Relevant bibliographies by topics / Poetry, essays and songs

Academic literature on the topic 'Poetry, essays and songs'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Poetry, essays and songs"

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Bergman, David, and John Taggart. "Songs of Degrees: Essays on Contemporary Poetry and Poetics." American Literature 67, no. 3 (September 1995): 618. http://dx.doi.org/10.2307/2927972.

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La Charité, Virginia A. "Book Review: Songs of Degrees: Essays on Contemporary Poetry and Poetics." Philosophy and Literature 19, no. 2 (1995): 398–99. http://dx.doi.org/10.1353/phl.1995.0088.

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Chonghaile, Deirdre Ní. "‘listening to this rude and beautiful poetry’: John Millington Synge as Song Collector in the Aran Islands." Irish University Review 46, no. 2 (November 2016): 243–59. http://dx.doi.org/10.3366/iur.2016.0225.

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To date, little attention has been given to the songs in Synge's The Aran Islands, items that Tim Robinson imagines are not ‘fully thought into the texture of the work’. They come from a collection of songs in Irish and in English that was created by Synge in Inis Oírr in 1901 in the company of the local poet Mícheál Ó Meachair. This essay investigates Synge's song collection and the local singers and poets whom he met, including Seághan Seoige of Baile an Fhormna, Inis Oírr and Marcuisín Mhichil Siúinéara Ó Flaithbheartaigh of Cill Rónáin, Árainn. It examines how the music of Aran impacted on Synge during his four visits between 1898 and 1901, what his collection tells us about the song tradition of Aran, and what inspired him to collect songs there. Did Douglas Hyde's Love Songs of Connacht prompt him to create his own collection? What parts did Lady Gregory and W.B. Yeats play? Considering Synge was a trained musician and composer, why did he not collect the airs that accompanied the songs? Recognising the influence of sean-nós song on Synge's dramatic oeuvre, this essay questions whether or not the songs of Aran affected his work.
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Kwon, JiSeong James, and Matthias Brütsch. "Das Hohelied als jüdische Version der Liebesdichtung innerhalb eines gemeinsamen intellektuellen Hintergrundes in der hellenistischen Zeit." Journal of Ancient Judaism 12, no. 2 (June 2, 2021): 149–74. http://dx.doi.org/10.30965/21967954-bja10010.

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Abstract This essay is intended to demonstrate that the Song of Songs (Canticles) is a product of a Hellenistic and Jewish intellectual background. It takes up motifs from Egypt, Mesopotamia, and is based on the Hellenistic poetry from Greece–Sicily–Alexandria. Its basic literary forms (Paraklausithyron, runaway love, descriptive songs of man and woman) were derived from the Hellenism of Alexandria, e.g. Theocritus and Moschus or its predecessors as an amalgam of these cultures. This conclusion is further supported by the manuscript evidence for the Songs of Songs found among the Dead Sea Scrolls.
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Dattilo, Delia. "Folk Songs: Spaces and Reasons. Ruga, Love, Marriage, Departures." Tautosakos darbai 59 (June 2, 2020): 64–84. http://dx.doi.org/10.51554/td.2020.28367.

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This essay sheds light on habits, behaviours, and social practices by focusing on Southern Italian youth and their songs; more specifically, it deals with Calabria in the years between 1850 and the 1900s. Such samples – relics to us – allow us to infer how men and women of that generation communicated within the archaic and highly hierarchical society in which they lived. Sometimes through singing the youth of Southern Italy found a way to bypass prohibitions and to say what could not be normally said in everyday life. Since it is clearly impossible to hear the performers’ original voices, this essay relies on examples of poetry and songs as they were perceived, interpreted and published by philologists, folklorists and anthropologists during the second half of the 1800s. Literature draws on folk song collectors such as Achille Canale, Raffaele De Leonardis, and Francesco De Simone Brouwer. The songs and poems considered deal with the topics of love and disdain (sdegno), while a smaller group deals with the themes of lontananza and spartenza. A combined analysis of folk songs and local literature (Vincenzo Padula, Luigi Accattatis, Cesare Lombroso, Caterina Pigorini Beri et al.) allows us to better understand a context that was based on phenomena such as wooing strategies, kidnappings, ostentation of violence and other social events featured in folk songs, poetry and sayings.
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Lukaniuk, Bohdan. "From the Musical History of Liberation Songs. Problem Essays." Ethnomusic 18, no. 1 (December 2022): 25–64. http://dx.doi.org/10.33398/2523-4846-2021-18-1-25-64.

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Liberation song is a special genre of mass oral and writing art which expresses the spirit of protest, the people’s struggle against oppression, their rights of freedom, for their social, national, and universal rights, and it is an effective means of orienta- tion and organizing the vast majority of society. Such a song is usually attributed to an author if necessary, and, having become widespread and even often worldwide, it is adopted into folklore. Such songs can also to some extent be modified due to the influence of public artistic thinking. Therefore its theory, history and practice create apparent ethnomusicological research interest. The proposed problem essays discuss the history of five popular Ukrainian (or those of countries closely related to Ukraine) liberation songs – older and newer, both in terms of appearing during the last three centuries (1654–1921), and in musical and poetic style. According to their international significance, their original sources, and the way evolutions are revealed, most are still little known or completely unknown. These mostly debatable attempts to resolve the issues require further studies, which are sure to open more than a few fascinating pages in the country’s past. This issue of “Ethnomusic” includes the following three essays (previously see: [Lukanyuk 2022a]). Keywords: liberation song, Ukraine, primary sources, musical history, ways of evolution.
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Lukaniuk, Bohdan. "From the musical history of liberation songs. Problem essays." Ethnomusic 18, no. 1 (December 2022): 25–64. http://dx.doi.org/10.33398/2523-4846-2022-18-1-25-64.

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Liberation song is a special genre of mass oral and writing art which expresses the spirit of protest, the people’s struggle against oppression, their rights of freedom, for their social, national, and universal rights, and it is an effective means of orienta- tion and organizing the vast majority of society. Such a song is usually attributed to an author if necessary, and, having become widespread and even often worldwide, it is adopted into folklore. Such songs can also to some extent be modified due to the influence of public artistic thinking. Therefore its theory, history and practice create apparent ethnomusicological research interest. The proposed problem essays discuss the history of five popular Ukrainian (or those of countries closely related to Ukraine) liberation songs – older and newer, both in terms of appearing during the last three centuries (1654–1921), and in musical and poetic style. According to their international significance, their original sources, and the way evolutions are revealed, most are still little known or completely unknown. These mostly debatable attempts to resolve the issues require further studies, which are sure to open more than a few fascinating pages in the country’s past. This issue of “Ethnomusic” includes the following three essays (previously see: [Lukanyuk 2022a]). Keywords: liberation song, Ukraine, primary sources, musical history, ways of evolution.
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Lajic-Mihajlovic, Danka. "The temporal dimension of epic songs." Muzikologija, no. 6 (2006): 343–64. http://dx.doi.org/10.2298/muz0606343l.

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Since research into south-Slav epic songs began, finding its place within philological sciences, the musical component has been marginalized. In extreme cases the correlation between poetry and music was even denied. In the relatively few (ethno)musicological works dealing with the epic songs that correlation was observed mainly on the macro-formal level. The author maintains that any systematic research of the functional melopoetic structure of Serbian epic songs should include the temporal features of music. The article is an essay on the methodology in which the poetry?music relationship is investigated from the point of view of their temporal dimension. The flow of music?poetry content is observed from the perspectives of tempo and rhythm, primarily as relations between durations on different structural levels. The chosen examples consist of two variants of an epic song, typical of their kind, which have the same subject and structural bases. The performers were two gusle-players, so that the performing bodies were the same. In the course of analysis, focus was directed on the musical equivalents of elements of poetic structure considered to be constant, or at least showing strong tendencies towards expression in verse forms. The analysis demonstrated that the musical component was the critical value needed to differentiate the systems of relations between the poetic and musical components, i.e. styles of interpretation. The chosen individual styles represent contrasting approaches to the organization of the poetic content in time. Although the temporal dimension in both examples is semanticised, its values in those styles are diametrically different. At one extreme a construction is found in which the relation of morphological unit values on poetical and musical levels demonstrates a specific interaction on the structural level. The symmetry on the macro plan depends on the constancy of the verse length, but it cannot be maintained that music is fully in the service of poetry. The reason for that is to be found mainly in the (isochrone) basis of the melopoetic, i.e. musical rhythm that, contrary to expectation (in view of the primary function of epic songs), is not achieved according to the dynamics of speech. The causes of such non-correspondence could be detected in the archaic links of epic songs with genres possessing characteristic rhythms of movement, first of all with rituals belonging to the death cycle, and/or changes in the prosody of the Serbian language. The other extreme is to be found in a style that represents, in a certain way, a quality development in the process of transferring the structural center of gravity from poetry to music. It should be added that in the course of that process the semantics of that style?s temporal dimension on the macro-plan stays in closest relation with the structure of verse and syntax. The key no correspondence of durations of spoken and sung syllables demands wider elaboration of the relation between the rhythm of poetry and music. While not denying the importance of regional differences, the author finds more probable the hypothesis that the key differences between the researched styles are linked to their development, from sin practical to sin logical "from representation to understanding", i.e. the hypothesis of the polystadiality of Serbian epic tradition. The application of the results of this research on a wider historical/stylistic scale should be approached cautiously, not only because of the scope of the given examples, but primarily because of links with the problematic chronology of the musical-aesthetic phenomena of symmetry and asymmetry, the "evolutive" and "architectonic" principles of structural construction.
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Abdullahi, Kadir Ayinde. "Poetic Style and Social Commitment in Niyi Osundare’s Songs of the Marketplace." Human and Social Studies 6, no. 2 (June 1, 2017): 73–83. http://dx.doi.org/10.1515/hssr-2017-0015.

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Abstract This essay studies some of the poetic devices employed by Osundare to project social commitment and vision in Songs of the Marketplace. It examines how the poet’s deployment of style makes his poetry more accessible to a larger audience than that of his predecessors. Like the oral traditional performance, his poetry employs rich Yoruba oral literary devices in a way that is unique and glaringly innovative. Osundare’s radical poetic style has a clearly defined concept and role. It is also central to the resolution of the polemics of governance and politics in society. The pervasive theme of the collections remains a serious concern for hope out of the decadent situation that has eaten deep into the fabric of our social existence.
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DRABKIN, WILLIAM. "SCHUBERT, SCHENKER AND THE ART OF SETTING GERMAN POETRY." Eighteenth Century Music 5, no. 2 (September 2008): 209–36. http://dx.doi.org/10.1017/s1478570608001498.

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Nearly half a century after gaining a solid footing in the academic world, the achievements of Heinrich Schenker remain associated more with tonal structure and coherence than with musical expression. The focus of his published work, exemplified largely by instrumental music from the eighteenth and early nineteenth centuries, supports this view. There are just five short writings about music for voices: two essays on Bach’s St Matthew Passion, one on the opening number from Haydn’s Creation, and two on Schubert songs. To be sure, romantic lieder appear as music examples for the larger theory books, but there they serve as illustrations of harmony, voice leading and form, rather than the relationship of word to tone.
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Dissertations / Theses on the topic "Poetry, essays and songs"

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Atha, Tammy Jolene. "Songs of Amy & Other Poems." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1511979906462235.

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Ćurčin, Milan. "Srpska narodna pesma u nemačkoj književnosti." Beograd : Narodna biblioteka Srbije, 1987. http://catalog.hathitrust.org/api/volumes/oclc/18487273.html.

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Originally presented as the author's Thesis (doctoral --Universität Wien) under the title: Das serbische Volkslied in der deutschen Literatur.
Includes bibliographical references (p. [169]-189) and index.
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Elder, Hilary Elizabeth. "The Song of Songs in late Elizabethan, Jacobean and Caroline poetry." Thesis, Durham University, 2009. http://etheses.dur.ac.uk/2165/.

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This thesis is about reading. Working on the understanding that all texts read other texts, it aims to uncover something of how English poets from 1590-1650 read the Song of Songs, by analyzing when and how they use it in their poetry. By looking at poetic readings, rather than theological ones, it also explores the connections and distinctions between reading literature and reading Scripture. As both Scripture and lyric love poetry, the Song of Songs has participated in theological and literary discourse over a long period. The Introduction gives background on both kinds of reading, and how they have been applied to the Song of Songs. It also sets out the structure of the thesis. Chapter 2 surveys theological writing about the Song of Songs produced during the period. The material includes sermons, commentaries, household advice books, hymns and translations, including poetic translations. There is a stable core of interpretation, which reads the Song as primarily about the relationship between Christ and the Church, or the individual soul, or both. Within this stable core, however, there is a wide variety of interpretations. Chapters 3-5 are themed, and look at how poets handle the three topics of the feminine voice, beauty and desire when they read the Song of Songs. The first poet considered in each chapter is Aemilia Lanyer, who provides a plumb-line for the exposition. As a poet seeking elite patronage, Lanyer is typical of her age in many important respects; but she also challenges expectations about poets of the period. The other poets considered are Shakespeare, Southwell, Mary Sidney, Countess of Pembroke, Spenser, Donne and Crashaw. The Conclusion considers what light these poetic readings shed on the relationship between Scripture and literature.
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Newman, Vivien B. E. "Women's poetry of the First World War : songs of wartime lives." Thesis, University of Essex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401045.

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Flanagan, Victoria C. "If Not the Body; Null Hypothesis: Essays." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5409.

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If Not the Body is a collection of poems centered around the physical, female body—the body in peril, the body as continuation, the body as revelation, the body as variable. Tracing both a literal and metaphorical lineage over five sections, these poems reckon with a personal, familial, and regional history in an attempt to answer the collections’ repeated questions: “What am I made of?” and “If illness uglies the world, / what redeems it?” Drawing from personal experience, family history, and reckoning with mathematic, logical, and temporal limitations, Null Hypothesis: Essays focuses on what it means to embody, to experience. With particular attention to and emphasis on the self-consciousness of writing, these essays attempt to exemplify the inevitable frameshift afforded by illness, and how our bodies, our selves, our relationships, faith, and even our memories—as embodied things—manifest and matter in the corporeal world.
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Neff-Mayson, Heather. "Redemption songs : the voice of protest in the poetry of Afro-Americans /." Bern : Francke, 1989. http://catalogue.bnf.fr/ark:/12148/cb355192701.

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Holmquest, Heather. "Structure, Musical Forces, and Musica Ficta in Fourteenth-Century Monophonic Songs." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/18703.

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This study provides insight into the compositional features of the monophonic ballata, a genre developed in the early to mid-fourteenth century in northern Italy. In analyzing the formal structure, melodic contour, application of musica ficta, and relationship between text and melody, I suggest ways in which performers of this repertoire can highlight the exceptional qualities of this music while remaining rooted in a historically-informed tradition of early music performance practice. Using principles of Schenkerian ideas of prolongation, Salzerian approaches to constructing voice-leading analyses of early music, and Steve Larson's theory of musical forces as criteria for well-formed melodies, I created a method that shows every note as structural or ornamental at every given level. The use of these theoretical approaches serves to highlight what about this music is compelling and what can be brought out as 'familiar' in a piece, what repeats, and what connects sections and how. I conclude that counterpoint is behind the organization of these works at the structural level, even as monophonic songs. I acknowledge that there are features we could construe as "tonal," but that information is only useful to a performer familiar with tonal elements, and it is therefore only one of many layers of understanding that should be accessed by the modern performer.
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Beard, Ellen Leslie. "Rob Donn MacKay : finding the music in the songs." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/20991.

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This thesis explores the musical world and the song compositions of eighteenth-century Sutherland Gaelic bard Rob Donn MacKay (1714-1778). The principal focus is musical rather than literary, aimed at developing an analytical model to reconstruct how a non-literate Gaelic song-maker chose and composed the music for his songs. In that regard, the thesis breaks new ground in at least two ways: as the first full-length study of the musical work of Rob Donn, and as the first full-length musical study of any eighteenth-century Scottish Gaelic poet. Among other things, it demonstrates that a critical assessment of Rob Donn merely as a “poet” seriously underestimates his achievement in combining words and music to create a whole that is greater than the sum of its parts. The study also illustrates how widely melodic material circulated in eighteenth-century Scotland through aural transmission, easily crossing between languages and between instrumental and vocal music. The thesis includes a musical biography, a review of sources and commentary on Rob Donn, an introduction to relevant theoretical concepts in ethnomusicology and related fields, and a survey of eighteenth-century Scottish music, followed by several chapters analyzing the music of one hundred songs by topic (elegies; social and political commentary; love, courtship and weddings; satire and humor; and praise, nature and sea songs). The study shows that Rob Donn borrowed tunes for 67 of these songs from earlier sources (45% from Gaelic song, 25% from Scots song, 12% from English or Irish song, and 18% from instrumental tunes). It then provides evidence that he composed the melodies of 33 songs, examining in detail how he adapted earlier musical models and created musical settings to reinforce aspects of his poetic message. It also analyzes the musical features of all 100 songs, providing charts summarizing their vocal range, musical meter, scales and tonality. The thesis is accompanied by two appendices, one containing 121 musical settings of the 100 songs, and the other containing their complete texts with English translations (most translated here for the first time).
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Woodward, Mark E. McNeil Ryan Woodward Mark E. Aubuchon Rachel McKenney W. Thomas. "Three songs for unaccompanied choir." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6259.

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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 26, 2010 Thesis advisor: Dr. W. Thomas McKenney. Includes bibliographical references.
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Kim, Kil Won. "A detailed study of Reynaldo Hahn's settings of the poetry of Paul Verlaine /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1996.

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Books on the topic "Poetry, essays and songs"

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Songs of degrees: Essays on contemporary poetry and poetics. Tuscaloosa: University of Alabama Press, 1994.

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A permeable life: Poems and essays. United States]: Available Light Publishing, 2013.

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Oliver, Mary. Dog songs: Thirty-five dog songs and one essay. Waterville, Maine: Thorndike Press, A part of Gale, Cengage Learning, 2014.

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Meletēmata gia to dēmotiko tragoudi: Essays on Greek folk songs. Thessalonikē: Ekdotikos Oikos Ant. Stamoulē, 2013.

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Beck, Al. Conversations with Lizard's bones and Wizard's stones: Poetry, drawings, songs, essays, and autobiographitti [sic]. Black Mountain, NC: Lorien House, 2003.

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Solomon, Arthur. Songs for the people: Teachings on the natural way : poems and essays of Arthur Solomon. Toronto: NC Press, 1990.

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Solomon, Arthur. Songs for the people: Teachings on the natural way : poems and essays of Arthur Solomon. Toronto, Ont: NC Press, 1990.

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Songs of innocence and experience: Essays in celebration of the ordinary. New York: Viking, 1994.

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Pucci, Pietro. The song of the sirens: Essays on Homer. Lanham, Md: Rowman & Littlefield Publishers, 1998.

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Sāmoan variations: Essays on the nature of traditional oral arts. New York: Garland Pub., 1991.

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Book chapters on the topic "Poetry, essays and songs"

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Jackson, Steven. "Three Essays." In Write About Poetry, 75–87. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003207511-6.

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McDaid, Ailbhe. "Wandering Songs." In The Poetics of Migration in Contemporary Irish Poetry, 147–96. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63805-8_4.

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Knowland, A. S. "The Thoughtful Songs of James Simmons." In Contemporary Irish Poetry, 264–85. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-80425-2_13.

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Potts, Donna L. "Songs in Stone." In Contemporary Irish Poetry and the Climate Crisis, 35–53. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003150725-3.

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Thuente, Mary Helen. "United Irish Poetry and Songs." In A Companion to Irish Literature, 259–75. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444328066.ch16.

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Ramey, Lauri. "Slave Songs as American Poetry." In Slave Songs and the Birth of African American Poetry, 97–121. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230610163_4.

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Čurda, Martin. "Four Songs on Chinese Poetry." In The Music of Pavel Haas, 209–45. New York: Routledge, 2020. | Series: Ashgate studies in theory and analysis of music after 1900: Routledge, 2020. http://dx.doi.org/10.4324/9780429433351-7.

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Ramey, Lauri. "Slave Songs and the Lyric Poetry Traditions." In Slave Songs and the Birth of African American Poetry, 17–55. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230610163_2.

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Ramey, Lauri. "Theology and Lyric Poetry in Slave Songs." In Slave Songs and the Birth of African American Poetry, 57–95. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230610163_3.

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Bohlman, Philip V. "The Nation and Its Fragments." In Song Loves the Masses. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520234949.003.0008.

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The first use of the word and concept, Volkslied (folk song), appears in Herder’s 1773 essay on the Ossian controversy, published in an influential volume of essays containing his own reflections the German character of art and culture, which included contributions by Johann Wolfgang von Goethe, among other leading Enlightenment intellectuals. Herder’s Ossian essay gathers fragments from correspondence with an imagined reader, thus allowing him to relate many different themes from eighteenth-century debates about song and poetry, especially the possibilities of translation of ancient myth and epic into modern, national forms. The Ossian poems and songs were published as the evidence of a mythological Scottish bard, but were in fact falsified by the eighteenth-century Scottish writer, James Macpherson.
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Conference papers on the topic "Poetry, essays and songs"

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Chen, Chung Sheng. "Ideation from poetry & songs for cultural creative product design." In 2017 International Conference on Applied System Innovation (ICASI). IEEE, 2017. http://dx.doi.org/10.1109/icasi.2017.7988378.

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Wang, Fangheng. "Analysis of Features and Singing Skills of Chinese Classical Poetry Songs." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.224.

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Xue, Li. "The Style Features of Songs Filled with Ancient Chinese Classical Poetry in the New Era." In 2021 Conference on Art and Design: Inheritance and Innovation (ADII 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220205.026.

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Anisa, Hainur, Khairil Ansari, and Mutsyuhito Solin. "Development of Poetry Writing Learning Module Assisted by Religious Songs for Junior High School UNIVA Medan." In Proceedings of the 4th Annual International Seminar on Transformative Education and Educational Leadership (AISTEEL 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/aisteel-19.2019.135.

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Hu, Na, Yiran Xu, Xinzhu Fang, and Xing Xu. "The Poetry Workshop of Pottery Songs--A Case of Output-driven Approach in Second Language Teaching." In 2016 7th International Conference on Education, Management, Computer and Medicine (EMCM 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/emcm-16.2017.35.

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Лиморенко, Юлия Викторовна. "THE EVENKI FOLK SONG AND ITS SCIENTIFIC TRANSLATION: RESULTS OF EDITING THE "RITUAL POETRY AND SONGS OF EVENKI"." In Народы и культуры Северной Азии в контексте научного наследия Г.М. Василевич. Якутск: Институт гуманитарных исследований и проблем малочисленных народов Севера Сибирского отделения РАН, 2020. http://dx.doi.org/10.25693/vasilevich.2020.049.

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Xiang, Yu. "Analysis on the Creative and Artistic Features of Ancient Poetry Art Songs in the First Half of 20th Century." In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.69.

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Dang Thi Dieu, Trang. "Modern Folk poetry (Ca Dao): A Form of Folklore Linguistic Composition on the Internet." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.4-2.

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The context of globalization along with the development of electronic media has opened a new era for folklore in general as well as forms of linguistic composition of folk literature in particular. In addition to the form of composing and keeping media documents in the traditional way, the Internet explosion has dominated the main spaces of communal life and has gradually changed the mode of human interaction. Cyber space is considered as a tool to convey traditional values, to create many new cultural activities, and to be a place to circulate folk cultural works in contemporary society, in which folk poetry (Ca dao) is one. Modern folk poetry studies are still a controversial issue in academic circles in Vietnam, but with the dominance of today's Internet communication technology, the emergence of lyrics rhymes circulated on the Internet is a remarkable and inevitable phenomenon in the context of development of various forms of "reformed", "processing", "parody" lyrics, songs, poems according to the direction of humor and entertainment rather than focusing on aesthetics and art. From a linguistic cultural approach, this article aims to discuss modern folk poetry on such issues as: Why did such folk poetry come about? How would we circulate or share this poetry on the Internet and to approach folk culture in an era of dominance of visual culture (TV, video, film, photography) and Online culture; how does socio-economic change on modern folk poetry impact on the Internet in terms of thinking innovatively, and how does it tend to break traditional cognitive structures due to the diverse forms of reflection and reality in modern society?
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Hakami, Asmaa, Raneem Alqarni, Mahila Almutairi, and Areej Alhothali. "Arabic Poems Generation using LSTM, Markov-LSTM and Pre-Trained GPT-2 Models." In 3rd International Conference on Machine Learning & Applications (CMLA 2021). Academy and Industry Research Collaboration Center (AIRCC), 2021. http://dx.doi.org/10.5121/csit.2021.111512.

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Nowadays, artificial intelligence applications are increasingly integrated into every aspect of our lives. One of the newest applications in artificial intelligence and natural language is text generation, which has received considerable attention in recent years due to the advancements in deep learning and language modeling techniques. Text generation has been investigated in different domains to generate essays and books. Writing poetry is a highly complex intellectual process for humans that requires creativity and high linguistic capability. Several researchers have examined automatic poem generation using deep learning techniques, but only a few attempts have looked into Arabic poetry. Attempts to evaluate the generated pomes coherence in terms of meaning and themes still require further investigation. In this paper, we examined character-based LSTM, Markov-LSTM, and pre-trained GPT-2 models in generating Arabic praise poems. The results of all models were evaluated using BLEU scores and human evaluation. The results of both BLEU scores and human evaluation show that the Markov-LSTM has outperformed both LSTM and GPT-2, where the character-based LSTM model gave the lowest yields in terms of meaning due to its tendency to create unknown words.
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Kravtsova, Marina. "“A LOST TREASURE”: ON FOLK ORIGINS OF THE VERSES OF CHU (CHUCI)." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.17.

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This article is focused on analysis of the hypothesis of the local song folklore origins of the famous poetic phenomenon chuci (elegies/songs of Chu) that represents the literary heritage of the southern (Yangtze Basin) region of the Ancient China (the Zhou epoch, 11th–3rd centuries B. C.) and is associated with the emergence of the Chinese poetry. Although today the thesis about the folklore origins of chuci, or rather of the poetic pieces presented by the Chuci (Verses/Elegies of Chu, Songs of the South) collection, is generally accepted, the author argues that, first, during the 1st–7th centuries A. D. the chuci poetry was stable considered within the Chinese book knowledge to be created by exclusively the literary genius of Qu Yuan (4th–3rd centuries B. C.), the great poet of the Chu Kingdom (11th–3rd centuries B. C.). Secondly, the views on chuci as an autochthonous (“southern”) poetic tradition dating back to the local folk art emerged in the 12th–13th centuries and finally established itself in the Chinese literature studies of the first third of the 20th century, all these under the influence of the ideological processes, caused by synchronic historical and political events. Thirdly, although the existence of developed song-poetic folklore in Chu Kingdom seems quite permissible, it for some reason remained out of fixation by that day written sources, including transmitted texts and archaeological materials (epigraphic inscription and excavated manuscripts). Therefore, almost nothing is known as a matter of fact of the hypothetic Chu song folklore what makes it impossible to recognize its true influence on origins and further on evolution of the chuci tradition.
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