (1986): 415. http://dx.doi.org/10.2307/4349949.

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Dissertations / Theses on the topic "Heaven – poetry"

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Butts, Anthony. "Little low heaven /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9962506.

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Huddleston, Clarity. "History, Power, and Meaning: Refusing Heaven and Jack Gilbert's Poetic Career." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1117.

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Kartsonis, Ariana-Sophia M. "Teatime in Heaven with the Crazy Ladies." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1227275015.

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Williams, Kirsty. "Structures of belonging : the poetry of Seamus Heaney." Thesis, University of Glasgow, 2003. http://theses.gla.ac.uk/1748/.

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This thesis is divided into three parts – Word, Body and Transubstantiation. Collectively these are the central motifs of Catholicism’s Eucharist. According to Scripture, Christ is the word made flesh. The Eucharist recalls his words and actions at the Last Supper when he shares bread and wine with his disciples and tells them that they are his body and blood. In the Catholic faith partaking of wine and bread during the communion of mass is believed to be a partaking of the real presence of Christ. By consuming the body (bread) and blood (wine) of Christ, the participating community symbolise their collective belonging in and to Christ. The Catholic Eucharist consequently explodes difference in a utopic leap of faith whereby transubstantiation conflates and reconciles language and physical being, sub specie eternitatis. Whilst it is a religious formation, a relationship between word and body and their overlap also maps into preoccupations in recent philosophical and cultural theory which bear on Seamus Heaney’s poetry. Rather than converging word and body through a utopic leap of faith (transubstantiation), poststructuralism (following Saussure) posits an irreconcilable interstice between signifier and signified and (in the language of Derrida) infinitely defers meaning. Psychoanalysis (following Lacan) suggests desire is a consequence of the space between signifier and signified. Anthropological and sociological body theories (following Foucault) propose a disparity between corporeality and discursive constructions of bodies. Questions of a persistent gap in secular philosophy are therefore opposed to a sacred structure (converging word and body in a utopic leap of faith) that is most clearly marked and symbolised in the Catholic Eucharist. By appropriating this religious structure and these cultural theories, an ongoing secularisation of belonging in Heaney’s poetry emerges.
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Tyler, Meg. "A singing contest : conventions of sound in the poetry of Seamus Heaney /." New York : Routledge, 2005. http://catalogue.bnf.fr/ark:/12148/cb40061119n.

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Fulford, Sarah. "Gendered spaces in contemporary Irish poetry." Thesis, University of Kent, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298598.

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Broom, Sarah. "Inhabitable mythologies : myth in contemporary Irish poetry." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302587.

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Johnson, Don. "More Than Heavy Rain." Digital Commons @ East Tennessee State University, 2014. http://amzn.com/1937875571.

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More Than Heavy Rain brings together poems of intense observation culled from a life lived mostly outside. Set mostly around the poet’s home along the Watauga River in northeast Tennessee, the poems also reach out to such distant locations as Montana, Alaska, and post-war Germany. Some of them reconstruct the poet’s childhood in rural West Virginia. Some examine his family history, the events and relatives who helped determine the way he views the world.
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Sinner, Alain Thomas Yvon. "'Protective colouring' : the political commitment in the poetry of Seamus Heaney." Thesis, University of Hull, 1988. http://hydra.hull.ac.uk/resources/hull:3154.

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Madden, P. S. "The Seamus Heaney Centre digital archive : the public performance of poetry." Thesis, Queen's University Belfast, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546384.

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Books on the topic "Heaven – poetry"

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Essbaum, Jill Alexander. Heaven. Hanover, USA: University Press of New England, 2000.

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Ostriker, Alicia. No Heaven. Pittsburgh, PA: University of Pittsburgh Press, 2005.

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Rabbitt, Thomas. Prepositional heaven. Montgomery, Ala: River City Pub., 2001.

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Meredith, Christopher. Snaring heaven. Bridgend, Mid Glamorgan: Seren Books, 1990.

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David, St John. No heaven. Boston: Houghton Mifflin, 1985.

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Lederer, Katy. The heaven-sent leaf. Rochester, NY: BOA Editions, 2008.

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Levine, Julia B. Practicing For Heaven. Tallahassee, USA: Anhinga Press, 1999.

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Jack, Gilbert. Refusing heaven: Poems. New York: Knopf, 2005.

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Day, Elaine. Closer to heaven. Shrewsbury: Feather Books, 2007.

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Cloninger, Claire. Postcards from heaven. Dallas: Word Pub., 1992.

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Book chapters on the topic "Heaven – poetry"

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Rosenthal, M. L. "New Heaven and Earth: D. H. Lawrence." In D. H. Lawrence’s Poetry: Demon Liberated, 219–27. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-11067-4_34.

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Heaney, Seamus. "The Placeless Heaven: Another Look at Kavanagh." In Tradition and Influence in Anglo-Irish Poetry, 181–93. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-09470-7_11.

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Lawry, Jon S. "Preface." In Shadow of Heaven, Matter, and Stance in Milton's Poetry, v—x. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501744082-001.

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Hughes, Eamonn. "Representation in Modern Irish Poetry." In Seamus Heaney, 78–94. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-10682-0_6.

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Souza, Cruz e. "Heaven." In Poetry from Beyond the Grave, 66–67. punctum books, 2013. http://dx.doi.org/10.2307/jj.2354001.15.

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"The Book in Heaven." In Mathematics, Poetry and Beauty, 95–97. WORLD SCIENTIFIC, 2015. http://dx.doi.org/10.1142/9789814602952_0017.

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"The Pastoral Tradition in English Poetry." In Heaven in Ordinary, 115–32. Lutterworth Press, 2018. http://dx.doi.org/10.2307/j.ctvj4sw6b.9.

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al-Māghūt, Muḥammad. "From the Doorstep Heaven." In An Anthology of Modern Arabic Poetry, 199–201. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8085379.71.

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West, M. L. "Of Heaven and Earth." In The East Face of Helicon, 107–67. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198150428.003.0003.

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Abstract We are now ready to begin comparing the poetic traditions of early Greece with those developed in the Near East. At a later stage we shall be focussing on specific Greek authors, poems, and myths. The present chapter will be concerned with the wider framework of ideas about the gods, the world, and man’s place in the world, that are not peculiar to particular poets but form a common ground stock of conviction or convention. In Mesopotamian, Ugaritic, and Hurro-Hittite poetry and myth, as in Greek, the gods appear as a society of individuals, some male, some female, similar to human beings in form, speech, psychology, and social arrangements, but far surpassing them in power. Each has his or her own name, character, and special sphere(s) of activity. For example, we find—admittedly not all in any one text or tradition—the weather-or storm-god, the sun-god, the god of war, the goddess of love, a goddess (who may or may not be the same one) who delights in battle, a divine messenger, and a divine smith, corresponding respectively to the Homeric Zeus, Helios, Ares, Aphrodite, Athena, Hermes, and Hephaestus.
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"The Assumption and Coronation in the Poetry of Robert Southwell." In Queen of Heaven, 189–214. University of Notre Dame Press, 2018. http://dx.doi.org/10.2307/j.ctvpg84kr.12.

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Conference papers on the topic "Heaven – poetry"

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Zhang, Xiao-Bo. "From Hell to Heaven: The Children of God Dance Rimbaud’s Development of Baudelaire’s View of Poetry." In 2021 International Conference on Culture, Design and Social Development (CDSD 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220109.079.

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MEHMETALİ, Bekir. "THE POSITION OF ARABIC POETRY FROM HIGH PRICES." In I V . I N T E R N A T I O N A L C O N G R E S S O F L A N G U A G E A N D L I T E R A T U R E. Rimar Academy, 2022. http://dx.doi.org/10.47832/lan.con4-12.

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Arabic literature, especially poetry, was not static literature, isolated from the issues of the society in which the poet grew up, and he grew up in it, drawing inspiration from it for its themes, purposes, images, and language, and pouring it into a poetic form that is a literary image of the poet’s thoughts, views, and feelings, The subject he dealt with was rather literature that lives the concerns of society, and he still does so. The poet's concern with the concerns of his society has produced a new color in modern Arabic poetry, which is social poetry. Since the price hike and the rise in prices have become a heavy social concern that Arab societies, and others, suffer from at the present time, this matter prompted me to research this topic, to clarify the position of modern Arab poetry on the issue of high prices, and the way it depicts them, and I found sufficient and relevant poems A value in which its organizers dealt with this issue that recurs at all times and places, and becomes a terrifying nightmare that worries and frightens society, threatens the collapse of governments, corrupts consciences, and enters human moral, social, economic, and political relations under the shade. In this lies the importance of the research, and the motive for it. The researcher will approach the investigative method by examining the poems that were mentioned for this purpose. He will provide from them what he deems appropriate, and follow that with the analytical method, analyzing the meanings, thought, and attitudes contained in these poems. To get as clearly as possible the position of modern Arabic poetry on the high prices and the high prices, trying to answer some of the questions that revolve in the researcher’s mind towards: Is modern Arabic poetry a real interaction with this social problem? Did his reaction rise to the extent of the problem? Was it on the side of society or on the side of those who caused it?
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Juhásová, Jana. "Sanjuanist motifs in the poetic work of Erik Jakub Groch." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-19.

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One of the key poets of Slovak post-November poetry was shaped in the Komúna dissent group headed by philosopher and artist M. Strýko during the communist regime. Operating in dissent supported the radicality of his poetic gesture and lifestyle, the image of an active, evolving individual freed from the senselessness of civilization, and also the idea that it is possible to integrate evil into a higher good. These ideas also form branches to the sanjuanist motifs and intellectual solutions that are close to Groch. The article seeks these penetrating places with special attention on the symbol of the journey and pilgrimage, and at the same time points to Groch’s creative updates of one of the most famous spiritual teachings of the West.
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Nguyen Thi, Yen. "The Three-Tiered World (Tam Phu) of the Tay People in Vietnam through the Performance of Then Rituals." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.13-3.

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The Tay people represent an ethnic minority in the mountainous north of Vietnam. As do Shaman rituals in all regions, the Shaman of the Tay people in Vietnam exhibit uniqueness in their languages and accommodation of their society’s world view through their ‘Then’ rituals. The Then rituals require an integration of many artistically positioned and framed elements, including language (poetry, vows, chanting, the dialogue in the ritual), music (singing, accompaniment), and dance. This paper investigates The Art of Speaking of the Tay Shaman, through their Then rituals, which include use of language to describe the imaginary journey of the Shaman into the three-tiered world (Muong fa - Heaven region (Thien phu); Muong Din - Mountain region (Nhac phu); Muong Nam - Water region (combination of Thuy phu and Dia phu) to describe dealings with deities and demons, and to describe the phenomenon of possession. The methodic framework of the paper thus includes discussions of in the comparison between the concept of the three-storey world in the Then ritual of the Tay people with the concept of Tam Tu phu in the Len dong ceremony of the Kinh in Vietnam. Thereby, it clearly shows the concept of Tay people of the universe, the world of gods, demons, the existence of the soul and the body, and the existence of human soul after death. The study contributes to Linguistics and Anthropology in that it observes and describes the world views of a Northern Vietnamese ethnicity, and their negotiation with spirituality, through languages of both a spiritualistic medium and society.
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Zeng, Haijin. "INFLUENCE OF CHRISTIANITY ON THE CREATIVITY OF THE GUANGDONG POET HUANG LIHAI." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.25.

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Huang Lihai is one of the most active contemporary Chinese poets in the past two decades. His poems are a return to poetry, language and life. In the era of change and grand discourse dominating the aesthetic interpretation of literature, Huang Lihai’s poetry and spiritual exploration have obvious implications. His vitality in poetry creation and poetry activities has an important connection with his Christian faith and his thought resources. Huang Lihai pays close attention to individual life with heavy religious feelings, and tries to restore the relationship between man and god, the relationship between man and man, and the relationship between man and nature in the post-modern era. Backed by belief, he maintained human dignity and integrity with poetry, and opened up the divine dimension of poetry writing, which opened up a new aesthetic dimension for the Chinese contemporary poetry.
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Tereshko, Ekaterina V. "(NON-)TRANSLATION OF MURALS POETRY IN THE NETHERLANDS: BACKGROUND AND REALISATION." In Second Scientific readings in memory of Professor V. P. Berkov. St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063589.

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When you come to the Netherlands, you don’t expect to see poems in Russian, Chinese, Berber, or North American Indian on city walls. Even more surprising is the lack of translation or explanation of these texts. However, the (non)translation of murals in the Netherlands has a social background: at the same time when the poetry projects were most active, there was a heated discussion in the Netherlands about the possibility of creating a multicultural society. This idea dictated to the creators of the projects the image of a potential reader and obviated the need to translate poetry. In this article we will look at the ideas behind Dutch poetry projects, as well as the realization and functions of (un) translated murals. The collapse of the idea of a multicultural society has led to the need to translate poetry through various means, including modern online media. This allows us to speak of the intermediality of poetry and the mutual influence of the original text and the translation.
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Jasim MOHAMMED, Ahmed, and Hussein Ismael KADHIM. "THE IMPACT OF THE JEWISH FAITH IN MODERN HEBREW POETRY "SHABBAT FOR EXAMPLE." In I V . I N T E R N A T I O N A L C O N G R E S S O F L A N G U A G E A N D L I T E R A T U R E. Rimar Academy, 2022. http://dx.doi.org/10.47832/lan.con4-14.

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This study is an attempt to shed light on a central and important issue in the lives of any nation or society or group of people, and it is the issue of "faith". One of the most important foundations in the Jewish faith is the "Sabbath" or day of rest for the Jews, which they respect and sanctify from all the other six days of the week. This study discusses the different representations of Saturday in Hebrew poetry. This study examined different representations of the theme of Saturday in Hebrew poetry with special emphasis on the significance of these representations shaped their worldview of the Jews on the topic flowing. Saturday is a day of rest and weekly holy people of Israel, the first deadline dates prescribed in the Torah. When there was a regular basis every seven days, on the seventh day a week. Saturday is the start of Friday's end, a little before sunset - the time called "Saturday Night", and tip the next day, with nightfall - long known as "Saturday". Jewish Saturday is considered the most sacred date. Saturday observance is one of the central commandments in Judaism; According to Judaism, this is the first commandment given to man, on the day he removed and weighed against all the commandments of the Torah. Judaism Saturday symbolizes the creation of the world by God and the holiness constant since the world was created by God. Reasons for the mitzvot and customs specific biblical command to sit origin consecrate this day and strike him from work, God's act of creation after the completion of the six days of creation. Saturday is used only for rest and refraining from doing work, and has been caught during today's Bible Holiness, pleasure, study Torah and elation. Observance of the Saturday, according to Judaism, is a practical admission creation of the world, reinforces the belief and non-observance leads to weakening of the Jewish faith, as well as keeping the Saturday brings a person to the Creator and secrete more physical nuns. Israel was set Saturday to officially rest. Sanctity of "on Saturday" is based - according to tradition - the thinking that thought that the God who created the heavens and the earth in six days, and Ahri-cc, he rested on the seventh day his work which he worked it, and he ordered them to stop all this day according craft books mentioned several books of the Bible. At the beginning of this study will be discussed at the origin of the word "Sabbath" (Saturday) in the Hebrew language, and the meaning of the word "Sabbath" in the Bible, Then, will be discussed on the types Saturday among the Jews, except they have a regular Sabbath day three ten types of Saturdays, expressing the various events and occasions and have various rituals and special customs. Too, will be discussed on the customs and rituals that the Jews do them during the entry to his departure on Saturday. Even so, it is during this study for some changes in different terms to Saturday, which the Jews call them the Sabbath. These names were used most by the Hebrew writers in modern times in their songs and stories that written in honor of this day, and Hebrew poets wrote poetry on Saturday: Bialik wrote the song "Saturday queen", poet Amir Gilboa wrote the song "Cch Cmo Sani the up" and others. By analysis of these literary works can be seen that the authors of these works depict through which all customs and ceremonies on Saturday in detail from beginning to end, especially the poet Bialik's poem "Saturday queen". And the end of the study conclusions and sources will come
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8

DAS, Biswajit. "ECOCRITICISM IS THE FLAGSHIP TO HUMANITY: REVISITING AND DECODING ABHIJNANASAKUNTALAM AND ARANYAK." In Synergies in Communication. Editura ASE, 2022. http://dx.doi.org/10.24818/sic/2021/04.04.

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Health is a reciprocal term that combines mutual co-existence in the environment with a considerable veneration to all forms of life. Life on earth is a result of some favourable conditions in the environment from the empirical point of view. So, the health of the environment remains the supreme, and thereby life, once created, has to keep up the conditions in order to sustain or survive itself. Thus there has always been a fascinating relation between health and environment since the dawn of creation of life on earth. Among the innumerable forms of life on earth human beings are considered the best since they are gifted with immense possibilities to comprehend, create, nourish, admonish, reject and accept. So, they have to shoulder the responsibility largely to secure the health of the environment which, in other terms, is the health of the varieties of life forms on earth. Through the ages they undertook overwhelming initiatives that surely advertise humanity; and literature, especially Eco-critical, has been the best call to humanity in order to restore health which is, as mentioned earlier, very much reciprocal. Literature upholds and worships the heavenly relation between health and environment, humanity and Nature. It celebrates the reconciliation of man and environment in the name of poetry very often.
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9

Ho, Chi-Chu. "THE LIVING STYLE OF “WALKING WITH ILLNESS” IN BAI JUYI’S PULMONARY DISEASES WRITINGS." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.10.

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Pulmonary Disease has become a hot topic since Covid-19 attacked in 2019. Back to Tang Dynasty, Pulmonary Diseases were common in literati field. Poets used characteristics of the “lungs” that manage the energy and store spirit to reveal their true feelings. On the other hand, the lungs are “delicate” and “the only inner organ that is connecting to the outside by the nostril”, which gets infected by the virus the easiest. It reflected literati’s ups and downs in their careers, so as to express their sorrows and painful sentiments. Therefore, Pulmonary Diseases has become a “literati disease” to convey poets’ original emotions and expressed their unfinished achievements. Pulmonary Disease was one of the diseases that Bai Juyi was suffered for. During expatriation to Jiangzhou, pulmonary disease became the illness root due to the unfavorable climate and the invasion of cold pathogens. Later, traveling to Suzhou and Hangzhou also aggravated the disease. For Bai Juyi, Pulmonary Disease is not only a state of life, also a writing object that expressed specific emotions. Through the symptoms of “cough” and “thirst” from pulmonary disease, he revealed the hunger and cold disorders, also the deprivation of life when he was banished from the court. Also, he presented calm and adapting manner when he was suffering for the disease, which shaped his writing features with full of self-disposition. These features were transformed from the energy and store spirit in lungs. Furthermore, Bai Juyi showed his relaxing manner and leisure mind even he had the “thirst” of “desire of alcohol” which healed the mental emotions but hurt the physical lungs. Bai Juyi was entangled with pulmonary disease for half of his life, but he lived until seventy-five years old. To show the world about his living style of “walking with the illness” and “prolonging life with the disease”, his writings exuded peaceful and elegant with spontaneity.
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Reports on the topic "Heaven – poetry"

1

Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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