Relevant bibliographies by topics / Poet

Academic literature on the topic 'Poet'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 May 2024

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Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Journal articles on the topic "Poet":

1

Sandler, Stephanie. "Scared into Selfhood: The Poetry of Inna Lisnianskaia, Elena Shvarts, Ol´ga Sedakova." Slavic Review 60, no. 3 (2001): 473–90. http://dx.doi.org/10.2307/2696811.

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Sandler analyzes the poetry of three contemporary Russian women poets, focusing on one poem by each poet from the late Soviet period. Using psychoanalytical theory and philosophical theories of the sublime, she assesses how fear creates a sense of self for each poet. In all the texts examined, the poet's self is shattered in order to be built up again. Poetic identity means a writer's identity, particularly to Sedakova and Lisnianskaia, and all three poets find a sense of self by resisting some conventional notions of the woman poet.
2

З. Арва, Сара. "ФИГУРА ПЕСНИКА У ЦИКЛУСУ „КРИТИКА ПОЕЗИЈЕ” БРАНКА МИЉКОВИЋА." PHILOLOGIA MEDIANA 15, no. 1 (May 16, 2023): 63–73. http://dx.doi.org/10.46630/phm.15.2023.04.

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The aim of this research was to analyse the figure of the poet within the cycle „The Criticism of Poetry” from Miljković’s book of poetry Origin of Hope (1960). By interpreting several poems from the presented cycle, this paper questions the position of the lyrical subject, while seeking out the possibilities of the lyrical self being identified with poets and thus interpreted as a poetic subject – a poet within the poem or a poet who possibly leads metapoetic dialogues with other poets. The figure of the poet is also considered through Nietzsche’s and Hegel’s philosophical approach to the ambivalent knowledge that is inherent to contemplatives and creators, but which conditions their destruction as well. Through the end of the cycle, this research also problematizes the social position of the poet and the possibility of interpreting the cycle through the title inversion – as poetry of criticism – criticism of future poetics, the disappearance of poetic language, poems and poets in general.
3

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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Shahnawaz, Mohammad Sharique. "ROBERT FROST AS A NATURE POET : AN ECOCRITICAL VIEW." Journal of English Language and Literature 09, no. 04 (2022): 35–39. http://dx.doi.org/10.54513/joell.2022.9406.

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Robert Frost is arguably the greatest American poet of 20th Century and if there is any truth to Emerson’s maxim “to be great is to be misunderstood,” then definitely Robert Frost is great as he is one of the most misunderstood poets. Critics have hotly debated whether or not he is a Nature-poet. This paper intends to examine the claim of Frost being a Nature-poet with an ecocritical perspective. We will review The Tuft of Flowers to understand whether or not he can be called Nature-poet. Humans have been writing poems about Nature for centuries and Frost has also described hills, mountains, valleys, rivers, forests, woods, flowers, animals, seasons, and seasonal changes in his poems in a beautiful way, but does description of flora and fauna in the poem makes the poet a Nature-poet has been studied in this paper.
5

Reznichenko, N. A. "A day that spanned years… David Samoylov’s sketch ‘A Day with Zabolotsky’ [‘Den s Zabolotskim’]: Semantic counterpoints." Voprosy literatury, no. 5 (October 30, 2022): 99–124. http://dx.doi.org/10.31425/0042-8795-2022-5-99-124.

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The article discusses the history and context of D. Samoylov’s poem ‘Zabolotsky in Tarusa’ [‘Zabolotsky v Taruse’] (1958–1961), inspired by Samoylov’s personal memories of the meeting with the poet, as well as the sketch ‘A Day with Zabolotsky’ [‘Den s Zabolotskim’]. Samoylov’s poem and sketch offer two different portrayals of the older-generation poet, both using various associations and allusions to Zabolotsky’s lyrical works and biography. Reznichenko’s choice of the two works was primarily guided by the fact that Zabolotsky was an artistic as well as moral influence on Samoylov, who appreciated the other poet’s fascinating and unconventional personality and moral code that distinguished him from fellow poets. In Samoylov’s depictions, the single day spent in Zabolotsky’s company translates into the last day in the life of the poet, who senses the approaching end; in some mystical way, his premonition begins to affect the narrator. Through comparison of Samoylov’s journal entries with the sketch and the poem, the researcher finds that Zabolotsky’s image as a hero watching his ‘last sunset’ becomes more nuanced, prompting Samoylov to develop the reminiscence into a tribute to the poet in its classical sense of a monument.
6

Mestre, Juan Carlos, and Mark Aldrich. "El poeta / The Poet." Sirena: poesia, arte y critica 2006, no. 2 (2006): 108–15. http://dx.doi.org/10.1353/sir.2006.0158.

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Abbas, Assistant Professor Dr Falah Hassan. "Modernity in the Poetry of Nima Yoshij and Baland Al-Haidari A comparative study." Thi Qar Arts Journal 1, no. 40 (December 27, 2022): 1–16. http://dx.doi.org/10.32792/tqartj.v1i40.359.

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This research discusses the issue of modernity in contemporary Persian and Arabic poetry. The researcher chose the Iranian poet Nima Yoshij, who is considered one of the pioneers of modernity in contemporary Iranian poetry, and the Iraqi poet Baland Al-Haidari, who is also one of the pioneers of modernity in contemporary Iraqi poetry. Through their poetry, the two poets expressed the themes of modernity that entered the world of poetry and literature, and that are based on modernist concepts with a new and contemporary vision in harmony with their time; The two poets explained their aspirations and hopes, and the hopes and issues of society. The poet is a member of the community who feels his suffering, his concerns and his ambitions and expresses them in the most sincere way. It seems that the poets have benefited from their experiences and their culture of roses in updating the poem in form and content. The researcher also chose models from the poems of the two poets (Nima Yoshij and Baland Al-Haidari) that included modern themes through which the two poets dealt with various (new) individual and societal issues and other human issues.
8

Amin, Prof Dr Waria Omar. "Al-Jawahiri In A Statistic Research." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 212, no. 1 (November 12, 2018): 185–210. http://dx.doi.org/10.36473/ujhss.v212i1.659.

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Muhammad Mahdi Al-Jawahiri (1898 – 1997) was born in Najaf city of Iraq, to a family of poets and traditional learning. His father, his two brothers, and many other members of his family were poets. He is considered the greatest poet in the history of Arab literature, and said to be the last Neoclassic Arab.This paper is a statistical study of Al- Jawahiri’s poetry. It shows the number of lines of each poem, the meters on which he composed them, and their percentage. It is the first statistic research ever conducted about an Arab poet. The conclusions are shown in a table in the end.
9

Deudney-Theron, E. "Metapoëtiese raakpunte in die poësie van Gerrit Kouwenaar en Breyten Breytenbach." Literator 12, no. 2 (May 6, 1991): 49–58. http://dx.doi.org/10.4102/lit.v12i2.758.

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Prompted by the poem "brief in een fles voor breyten" in which a certain poetic relationship between the Dutch poet Gerrit Kouwenaar and the Afrikaans poet Breyten Breytenbach is implied, the author of this article traces the outlines of a meta-poetics common to both poets and through which their poetry has intertextual links with the poetics of among others Poe, Mallarme and Wallace Stevens. The following common denominators are found in Kouwenaars’s body of works and Breytenbach’s ("yk") and Lewendood: the proliferation of the subject, the ‘killing’ of life in language, the extended metaphor of food, eating and excretion and the living poem as a present absence.
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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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You might also be interested in the extended bibliographies on the topic 'Poet' for particular source types:
Journal articles Dissertations / Theses Books

Dissertations / Theses on the topic "Poet":

1

Kinsella, Michael. "Poet to poet : Seamus Heaney's Wordsworth." Thesis, University of York, 2003. http://etheses.whiterose.ac.uk/14185/.

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Bender, Lucas Rambo. "Du Fu: Poet Historian, Poet Sage." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493294.

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This dissertation argues that Du Fu’s (712-770) ascent to the pinnacle of the Chinese literary pantheon was bound up with a revolution in the ways poetry was understood to be a serious endeavor. In Du Fu’s time, poetry had been valued for sustaining a time-transcending ritual institution descended from the ancient sages. Those later critics who placed Du Fu at the center of the poetic canon, by contrast, have generally located the his verse’s “serious” value in its embodiment of admirably accurate and appropriately felt perceptions of the precise historical circumstances that occasioned its composition. Although these latter critics have often claimed great antiquity for this latter vision of poetry’s moral significance, I argue that it was not an intellectual possibility in the Tang, and that it only came to be broadly persuasive when Du Fu’s collection was extensively remade through the addition of commentarial and contextualizing paratexts that were previously unprecedented within the Chinese critical tradition. Placed back into its original intellectual and material context, then, Du Fu’s poetry reads very differently than it has to post-medieval critics. It was, however, no coincidence that Du Fu was chosen as the center of this radical reinvention of the Chinese poetic tradition. It is possible to trace in the poet’s early collection a process of divergence from the norms of his time, leading ultimately to the creation of a new poetic language that does in fact raise many of the questions that Du Fu’s most influential critics have sought to answer. Yet this new poetic language never fully delivers the reassuring claim that these later critics have seen in his collection: that the good man will always be able to understand and movingly convey the moral truth of his experience. Instead of demonstrating the poet’s apprehension of such natural and given truth, Du Fu’s mature verse dramatizes itself as within the process of seeking for sense, a process that it leaves always open and unfinished.
East Asian Languages and Civilizations
3

Seibel, George L. IV. "Being a Poet." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1346412172.

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Tolley-Stokes, Rebecca. "The Publisher-Poet." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/5769.

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Tovey, Paige Elaine. "Countless cross-fertilizations : Gary Snyder as a Post-Romantic poet." Thesis, Durham University, 2011. http://etheses.dur.ac.uk/672/.

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This thesis examines Romantic (including American Transcendentalist) legacies in the poetry of Gary Snyder. It traces connections and conversations between Snyder and his Romantic predecessors, especially Wordsworth, Blake, Shelley, Emerson and Thoreau, and it seeks to demonstrate the workings of what Snyder himself calls “cross-fertilizations.” Snyder’s understanding of cultural influence is based on the Buddhist concept of interconnection. My thesis applies Snyder’s recurrent theme of interconnection and interdependence to his own relationship with Romantic visions, ideas and forms. Through examining Snyder’s poetic achievements in the light of the Romantic tradition, the thesis attempts to deepen current understanding of his work by suggesting that he should be considered not only as an ecological, post-modern or Beat poet, but also and centrally as a post-Romantic writer. My thesis is structured upon four main, interlocking concerns: eco-Romanticism, the Romantic poet as visionary and prophet, Romantic poetic form, and mountains and rivers as holistic Romantic emblems. It covers a wide range of Snyder’s poetry and prose from across his career in relation to these concerns. The first two chapters, centred on eco-Romanticism, address Snyder’s ecological inheritance from the Romantics; they examine the British Romantic pastoral tradition alongside Snyder’s contemporary eco-Romantic verse. Chapters Three and Four build on the poet’s sense of necessary individuality by focusing on the Romantic role of the poet as prophet in Snyder’s work. They trace the notion inherited from Romanticism of the poet who is conflicted by divergent roles: isolated visionary seer, on the one hand, and the prophetic poet whose role is to speak to and for society, on the other. In my chapters (Five and Six) on the forms through which the post-Romantic poet expresses his vision, I take as my point of departure Shelley’s assertion, from A Defence of Poetry, that “every great poet must inevitably innovate upon the example of his predecessors in the exact structure of his peculiar versification,” and I examine how Snyder’s “peculiar versification” follows and yet innovates upon the tradition of experimental and unconventional form set forth by his Romantic predecessors in such seminal works as Lyrical Ballads. In my final two chapters, I bring the thesis to a close by focusing on Snyder’s use of two Romantic emblems, mountains and rivers, as dialectical, interdependent elements of nature. Responding to their interaction, Snyder renews Romantic modes of representing the universe and the mind. The thesis draws on other American poets (including Williams, Pound and Stevens) in studying how a major American poet has shaped his art, meanings and identity out of a Romantic and post-Romantic poetic and cultural tradition.
6

Cooke, Peter David. "Gustave Moreau, #painter-poet'." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307413.

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KAPLAN, SHEILA. "MURILO MENDES: COLLECTOR POET." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=14602@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
Nesta série de ensaios interdependentes sobre Murilo Mendes, buscamos iluminar diferentes aspectos de sua obra, em especial aquela produzida na Itália, onde o autor se fixou de 1957 até sua morte, em 1975. O fio implícito que liga estes ensaios é a indagação sobre a sua relação com o repertório da cultura ocidental, elemento destacado tanto em sua poesia quanto na prosa. Relação esta que o distingue de outros escritores modernistas, uma vez que, para Murilo Mendes, não se tratava de contrapor uma cultura à outra, mas de formar um conjunto único, em que as diferenças não assumem posição hierárquica, nos moldes, por exemplo, de uma equação centro-periferia. A metáfora do colecionador, que guia o primeiro ensaio, é utilizada como uma chave que permite analisar sua prosa-inventário da tradição ocidental. O surrealismo à brasileira do autor, tema de outro ensaio, mostra o modo peculiar como Murilo absorveu as vanguardas do início do século XX. E o seu projeto universalista é tratado no terceiro capítulo. Os textos que compõem este estudo procuram, assim, acercar-se dessa obra por meio de uma escrita ensaística, conforme definição de Adorno, em que os vários pontos se entrelaçam como em um bordado. Escrita marcada pelo experimento, mais do que pela busca de um pensamento sistêmico e conclusivo.
This is a series of interdependent essays on Murilo Mendes which focus on different aspects of his work, particularly the texts he wrote in Italy, where he lived from 1957 until his death in 1975. The thread that implicitly runs through these essays is his relationship with the Western cultural repertoire, an aspect that stands out in both his poetry and his prose. Indeed, it is this that differentiates him from other Modernist writers. Murilo Mendes was not interested in setting one culture against another, but in uniting them in such a way that their differences were not represented hierarchically, such as center versus periphery. The metaphor of the collector that appears in the first chapter serves as a key for analyzing his body of prose from the Western tradition. His Brazilian-style surrealism is the object of another essay that discusses the particular way he incorporated the European vanguards of the early twentieth century. The third chapter is about his universalism. Overall, this study seeks to address the work of Murilo Mendes using the essay form as defined by Adorno, where points in the different texts interweave like a tapestry. The style is more experimental than strictly systematic or conclusive in its thinking.
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JUNIOR, JUAREZ DE QUEIROZ CAMPOS. "PARMÊNIDES THE LOGOS POET." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=26061@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
A interpretação do Poema de Parmênides tradicionalmente tem como fontes Platão, Aristóteles e os neoplatônicos. Recentemente as questões lógicas e filológicas relacionadas ao verbo ser vem atraindo atenção não só de comentadores da filosofia antiga como Charles Kahn, mas também da filosofia analítica a partir dos críticas de Frege e Russell. Nesta dissertação, utiliza-se como eixo interpretativo os textos de Gorgias e Melisso sobre o ser, considerando a hipótese de que como estes pensadores desenvolveram os seus trabalhos em uma época mais próxima a Parmênides do que Platão e Aristóteles as suas interpretações nos fornecem uma leitura mais aproximada do sentido inicial do Poema. A partir da apresentação dos diversos sentidos do verbo ser pela filologia e das formulações de Kahn, será investigado o ser nas formulações de Melisso, Górgias comparando-o com o ser de Parmênides.
Plato, Aristotle and the Neo-Platonists have traditionally been considered to be the main sources for interpreting Parmenides The Poem. However, in the last century, the logical and filological dilemmas regarding the concept of being have begun to draw the attention of other scholars seeking more precise interpretations of The Poem, such as ancient philosophy commentator Charles Kahn and analytical philosophers Frege and Russell. In this paper I will argue that philosophers Gorgias and Melisso offer a more accurate interpretation of the concept of being discussed in Parmenides original text. Consequently, it will also be shown that in order to understand precisely The Poem, it is necessary to focus on the interpretations drawn by the two pre-Socratic philosophers supra-cited regarding the Poem, rather than to emphasize on the analysis made by Plato and Aristotle. The main reason supporting this argument that will be presented is that the works of such pre-Socratic philosophers were written in a time period much closer to the one of Parmenides than the works of Plato and Aristotle were. In order to build my argument I will first analyze the filological meanings of the concept of being. Then I will scrutinize the formulations of this concept as Kahn presents them. After that, I will examine the formulations of the concept of being in the works of both Melisso and Gorgias. Finally, I will compare and apply all of these formulations and meanings to Parmenides original text, and therefore conclude my argument.
9

Svanefjord, Natasha. "Varför är Platon poet?" Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-30074.

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Oade, Stephanie. "Catullus : lyric poet, lyricist." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:469ce045-65e7-4df3-8a1e-c16e4195b9f7.

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There exists between lyric poetry and music a bond that is at once tangible and grounded in practice, and yet that is indeterminate, a matter of perception as much as theory. From Graeco-Roman antiquity to the modern day, lyrical forms have brought together music and text in equal partnership: in archaic Greece, music and lyric poetry were inextricably (now irrecoverably) coupled; when lyric poetry flowered in the eighteenth century, composers harnessed text to music in order to create the new and fully integrated genre of Lieder; and in our contemporary age, the connection between word and music is perhaps most keenly felt in pop music and song 'lyrics'. In 2016, the conferral of the Nobel Prize for Literature on Bob Dylan brought to wider public attention the nature of lyric's poetical-musical bond: can Dylan be considered a poet if the meaning, syntax and expression of his words are dependent upon music? Is music supplementary to the words or are the two so harnessed that the music is in fact a facet of the poetic expression? The connection between music and poetry is perfectly clear in such integrated lyric forms as these, but a more indeterminate connection can also be felt in 'purely' musical or poetic works - or at least in the way that we perceive them - as our postRomantic, adjectival use of the word 'lyrical' shows. Describing music as lyrical often suggests that it carries an extra-musical significance, a deeply felt emotion, something akin to verbal expression, while a lyrical poem brings with it an emotive aurality and a certain musicality. Text and music of lyrical quality may, therefore, invoke the other for the purpose of expression and emotion so long as our understanding of lyric forms remains conditioned by the appreciation of an implied music-poetry relationship This thesis works within the overlap of music and poetry in order to explore the particular lyric voice of Catullus in the context of his twentieth-century musical reception. Whilst some of Catullus's poems may have been performed musically, what we know of poetry circulation, publication and recitation in first-century BCE Rome suggests that the corpus was essentially textual. Nevertheless, Catullus's poetry was set to music centuries later, not in reconstruction of an ancient model, but in new expression, suggesting not only that composers of the twentieth century found themes in Catullus's poetry that resonated in their own contemporary world but that they found a particular musicality, something in the poetry that lent itself to musical form. I argue that it is in these works of reception that we can most clearly identify the essence of Catullan lyricism. Moreover, by considering the process of reception, this thesis is able to take a broader view of lyric, identifying traits and characteristics that are common to both music and poetry, thus transcending the boundaries of individual art forms in order to consider the genre in larger, interdisciplinary terms.
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Books on the topic "Poet":

1

Maude, Caitlín. Caitlín Maude: File, poet, poeta. Bali: Edizioni dal sud, 1985.

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Coolidge, Clark. Poet. Brooklyn: Pressed Wafer, 2018.

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Karajanov, Ilija. Poet na providenijata, poet na svetoto i poet na tišinata. Skopje: Menora, 2008.

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Connelly, Michael. The Poet. Boston: Little, Brown and Company, 1996.

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Lucas, John G. Countryside poet. Chicago, Ill: Lightner Pub., 1988.

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Yi, Mun-yŏl. The poet. London: Harvill Press, 1995.

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Sadler, Lynn Veach. Poet geography. Mount Olive, N.C: Mount Olive College Press, 2003.

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Connelly, Michael. The poet. New York: A Time Warner Co., 1996.

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Crawford, Jen, and Kikuchi Rina. Poet to Poet: Contemporary Women Poets from Japan. Recent Work Press, 2017.

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Poet to poet. Peterborough: Arrival Press, 1997.

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Book chapters on the topic "Poet":

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Page, Norman. "The Poet." In A. E. Housman, 179–206. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-24584-0_9.

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Brian, Sonia-Wallace. "RENT Poet." In Art and the City, 100–113. New York : Routledge, 2017. | Series: Routledge studies in urbanism and the city: Routledge, 2017. http://dx.doi.org/10.4324/9781315303031-8.

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Moeyes, Paul. "Georgian Poet." In Siegfried Sassoon Scorched Glory, 68–92. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230374560_4.

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Edelglass, William, Pierre-Julien Harter, and Sara McClintock. "Poet Philosophers." In The Routledge Handbook of Indian Buddhist Philosophy, 81–82. London: Routledge, 2022. http://dx.doi.org/10.4324/9781351030908-9.

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Anne Bentley, Christa. "“Poet-Composers”." In The Routledge Companion to Popular Music Analysis, 416–25. New York: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315544700-28.

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Raychaudhuri, Anindya. "Facebook poet." In World Literature and Dissent, 120–40. New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780203710302-8.

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"Poet Militant, Poet Inspirational." In Dawn of Labor, 249–60. University of Hawaii Press, 2024. http://dx.doi.org/10.1515/9780824896430-047.

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Brother Anthony of Taizé. "Poet Militant, Poet Inspirational." In Dawn of Labor, 249–60. University of Hawaii Press, 2024. http://dx.doi.org/10.2307/jj.4636360.49.

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"Poet." In Vijayanagara Voices, 161–80. Routledge, 2016. http://dx.doi.org/10.4324/9781315548203-10.

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Guite, Malcolm. "Poet." In The Cambridge Companion to C. S. Lewis, 294–310. Cambridge University Press, 2010. http://dx.doi.org/10.1017/ccol9780521884136.021.

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Conference papers on the topic "Poet":

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Paul, Johns, Jie Liang Ang, Tianyuan Fu, Bingsheng He, Shengliang Lu, Sien Yi Tan, and Feng Cheng. "Poet." In SIGSPATIAL '20: 28th International Conference on Advances in Geographic Information Systems. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3397536.3422230.

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Wang, Rui, Joel Lehman, Jeff Clune, and Kenneth O. Stanley. "POET." In GECCO '19: Genetic and Evolutionary Computation Conference. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3321707.3321799.

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Yuan, Yukun, Yue Zhao, and Shan Lin. "POET." In e-Energy '22: The Thirteenth ACM International Conference on Future Energy Systems. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3538637.3538870.

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Shulgina, Olga Aleksandrovna. "Poet, Storyteller, Translator." In 4th International Research and Practical Conference for Pupils, Chair Yulia Gerasimova Milyakhova. TSNS Interaktiv Plus, 2020. http://dx.doi.org/10.21661/r-530490.

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Tikhomirova, A. "PARNASSIAN SIGN IN THE LYRICS OF THE FIRST WAVE OF EMIGRATION. THREE POEMS (V. KHODASEVICH, G. IVANOV, YU. TERAPIANO)." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3756.rus_lit_20-21/333-336.

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Abstract:
The article is devoted to the problem of continuity of Parnassianism in the oeuvre of poets of the first wave of emigration and it is based on material of an analysis of three poems by V. Khodasevich, G. Ivanov and Yu. Terapiano. The poetic controversy between Khodasevich and G. Ivanov in the early 1920s revolved around different views on the role of the poet in difficult historical times, as well as around the dispute about where art comes from, from above or from the soul of the poet. Ideas close to the views of G. Ivanov stemmed from the views of his teacher N. Gumilev, expressed in his article about Theophile Gautier. Already in the 1930s, the same ideas resonated in the work of Yu. Terapiano. He creates a cycle of poems “French Poets”. The Parnassian poet Leconte de Lisle in his poem subordinates the feelings and the world around him in difficult times when “there is no support”.
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McConnell, M. L., L. Angelini, M. G. Baring, S. Barthelmy, J. K. Black, P. F. Bloser, B. Dennis, et al. "GRB Polarimetry with POET." In GAMMA-RAY BURST: Sixth Huntsville Symposium. AIP, 2009. http://dx.doi.org/10.1063/1.3155969.

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Hill, J. E., M. L. McConnell, P. Bloser, J. Legere, J. Macri, J. Ryan, S. Barthelmy, et al. "POET: POlarimeters for Energetic Transients." In 2008 NANJING GAMMA-RAY BURST CONFERENCE. AIP, 2008. http://dx.doi.org/10.1063/1.3027941.

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Hisamutdinova, R. R. "YULILIYA DRUNINA: POET, VETERAN, HUMAN." In A glance through the century: the revolutionary transformation of 1917 (society, political communication, philosophy, culture). Vědecko vydavatelskě centrum «Sociosfera-CZ», 2017. http://dx.doi.org/10.24045/conf.2017.1.22.

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Mgallad, Ali. "Leave the Hedgehog Alone! The Problem of Privacy in Paul Muldoon's Hedgehog." In 3rd International Conference on Language and Education. Cihan University-Erbil, 2023. http://dx.doi.org/10.24086/iclangedu2023/paper.942.

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Abstract:
Paul Muldoon is an outstanding Irish poet. One of his poetry's characteristics can be coined as the 'intricate spontaneity,' which does the most that it does, inspires. This paper deals with the problem of privacy in his poem the Hedgehog. Privacy is an essential right that everyone must have. Its importance is huge as it relates to such areas as identity, sovereignty... etc. The paper is an attempt to follow the brush touches by which the poet draws the object of his painting, the hedgehog. It aims at observing the animal closely both externally as well as internally. In respect to the external part, the symbolism the poet makes use of through this object of painting is impressive and urges upon examining. As for the internal part, the poem is to be mystically considered for a better understanding of its purport concerning the concept of privacy. The paper setting benefits of Imagism tools to assess the poem properly.
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Yi, Qing, Keith Seymour, Haihang You, Richard Vuduc, and Dan Quinlan. "POET: Parameterized Optimizations for Empirical Tuning." In 2007 IEEE International Parallel and Distributed Processing Symposium. IEEE, 2007. http://dx.doi.org/10.1109/ipdps.2007.370637.

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Reports on the topic "Poet":

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Sanchez, Tamara. The Poet, the Rebel, and the Wardrobe Coat. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1679.

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Boyle, Edward. The Poet Revealed: A Future for Human-Centered Design. Fort Belvoir, VA: Defense Technical Information Center, September 1990. http://dx.doi.org/10.21236/ada226648.

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Simmons, Blake, and Gabriella Papa. Assessment of JBEI Ionic Liquid Biomass Pretreatment Technology on POET Feedstocks. Office of Scientific and Technical Information (OSTI), August 2018. http://dx.doi.org/10.2172/1463704.

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Lovelace, Earl. Welcoming Each Other: Cultural Transformation of the Caribbean in the 21st Century. Inter-American Development Bank, January 1998. http://dx.doi.org/10.18235/0007927.

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Ospina, William. Hölderlin and the U'wa: A Reflection on Nature, Culture and Development. Inter-American Development Bank, July 2004. http://dx.doi.org/10.18235/0007952.

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Huezo Mixco, Miguel. El Salvador and the Construction of Cultural Identity. Inter-American Development Bank, October 1999. http://dx.doi.org/10.18235/0007937.

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D'Aguiar, Fred. Made in Guyana. Inter-American Development Bank, November 1998. http://dx.doi.org/10.18235/0007934.

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Ferrer de Arréllaga, Renée. Contemporary Paraguayan Narrative: Two Currents. Inter-American Development Bank, March 1994. http://dx.doi.org/10.18235/0007909.

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Sosa, Roberto. Society and Poetry: Those Who Come Wrapped in a Blanket. Inter-American Development Bank, May 1997. http://dx.doi.org/10.18235/0007924.

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Pérez Torres, Raúl. Brief Notes on Ecuadorian and U.S. Literature. Inter-American Development Bank, March 1997. http://dx.doi.org/10.18235/0007923.

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