Journal articles: 'Poem'

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Miquel Desclot. "Poem-Poema." Bookbird: A Journal of International Children's Literature 48, no. 3 (2010): 72. http://dx.doi.org/10.1353/bkb.0.0290.

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Bao, Snow. "Poem: Poems." Language Arts 63, no. 3 (March 1, 1986): 309. http://dx.doi.org/10.58680/la198625654.

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Jones, Thomas. "Poem: Capitalist Poet." Critical Perspectives on Accounting 7, no. 5 (October 1996): 585. http://dx.doi.org/10.1006/cpac.1996.0059.

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Hall, Allisa Abraham. "Poem: Four Poems." English Journal 100, no. 2 (November 1, 2010): 48. http://dx.doi.org/10.58680/ej201012734.

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Marin, Mariana, Alita Kelley, Ingrid Hinostroza, Rodolfo Hinostroza, and Adam J. Sorkin. "Poem de dragoste / Poema de amor / Love Poem." Sirena: poesia, arte y critica 2007, no. 1 (2007): 210–11. http://dx.doi.org/10.1353/sir.2007.0081.

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Marin, Mariana, Alita Kelley, Ingrid Hinostroza, Rodolfo Hinostroza, and Adam J. Sorkin. "Poem de dragoste / Poema de amor / Love Poem." Sirena: poesia, arte y critica 2007, no. 1 (2007): 214–15. http://dx.doi.org/10.1353/sir.2007.0083.

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Hasan, Mariwan. "Robert Herrick’s Daffodils, Percy Bysshe Shelley’s Flower and Abdulla Goran’s Ivy Flower: A Comparative Study." JOURNAL OF LANGUAGE STUDIES 6, no. 4, 1 (July 15, 2023): 239–52. http://dx.doi.org/10.25130/jls.6.4.1.15.

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This paper intends to highlight the similarities in three poems by three different poets coming from different times and places - Robert Herrick’s poem, “To Daffodils”, Percy Bysshe Shelly’s poem, “The flower that smiles today” (mutability), and Abdulla Goran’s poem, “To the Ivy Flowers”. It endeavours to depict the influence that Shelly and Herricks’ poems had on the Kurdish poet Goran in composing his poem. Herrick’s poem was first published in the 17th century in English Language, although Shelley’s Poem was published in the 19th century in England, yet its language is English, too. The influence of the English language and English writers generally and the influence of Shelly and Herrick, particularly is clearly seen in Goran’s poem. This study for the first time points out that there is the high possibility of the influence of two poems on Goran in composing his poem, “To the Ivy Flowers”, which shows the novelty of this study as no scholar so far has said two English Writers influenced him in writing this poem. This is a comparative study relying on the French school of comparative literature. The Kurdish poet, Goran was influenced by both Shelley and Herrick. The paper intends to see to which degree is Goran influenced by the two poems, and why particularly by those two English poets. The study relies on comparative, descriptive and textual analysis approaches to examine meaning, content and style of the three poems to demonstrate the aesthetics of the three poems

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Preto-Rodas, Richard A., Ferreira Gullar, and Leland Guyer. "Dirty Poem / Poema sujo." World Literature Today 65, no. 4 (1991): 685. http://dx.doi.org/10.2307/40147653.

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Marrero, Roberta. "Poema-collage= Poem-collage." RE-VISIONES, no. 11 (2021): 112–15. http://dx.doi.org/10.57149/re-visiones.11.8.

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These works are part of the series "Poem-collage" of the year 2021. It unites photography (vintage portraits of trans and transvestite women) and poems that talk about the experience of trans and transvestite women through magical realism, metaphor and poetic language, addressing issues such as the appropriation of public spaces, love or death.

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Jia, Yu. "The Analysis of 'Stopping by the Woods on a Snowy Evening'." Communications in Humanities Research 21, no. 1 (December 7, 2023): 223–28. http://dx.doi.org/10.54254/2753-7064/21/20231483.

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Most of Robert Frost's writings are set in the New England countryside and are so intensely rural and idyllic that he has been called the "Field Poet". 'Stopping by the Woods on a snowy evening', one of Robert Frost's most famous poems, this poem was written in the winter of 1922 while he was at home in Shaftsbury, Vermont. Frost himself later called it "my most memorable" poem. As a popular poem, it is often mistakenly thought to be merely a landscape poem, in which the poet laments the charms of nature. In fact, however, the poet has a deeper intention; he is borrowing the main character in the poem to tell his own inner world, using the most simple and ordinary descriptive language, but also containing many life truths. Frost's use of fresh and native traditional English coupled with neat and traditional meter makes the poem readable and relatable to the readers. This paper analyzes the writing techniques, the choice of imagery, and the central theme of the poem to provide readers with new ideas for interpreting the poem. The analysis shows that Robert Frost is able to use plain and simple language with ordinary things in his poems to convey profound life lessons to the readers, which is intriguing and worth the readers' repeated readings and speculations.

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Olaosun, Ibrahim Esan. "Food Semiology in Selected Poems in ‘Lere Oladitan's ‘Poem of the Week'." International Journal of Semiotics and Visual Rhetoric 4, no. 1 (January 2020): 49–58. http://dx.doi.org/10.4018/ijsvr.2020010104.

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Inspired by the popular view in the field of semiotics that everything is a sign of something or a sign for something, this article dwells on food significations in ‘Lere Oladitan's poem titled “Mounds for Sharing” in his poetry collection titled ‘Poem of the Week.' Using this poem as the paradigm to deconstruct some other poems in the collection, the article deconstructs this semiological practice (food symbolism) in four ways: first, as a sign deployed by the poet to contribute to the aesthetic and affective qualities of the poem; second, as an appropriation and exhibition of the values of giving and sharing which typify many (if not all) African cultures; third, as a semiotic strategy of self- depiction and fourth, as the strategy for developing the motif of sacrifice practically demonstrated by the poet in the manner in which the poems were first freely disseminated before they were compiled and published into a book form in 2016. Mounds for Sharing is used in this article as the paradigm of the other poems in the collection because there is ample evidence to show that the poem is the container of the general motifs developed in the other poems. First, the poet himself refers to it as “the signature tune” of the collection. Second, “Iyán tí mo gún, Baba má jẹ ǹ nìkan jẹ́” (the first two lines of the poem) is now Oladitan's sobriquet or designation in Obafemi Awolowo University community. The poet is now being referred to as Professor Iyán tí mo gún (Professor the Pounded Yam I Prepare) in the academic community. Third, in the inaugural lecture presented by the poet on August 23, 2011, the poem was given a theatrical performance by Awo Vasity Theatre, a theatre that is based in Obafemi Awolowo Universty Ile, Ife, Nigeria. The article indicates that food-related representations in the poem convey more than the general sense of food as the substance eaten for survival. The analysis, cast within the framework of food semiotics, shows that each poem of ‘Lere Oladitan is a kind of food which carries one or a combination of such connotations of food as: food for the thought, food for the social psyche and memory and food for personal spiritual and psychosocial growth.

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Al-Husseini, Sahar Abdul Ameer Haraj. "Graphematic Emblems in Selected Poems by John Hollander Sahar Abdul Ameer Haraj Al-Husseini." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 226, no. 1 (September 1, 2018): 49–60. http://dx.doi.org/10.36473/ujhss.v226i1.172.

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Graphematic poem or shape poem or pattern poem, like any other poem, is a poem that discusses diverse and common subjects like love, idea, time and many other topics ; yet with a certain difference that is the subject is similar to the printed format of the text. To say that it presents a picture of certain familiar object that is similarly the subject of the poem. Such poems are likewise termed shaped verse. They are not new for they are part of a long convention that ranges from Alexandrian Greek poets to Lewis Carroll and beyond. John Hollander(1929 –2013) is an American poet who wrote pattern poetry with a variety of diverse themes . His Types of Shape (1969) offers twenty-five shaped poems in the convention of George Herbert, a seventeenth century English poet. Graphematic poems must also to a certain degree own their special self-reflective picture in so far as the shape as well as the content are concerned. They show a wide array of themes and Hollander's graphematic poems show fascinating investigates with unbending forms that undermine the authority of his writing. Hollander in uniting content and form supports creating one authoritative outcome in the field of poetry.

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Al-Husseini, Sahar Abdul Ameer Haraj. "Graphematic Emblems in Selected Poems by John Hollander Sahar Abdul Ameer Haraj Al-Husseini." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES, no. 226(1) (September 1, 2018): 49–60. http://dx.doi.org/10.36473/ujhss.v0i226(1).172.

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Graphematic poem or shape poem or pattern poem, like any other poem, is a poem that discusses diverse and common subjects like love, idea, time and many other topics ; yet with a certain difference that is the subject is similar to the printed format of the text. To say that it presents a picture of certain familiar object that is similarly the subject of the poem. Such poems are likewise termed shaped verse. They are not new for they are part of a long convention that ranges from Alexandrian Greek poets to Lewis Carroll and beyond. John Hollander(1929 –2013) is an American poet who wrote pattern poetry with a variety of diverse themes . His Types of Shape (1969) offers twenty-five shaped poems in the convention of George Herbert, a seventeenth century English poet. Graphematic poems must also to a certain degree own their special self-reflective picture in so far as the shape as well as the content are concerned. They show a wide array of themes and Hollander's graphematic poems show fascinating investigates with unbending forms that undermine the authority of his writing. Hollander in uniting content and form supports creating one authoritative outcome in the field of poetry.

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İÇLİ, Ahmet. "Traces Of The I And The Other In The Nazires (=Similar Poetry): The Journey Of I To We In The Example Of Mustafa Ali's Poetry And The Nazires written for his poetry With "We" Redıf (=Rhyme)." Akademik Dil ve Edebiyat Dergisi 6, no. 3 (October 30, 2022): 156–65. http://dx.doi.org/10.34083/akaded.1169198.

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It is known that the same or similar poems/works were written within the scope of nazire tradition in classical Turkish poetry. Such poems are basically based on writing a similar or better example of a sample or model poem. It is also important that these poems, which are similar in many ways, show the same feelings, dreams, thoughts and goals. In one aspect, the model poem; It can be thought that it was a source of inspiration or an interpreter for other poets who tried to write a similar poetry. The content of the model poem is a guide for other poets trying to express themselves. In addition, defining and positioning oneself through this model poem is a reflection of different emotions and feelings. It is historically significant that the poems, are a mirror of the living world, can deal with similar subjects. It is important that a poet conveys information about himself, that others find traces of themselves around the same poem, and that they express themselves in this way, in terms of being a manifestation of the reality of the information and feelings given by the poets and the reactions they receive. In the context of nazire poetries, it is possible for each poet to describe her/his "I=self" with "we". In one sense, the " personalities" united around the model poem, form the we-consciousness. While this situation establishes a network of relations in terms of togetherness, they actually convey/describe the others around them There are many signs and indications in the poems in terms of containing the information about the poet. The expressions in which the words "I" and "we" are used are at the forefront of the issues that explain the characteristics of the poets, Gelibolulu Mustafa Ali's poem with "we" redif (rhyme, repeated voices), can be evaluated in this context and can be supported by historical data. This poem also carries clues about Ali's personal attitudes and behaviors, worldview, dreams and emotions. The poems written similar to this poem of Ali are important in that both carry traces of their poets and contain the elements of "I" and "other" around the "we" redif. In this article, the poem of Gelibolulu Mustafa Ali from and the nazires written to his poem will be evaluated in terms of conveying the self/I and other elements within the framework of the nazire tradition and then the content analysis.

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Kikhney, Lyubov G., and Anna V. Lamzina. "The English trace in the heading-final complex of Anna Akhmatova’s “Poem without a Hero”." RUDN Journal of Studies in Literature and Journalism 25, no. 4 (December 15, 2020): 639–47. http://dx.doi.org/10.22363/2312-9220-2020-25-4-639-647.

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The specificity of the heading-final complex of Anna Akhmatovas Poem without a Hero (Poema bez geroya) is based on the fact that the semantics of the components included in it refers to several sources at once, and allusions to the works of English romantics, authors of poems, play the most important role among the components included in the poem's frame, and above all to J.G. Byron. The relevance of the undertaken research is due to the application of an integrated approach to the analysis of the elements of the frame text Poem without a Hero: not only primary, but also secondary and tertiary allusions, playing with the readers perception and his knowledge of predecessor texts are considered. The purpose of the study is to identify the English trace in Poem without a Hero and the ways of its manifestation through the heading-final complex. The authors trace the genealogy of Poem without a Hero from Byron to Pushkin and to the nominally absent, but implicitly animated, hero of Akhmatovas poem. Research objectives are defined as the study of the framework text as an essential element of the poem, identification of the features of the frame text and its intertextual links, comparison of epigraphs in the poem with notes, comments and critical articles of the author. The authors show that the poet often hides Byronic allusions in the reception from Pushkins poems (mainly Eugene Onegin), placing them in the heading-final complex. The article proves that this technique is used by Akhmatova to build the genre genealogy of her own poem, which goes back to the tradition of English romantic poems, mediated by the tradition of A. Pushkin. The reason for turning to this tradition, according to the authors, lies in the tragic personal and epoch-making collisions, the genre interpretation of which could become the transformed Akhmatova canon of the romantic poem, the founder of which was Lord Byron.

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Doost, Roger. "Poem: “The Accountant; The Poet”." Critical Perspectives on Accounting 8, no. 1-2 (February 1997): 146–48. http://dx.doi.org/10.1006/cpac.1996.0102.

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Harris, J. J. "Poem: The Land of Poet." Language Arts 67, no. 2 (February 1, 1990): 163. http://dx.doi.org/10.58680/la199025362.

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Suksanguan, Pattarakorn, Sajjaporn Waijanya, and Nuttachot Promrit. "The extraction of beautiful sound patterns from Sunthorn Phu’s poem using machine learning technique and internal rhyme rule." International Journal of Advances in Intelligent Informatics 7, no. 2 (July 31, 2021): 198. http://dx.doi.org/10.26555/ijain.v7i2.613.

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The melodious poems have been written from the distinctive features of poetry or based on each country's typical style. Especially, Thai poems which composed by the use of specific forming, such as Internal Rhyme to develop melodiousness. The most attractive and well-known poems were composed by a genius Thai poet named Sunthorn Phu. He is a role model for Thai poets. UNESCO honored him as the world’s great poet and the best role model in poetry works. In this article, we proposed extracting 15,796 sentences (Waks) of the beautiful sound patterns of Phra Aphai Mani’s tales by machine learning technology in conjunction with the rules of internal Rhyme Klon-Suphap by using the Apriori Algorithm. The extraction of vowel rhymes separated by a group of Waks including 1) Poem Wak No. 1; 2) Poem Wak No. 2; 3) Poem Wak No. 3; and 4) Poem Wak No. 4. In this article, “Wak” means sentence. The created tool can extract the internal rhyme patterns and the 25 popular pattern vowels. The popular pattern illustrates the melodiousness of the Poem and sets up a standard of how to melodiously compose a poem. Then, the evaluation of the experiments was done by using 144 Waks selected from the extraction of the beautiful patterns and evaluated by the consistency score from 3 experts. The average accuracy score resulted in 95.30%.

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Saddhono, Kundharu, and Haniah Haniah. "Nuansa dan Simbol Sufistik Puisi-puisi Karya Ahmad Mustofa Bisri." TEOSOFI: Jurnal Tasawuf dan Pemikiran Islam 8, no. 1 (June 2, 2018): 31–61. http://dx.doi.org/10.15642/teosofi.2018.8.1.31-61.

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This article focuses on the problem of Sufism which exists in pesantren’s poetry. The pesantren’s poetry has certain characteristics as it is written by poet whose educational background is pesantren. The values of Sufism will be reflected directly or indirectly into a poem written by a poet educated in pesantren. This what makes the poems produced from pesantren differ from that of other general poems. The specific features of the pesantren’s poems become interesting object to investigate. Focusing on written references this study employs heurmeneutical approach. It takes also the socio-cultural aspect into account. The use of this approach is based on an assumption that there should be tightly close relationship between the poem and the educational background of its writer. A poem exists within no cultural emptiness. At this point, the culture of pesantren that shaped a poet will influentially colour up the poem he/she produced. Based on hermeneutical approach coupled with socio-cultural aspect this study attempts to describe interesting side of Sufism aspects found within the pesantren’s poetry. To obtain reliable result, it puts emphasis on verstehen based on heurmenetical priciples developed by Paul Ricoeur, namely interpretation. The study finds that Sufism in the pesantren’s poetry deals with such number of symbols as light, flying, love, door, and prostration.

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Schwabsky, Barry. "Poem, and: Poem." Colorado Review 36, no. 3 (2009): 108–9. http://dx.doi.org/10.1353/col.2009.0116.

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Hanlen, Jim. "Poem: Chalk Poem." English Journal 106, no. 5 (May 1, 2017): 63. http://dx.doi.org/10.58680/ej201729100.

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Luo, Yupan. "Ekphrasis in “The Disquieting Muses” : A Dialogue Between Poetry and Painting." Learning & Education 10, no. 5 (March 13, 2022): 82. http://dx.doi.org/10.18282/l-e.v10i5.2679.

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The American Confessional poet Sylvia Plath(1932-1963) has created a series of poems based on well-known western paintings at the early ages of her writing. “The Disquieting Muses” is one of these ekphrastic poems, which depicts the noncommunicative relationship between her and her natural mother. If we approach this poem from the perspective of inter-arts poetics, that is to say, to analyze the poem side by side with its painting copy, we can discover different approaches of dialogue between the poem and the painting. This paper is meant to explore unique charm and beauty in ekphrastic literature as well as to add new perspectives to the study of Plath’s poems.

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Dwi Prihantono, Kahar. "ANALISIS PENERJEMAHAN PUISI “I HEAR AMERICA SINGING” KARYA WALT WHITMAN:SEBUAH KAJIAN EKSTRATEKSTUAL (The Analysis of Poetry Translation of Walt Whitman’s “I Hear America Singing”: an Extratextual Study)." METASASTRA: Jurnal Penelitian Sastra 7, no. 2 (March 11, 2016): 173. http://dx.doi.org/10.26610/metasastra.2014.v7i2.173-186.

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Penerjemahan sastra merupakan satu cabang disiplin penting dalam kajian penerjemahan karena disiplin ini menjadi salah satu sarana pelestarian karya-karya terbaik dunia. Penelitian ini bertujuan untuk menyelidiki terjemahan puisi karya Bapak Penyair Amerika, Walt Whitman, yang diterjemahkan ke dalam bahasa Indonesia oleh Taufik Ismail dan Jean Jaques Kusni. Berdasarkan model analisis penerjemahan puisi pada tataran ekstratekstual yang diusulkan oleh HosseinVahid Darstjerdi d.k.k, penelitian ini mengkaji skemata, koherensi, dan implikatur puisi sumber (PSu) dan puisi sasaran (PSa). Unsur-unsur skemata yang dibahas meliputi delapan (8) unsur pembangun skemata sebagai unsur ekstratekstual, yakni pengetahuan penyair terhadap usia, jenis kelamin, ras, kebangsaan, hubungan dan nilai-nilai agama, ekonomi, profesi, dan sejarah. Hasil kajian menunjukkan bahwa, puisi sasaran1 (PSa1) memuat kesepadanan pada sebagian besar skemata, koherensi, dan implikatur dibandingkan dengan puisi sasaran2 (PSa2) dan dari sudut pandang kedekatan puisi, PSa1 lebih dekat dekat dengan PSu.Abstract:Literary translation is an important discipline in the translation study since the discipline can be beneficial in preserving world’s best literary works. This study aims at investigating the translated poem of Walt Whitman- the father of free verse-. The poem was translated into Indone- sian by Taufik Ismail and Jean Jaques Kusni. Based on the model analysis of poetry translation at an extra-textual level proposed by Hossein Vahid Darstjerdi et al, this study examines the sche- mata, coherence, and implicature of the poem (the source poem) and its translations (target poem). Schemata elements covered eight extra-textual elements, such as: knowledge of the poet, age, sex, race, nationality, religious value, economy, profession, and history. The results of the study show that the schemata, coherence, and implicature equivalence presented in target poem1 were better organized than those in target poem2. The comparison also proved that the target poem1 was closer to the source poem.

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Latif, Abdul. "Ad-Dunya ka al-Ladzati Adhgatsi Ahlam (ad-Dirasah as-Simiyaiyah fi Syi’ri Abi al-‘Atahiyah)." International Journal of Arabic Language Teaching 3, no. 01 (June 4, 2021): 15. http://dx.doi.org/10.32332/ijalt.v3i01.3251.

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The poem al-Ladzatu Adhgatsu Ahlam was born from the pen of the Abbasid poet, Abu 'Atahiyah. This poem tells about some pleasures of false dreams, but the meaning of the pleasures of false dreams in this poem is still scattered in the poems. Michael Riffaterre's semiotic theory works to find the unity of meaning in a poem. Therefore, in this study the researcher used Michael Riffaterre's semiotic theory. The descriptive qualitative method was used by the researcher to analyze this poem. This study concludes that the unity of meaning in this poem is centered on the matrix of this poem, namely zuhud to facing the life. The model or monumental sentence in this poem was Ya nafsi kuni 'ani ad-dunya muba'idatan wa la tal'abanna bika ad-dunya wa khud'atuha. The actual hypogram behind this poem is found in surah al-Ankabut verse 64 and the potential hypogram of this poem is the world and wealth, life in this world is only temporary, and that humans should not prioritize the life of this world over the life of the hereafter.

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Maddock. "The Composite Nature of Andreas." Humanities 8, no. 3 (July 31, 2019): 130. http://dx.doi.org/10.3390/h8030130.

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Scholars of the Old English poem Andreas have long debated its dating and authorship, as the poem shares affinities both with Beowulf and the signed poems of Cynewulf. Although this debate hinges on poetic style and other internal evidence, the stylistic uniformity of Andreas has not been suitably demonstrated. This paper investigates this question by examining the distribution of oral-formulaic data within the poem, which is then correlated to word frequency and orthographic profiles generated with lexomic techniques. The analysis identifies an earlier version of the poem, which has been expanded by a later poet.

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Hanauer, David I. "Beauty judgements of non-professional poetry." Scientific Study of Literature 5, no. 2 (December 31, 2015): 183–99. http://dx.doi.org/10.1075/ssol.5.2.04han.

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The process of reading and writing poetry is increasingly conducted by non-professionals. The current study utilized a series of regression models to explore the mechanism through which beauty judgements of non-professional poetry are made. The analysis addressed the relationships among the decision that a poem was written by a published poet (authorial attribution), a perception of the quality of the writing, the emotional response to the poem and a beauty judgement of the poem. 54 participants from two graduate applied linguistics programs rated 5 non-professional poems for their beauty, emotive response, quality of writing and semi-professional status of the writer. Analyses were conducted on averaged ratings across all five poems. The results indicate the beauty judgements, emotive response and quality of writing judgements were closely related. The decision that a poem is written by a published poet predicted the quality of writing and emotional response to the poem. An inconsistent mediation model was determined, in which increases in the semi-professional status of the writer increased the self-reported emotive response and quality of writing which in turn increased the beauty judgement of the poem. The results suggest a mechanism by which convergence of aesthetic judgement with novice reviewers is directed by the social sanctioning of the authority and quality of the writer.

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السلامي, عمار. "The formative origin of the poem between emotional arbitrariness and artistic intent according to Al-Jawahiri The poem ((O Tigris of goodness)) as a model." Kufa Journal of Arts 1, no. 24 (November 23, 2015): 235–56. http://dx.doi.org/10.36317/kaj/2015/v1.i24.6315.

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The poet's compositional origin differs from one poem to another, and from one situation to another. Each poem has its own circumstance, and its distinctive motives. This is why it was natural to find in Al-Jawahiri different motives and multiple origins. Sometimes it is subject to emotional arbitrariness, and at other times it is subject to artistic intent, and perhaps in many cases both of them meet with the poet during the birth of the poem, or this continues until a little later. Perhaps the best way for us to know this is what we find in the memoirs of the poet himself, of a statement of the motives of some of the poems and a description of the state that afflicted him while reciting the poem.

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Richard Bausch. "From Dream Poems for Lisa, in Distance: Dream Poem 1, and: Dream Poem 3, and: Dream Poem 4, and: Dream Poem 6, and: Dream Poem 7, and: Dream Poem 10." Missouri Review 32, no. 4 (2009): 25. http://dx.doi.org/10.1353/mis.0.0176.

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Mohammed, Ayoub Haji. "Aesthetic Composition in "The Evening" Poem by The Poet Khalil Mutran." Journal of AlMaarif University College 34, no. 2 (June 13, 2023): 217–33. http://dx.doi.org/10.51345/.v34i2.676.g363.

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The poet Khalil Mutran was distinguished by his creativity in writing poetry. He also wrote many poems and left behind him a treasure of masterpieces and poems. His poetic style was distinctive; as he was distinguished by emotional honesty, sweet musical tone, and originality. In addition, the poet Khalil Mutran is considered one of the most innovative poets in modern Arabic poetry, and one of the most beautiful and well-known poems in all parts of the Arab world is the poem "Al-Masaa", which was included in some educational curricula. Through this study, we will shed light on the aesthetic aspects through which the poem "Evening" was formed.

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de Feijter, Anja. "Lucebert over Arp." Nederlandse Letterkunde 26, no. 1 (January 1, 2021): 6–31. http://dx.doi.org/10.5117/nedlet2021.1.002.feij.

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Abstract On three occasions in his literary career the poet and painter Lucebert (1924-1994) has engaged in writing poetry on the sculptor, painter and poet Hans Arp (1886-1966). One particular poem, ‘arp’, dates from 1950 and was designed to be a part of a series of poems, ‘de getekende naam’, on contemporary artists. The authorship of this poem has been questioned in the 1980s as a result of a publication on the poetry of Arp. This article demonstrates that the translation of the poem of Lucebert into German by Ludwig Kunz, published in the catalog of an art exhibition in Cologne in 1960, has been mistaken for a poem of Arp. The mistaken identity of the authors, this contribution proposes, is more than the result of an editorial mishap: the confusion points to a deep-seated kinship between the authors. By comparing Lucebert’s and Arp’s poems, as well as the extant scholarship on the work of the two authors, it is argued that Lucebert’s close affinity with Arp offers valuable insights into the Dutch poet’s own work and poetics.

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O’Halloran, Kieran. "Creating a film poem with stylistic analysis: A pedagogical approach." Language and Literature: International Journal of Stylistics 24, no. 2 (May 2015): 83–107. http://dx.doi.org/10.1177/0963947015571022.

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A film poem is a cinematic artwork that takes a written, often canonical, poem as its stimulus. Many are imaginative and arresting performances of poems, going far beyond the likely intentions of the poet into something completely new. However, with this genre, the poem’s stylistic detail is largely irrelevant to its visual realisation. I highlight how this limitation can be addressed by bringing film poems into stylistics teaching and assessment. After providing background on the film poem genre, I model an assignment where students draw on their cinematic literacy to dramatise a poem imaginatively. As with other film poems, the student creates a series of cinematic images and connects them to the poem’s lines, activating new meanings in them. In contrast with the traditional construction of film poems, the procedure involves another stage – the student also connects the images they have created to the poem’s stylistic detail. In turn, as I show, this extra connection helps drive the film’s narrative, adding to the creativity of the film. This staged procedure is different from established (pedagogical) stylistic practice where interpretation and stylistic analysis of a poem are simultaneous, with the stylistic analysis providing support for the burgeoning interpretation. To model this student assignment, I produce a film script of Philip Larkin’s poem, ‘Wants’. The script depicts the activities of a serial killer; some readers may find the script graphic.

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Astuti, Epata Puji, and Tatang Iskarna. "Colonial Representation of Caribbean in Rosaline Bacchus’ Haiku Poems." International Journal of Linguistics, Literature and Translation 5, no. 3 (March 5, 2022): 42–47. http://dx.doi.org/10.32996/ijllt.2022.5.3.5.

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The Caribbean has a long history which is reflected in their literature. The existence of Haiku poems in Caribbean literature is an interesting thing to be analyzed. The object of this research is Haiku poems written by a Caribbean poet, Rosaline Bacchus. A Haiku poem is a short poem originally from Japan, usually consisting of 5-7-5 or 5-7-5-7-7 syllables. Although it is a short poem, Haiku can depict the reality and experience of Caribbean people. This research aims to describe the diction and imagery that appear in Rosaline Bacchus’s Haiku poems and to reveal the colonial representation in the poems. The researcher uses the explication theory to analyze the diction and imagery and postcolonial theory to reveal the colonial representation inside the poems. This research is descriptive qualitative research. The textual analysis method is used to find out the meaning of each line of the poem. From the analysis, it can be seen that the diction of the Haiku poems is dominated by denotative and concrete words. Denotative and concrete words help the poet to describe the situation during the Caribbean’s colonization explicitly. Besides, the poems are also dominated by visual, auditory, and kinesthetic imagery. The imagery and the diction bring the reader to feel the reality that happened during the colonization era. The researchers hope that this research will give positive contributions to the development of literature, especially Island studies.

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Williams, Dennis. "Poem 9, and: Poem 35, and: Poem 219, and: Poem 27." African American Review 55, no. 4 (December 2022): 338–41. http://dx.doi.org/10.1353/afa.2022.0047.

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Nugroho, Henriono. "The Famous Poet in Harpur’s Poem." ATAVISME 12, no. 1 (June 30, 2009): 23–30. http://dx.doi.org/10.24257/atavisme.v12i1.154.23-30.

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This research aims to discuss literary work through stylistic analysis based on sistemic functional linguistics and literature semiotic system. The research methods used are the librarian study, descriptive method and objective intrinsic approach. The research result shows that the semantic analysis has produced the automatized linguistic meaning and foregrounded linguistic meaning. Next, the first meaning produces the subject matter and the secong meaning produces the literary meaning. Later, the literary meaning produces theme. Finally, it is proved that the subject matter tells about harmony; the literary meaning is about Shelley’s fame; and, the theme is about a famous poet. Abstrak: Penelitian ini bertujuan mengkaji karya sastra melalui analisis stilistika berdasarkan ilmu bahasa fungsional sistemik dan sistem semiotik karya sastra. Metode penelitian menggunakan studi pustaka, metode deskriptif, dan pendekatan intrinsik objektif. Hasil penelitian menunjukkan bahwa analisis semantik menghasilkan makna bahasa latar belakang (the automatized linguistic meaning) dan makna bahasa latar depan (the foregrounded linguistic meaning). Makna pertama menghasilkan masalah utama (subject matter) dan makna kedua menghasilkan makna sastra (literary meaning). Makna sastra menghasilkan tema. Masalah utama berkisah tentang harmoni, makna sastra tentang ketenaran Shelley, dan tema tentang seorang penyair terkenal. Kata kunci: makna bahasa latar belakang, makna bahasa latar depan, makna sastra, tema.

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Kandasamy, Meena, and Meena Kandasamy. "A Poem About Not Writing Poems." Feminist Dissent, no. 2 (June 22, 2017): 83–84. http://dx.doi.org/10.31273/fd.n2.2017.172.

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Retamar, Roberto Fernández. "Otro Poema Conjetural / Another Conjectural Poem." World Literature Today 76, no. 3/4 (2002): 25. http://dx.doi.org/10.2307/40157581.

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Friedman, Linda Wieser. "Poem: The soul of a Poet." Critical Perspectives on Accounting 7, no. 1 (February 1996): 100. http://dx.doi.org/10.1006/cpac.1996.0011.

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Spireng, Matthew J. "Poem: Marge Piercy Reads Morning Poems." English Journal 98, no. 3 (January 1, 2009): 102. http://dx.doi.org/10.58680/ej20086924.

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Watkins, William John. "Poem: The Poet as Collegiate Wrestler." College Composition & Communication 43, no. 4 (December 1, 1992): 519. http://dx.doi.org/10.58680/ccc19928862.

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Bristow, Margaret Smith. "Poem: A Poet Conducts a Workshop." English Journal 74, no. 7 (November 1, 1985): 45. http://dx.doi.org/10.58680/ej198510901.

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Hussein, Ali Ahmad. "Two Sources for Abu Dhuʾayb al-Hudhali's Famous Elegy." International Journal of Middle East Studies 53, no. 2 (May 2021): 213–33. http://dx.doi.org/10.1017/s0020743821000027.

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AbstractThis article considers the celebrated elegy by the classical 7th-century Arabic poet, Abu Dhuʾayb al-Hudhali — his ʿayniyya, which ends with ʿayn as a rhyming letter. Analyzing the poem's structure and comparing it with that of two poems composed by Abu Dhuʾayb's teacher, Saʿida b. Juʾayya al-Hudhali, leads to the conclusion that Saʿida's two poems were the main sources on which the pupil drew to create his poem. The sophisticated changes that Abu Dhuʾayb introduced in structure and content, however, made his poem more memorable than those of his teacher. The article raises another question, to which there is, as yet, no definitive answer: what was the true inspiration for Abu Dhuʾayb's poem? Was it the death of his sons, as is traditionally believed, or was it literary: to surpass his teacher in composing a more skillful poem?

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Maggio, Mike. "Poem: Found Poem #45." Critical Perspectives on Accounting 8, no. 3 (June 1997): 246. http://dx.doi.org/10.1006/cpac.1996.0135.

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Jesson, Mary Ellen. "Poem: Writing a Poem." English Journal 75, no. 4 (April 1, 1986): 50. http://dx.doi.org/10.58680/ej198610669.

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Fuller, Heather. "Poem: One Perpetual Poem." Language Arts 65, no. 6 (October 1, 1988): 572. http://dx.doi.org/10.58680/la198825064.

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Stroblas, Laurie. "Poem: To a Poem." Language Arts 63, no. 3 (March 1, 1986): 314. http://dx.doi.org/10.58680/la198625656.

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Saniro, Roma Kyo Kae. "A Phenomenological and Stylistic Review of the Anthology of Penunggu Makam Poetry." Andalas International Journal of Socio-Humanities 5, no. 2 (December 29, 2023): 53–65. http://dx.doi.org/10.25077/aijosh.v5i2.51.

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The purpose of this study is to reveal the phenomenological and stylistic aspects of the Penunggu Makam (Grave Keeper) poetry anthology. The study in this study is based on the theory of phenomenology or stratum norms and stylistic theory. This study uses a qualitative approach. The method used is descriptive qualitative method, namely by describing and analyzing poetry from phenomenological aspects or normative and stylistic strata. The phenomenological aspect of the poems in the anthology of Penunggu Makam is thematically colored by the issue of death which is colored by sadness, sadness and loneliness. The problem of death is also a general concept of human life that all of them will surely die. In the stylistic aspect, there are several language explorations. Exploration of natural images appears in most of the poems. Figure of speech also appears in this poem with dominant personification figure of speech wrapped in natural images. At the level of diction, there is also an exploration of concrete dictions with their inherent characteristics. The words used in this poem are widely known by the public. Nevertheless, the diction used by the poet makes this poem have such a deep meaning and makes the reader immersed in the atmosphere and feelings felt by the poet in line after line of his poem or poem.

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McCurdy, Grace Ann, Tonia Gooden, Francesca Weis, Maryam Mubashir, Shazia Rashid, Syed Musa Raza, James Morris, and Qiang Cai. "S2854 POEM, G-POEM, Z-POEM and D-POEM With Unedited Videos." American Journal of Gastroenterology 117, no. 10S (October 2022): e1862-e1863. http://dx.doi.org/10.14309/01.ajg.0000868056.08667.ad.

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Miranda, José Américo. "Um poeta e um poema esquecidos." Revista do Centro de Estudos Portugueses 18, no. 22 (June 30, 1998): 141. http://dx.doi.org/10.17851/2359-0076.18.22.141-151.

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<p>Este artigo apresenta aos leitores atuais o poeta romântico mineiro Antônio Augusto de Queiroga, que o tempo relegou ao esquecimento. Um de seus poemas, a lira “O Sabiá”, é também apresentado aos leitores. O poema é examinado com base nas edições que teve no século passado. O editor, comparando as diversas variantes do texto, tenta justificar suas escolhas, tecendo comentários e apontando possíveis interpretações.</p><p>This article presents Antônio Augusto de Queiroga to actual readers. He is a forgotten romantic poet from Minas Gerais. One of his poems, the lyre “O Sabiá”, is also presented. The poem is interpreted on the basis of the editions it has had in the last century. The editor, by comparing several text variants (versions), tries to justify his choices in the process of editing the poem.</p>

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Galanova, Valeriya A. "Karelian epic poem by F. N. Glinka as a historical Christian legend." Verhnevolzhski Philological Bulletin 3, no. 26 (2021): 24–28. http://dx.doi.org/10.20323/2499-9679-2021-3-26-24-28.

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The article discusses the peculiarities of Fyodor Nikolayevich Glinka's poetry, his work, and the distinctive features of his poems. The attention is focused primarily on the poems: «Karelia, or the Imprisonment of Marfa Johannovna Romanova» (1830), «The Maiden of Karelian Forests» (1826). The poem Karelia, or the Imprisonment of Marfa Johannovna Romanova» is about the events during the Time of Troubles. The prince's mother, Marfa Ioannovna Romanovna, is exiled to Karelia as a result of a conspiracy. A traveling monk helps her survive her exile. He introduces her to the mythology and life of Karelia, comforts her and tells her about the divine miracles that occur in the north. Eventually, Marfa Ioannovna finds the strength to survive her exile and returns to her homeland. The poem also attracted the attention of A. Pushkin who wrote a review of the poem in 1830. The characters of the poem The Maiden of Karelian Forests are contemporaries of the author. A young man arrives in Karelia. There he meets a girl and her father who is hiding from the law. The poem ends with the return of the girl and the main hero from Karelia. Fyodor Glinka's artistic images, in particular the image of Karelia, attracted other poets as well, namely Eugeny Barstynsky and Vladimir Benediktov. Eugeny Barstinsky wrote his poem «Eda» in 1826. This poem is about love between a Finnish girl and a visiting hussar. The poet Vladimir Benediktov wrote several poems devoted to Glinka himself and Karelia. They were published in 1856. These poems are: The Cliff, The Lake and To the Playmates. All these poets wrote about Karelia, but only Glinka wrote in his poems about Christianity and history. Whereas Yevgeny Baratynsky and Vladimir Benediktov depict the splendor and beauty of Karelia, Fyodor Glinka's characters are engaged in spiritual quests among the Karelian nature and eventually gain true inner freedom.

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Khudhur, Parween Abdullah, and Fuad Rashid Mohammd. "Poetic Prose in Kurdish Literature as an Example in the Text (Snow Anthems or Burnt Colors)." Journal of University of Raparin 9, no. 3 (June 29, 2022): 582–600. http://dx.doi.org/10.26750/vol(9).no(3).paper25.

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This research, tagged with “Prose poem in Kurdish literature as an example, it is included in the text of the poet Dl shad Abdullah, “Anthem of Snow Writing or Burning Colors.” It attempts to show the form of “prose poetry” in Kurdish literature, especially in modern literature. In this historical era, it highlights the choice of the beginning of the emergence of the prose poem in modern Kurdish literature. However, the statement problematic of the research and its study, which is based on the principles and sections of the research, as for the results of the research, which includes the most prominent results that were reached at the end of the study. the most prominent of which is a description Genres of the prose poem, the principles and artistic features upon which the prose poems are based, including the study text (Anthem of Snow Writing or Burning Colors) in the poems (Beauty and Some Pages of Life the Snow Writer or Baw Balkan) by the contemporary Kurdish poet Dl shad Abdullah on the scale of prose poems in modern Kurdish poetry.

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Journal articles on the topic 'Poem'

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