Journal articles on the topic 'Poetry, essays and songs'
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1
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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Dan, Manolescu. "Book Review: Bhattacharyya, M. (2020). Rabindranath Tagore’s Śāntiniketan Essays: Religion, Spirituality and Philosophy. London & New York: Routledge." Journal of Practical Studies in Education 2, no. 3 (April 19, 2021): 12–15. http://dx.doi.org/10.46809/jpse.v2i3.25.
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Rabindranath Tagore (7 May 1861 – 7 August 1941) was the first non-European poet and lyricist who received the most coveted of international awards, the Nobel Prize for Literature in 1913, “because of his profound sensitive, fresh and beautiful verse, by which, with consummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West.” (www.nobelprize.org ) His most notable work highly praised and duly appreciated by The Swedish Academy was Gitanjali: Song Offerings (1912), a collection of poetry, but Tagore is also famous for having written a variety of genres, including drama, essay, novel, novella, short-story, dance-drama, and song.
While Tagore is recognized today mostly for his poetry, his short stories also proved to be extremely popular in what is called the Bengali-language version of the genre, and his essays reveal another facet of his personality, and that is his philosophical thought in which he distinguished himself as a language innovator. Rabindranath Tagore’s Śāntiniketan Essays were translated and published by Medha Bhattacharyya in 2020 in a book celebrating Tagore’s “fundamental meditations on life, nature, religion, philosophy, and the world at large.” (Flyer, Bhattacharyya, 2020)
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Ryan, Thomas F. "Sex, Spirituality, and Pre-Modern Readings of the Song of Songs." Horizons 28, no. 1 (2001): 81–104. http://dx.doi.org/10.1017/s036096690000894x.
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ABSTRACTWhile unfamiliar to many today, the Song of Songs was once one of the most frequently interpreted books of the Bible. This article seeks to counter the current lack of familiarity by highlighting the significance for the classroom of pre-modern exegesis of the Song. As course content, it provides a starting point from which to examine Christian thought and practice over the last two millennia. In particular, it supplies evidence that Christians (and Jews) have expressed some of their most profound insights into spirituality in terms of the erotic poetry of the Song. This essay concludes with an examination of method. How can pre-modern exegesis contribute to contemporary debates about interpretation, particularly of biblical texts?
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Peters, Penelope. "Deep Rivers: Selected Songs of Florence Price and Margaret Bonds." Canadian University Music Review 16, no. 1 (March 1, 2013): 74–95. http://dx.doi.org/10.7202/1014417ar.
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This essay examines the songs of two African-American women, Florence Price (1888–1953) and Margaret Bonds (1913–72), who embarked upon their compositional studies and careers only a couple of generations after the emancipation. Both discovered in the poetry of Langston Hughes (1902–67) the means for reconciling the musical traditions of their African-American heritage with those of their European training. Through detailed analysis of the textual and musical symbolism in Price's Song to a Dark Virgin and Bonds's The Negro Speaks of Rivers and Three Dream Portraits, the author demonstrates the influence of spirituals ("plantation songs"), blues, and jazz and reveals how these African-American idioms are integrated with the melodic and harmonic idioms from the early twentieth-century European tradition.
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McLarnon, Mitchell A., Pamela Richardson, Sean Wiebe, Veena Balsawar, Marni Binder, Kathy Browning, Diane Conrad, et al. "The School Bus Symposium: A Poetic Journey of Co-created Conference Space." Art/Research International: A Transdisciplinary Journal 1, no. 1 (July 16, 2016): 141. http://dx.doi.org/10.18432/r2qp4w.
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With the intention of disrupting and re-imagining traditional conference spaces, this article is a poetic compilation developed from a Curriculum Studies conference symposium that took place on a school bus. During the School Bus Symposium, in situ poetry writing and reading, song and storytelling occurred in response to open ended prompts and facilitation of creative activities. After the symposium, a call was issued to invite participants to submit any poetry or stories produced during, or inspired by the session. Consisting of 18 submissions including poetry, story, photography and creative essays, infused by curriculum theory and poetic inquiry, this collection offers an inclusive, reflective, participatory, and experiential rendering where participants are living and journeying poetically. Emphasizing creative engagement with personal memories, the authors collectively aimed to promote art education through imaginative approaches to curriculum studies, poetic inquiry and academic conferences.
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YEARSLEY, DAVID. "DEATH EVERYDAY: THE ANNA MAGDALENA BACH BOOK OF 1725 AND THE ART OF DYING." Eighteenth Century Music 2, no. 2 (September 2005): 231–49. http://dx.doi.org/10.1017/s1478570605000369.
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The Anna Magdalena Bach Book of 1725 is a heterogeneous collection of virtuosic and profound keyboard suites, light and often insipid dances, and a number of sacred songs whose dominant theme is death. This striking juxtaposition of the sacred and secular is hardly lessened by the fact that the songs are written in a disarmingly fashionable style which at first seems incommensurate with the existential issues addressed by the poetry. While scholars have generally seen the notebook’s less demanding pieces, including the songs, as a testament to Anna Magdalena’s taste for the galant style, little has been said about her apparent penchant for reflecting on and preparing for death through the medium of her personal musical notebook. By reading these poetic texts and their musical settings against the voluminous writings on the art of dying to be found in the family’s theological library, this essay argues for the centrality of the ars moriendi in the Bachs’ domestic life and in their music-making.
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Chanely Silva Recarte, Patrícia. "Pela Luz de uma Canção em Terras Estranhas: a Referência à Música Pop Anglófona na Poesia de Rui Pires Cabral*." Revista de Estudos Anglo-Portugueses/Journal of Anglo-Portuguese Studies, no. 27 (2018): 347–82. http://dx.doi.org/10.34134/reap.1991.208.2711.
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This essay analyzes the references to Anglophone pop music in Rui Pires Cabral’s poetry, especially some quotes that inserts in the poems excerpts of songs belonging to universe of jazz or to the underground scene of the post-punk movement. Such approximation between poetry and music in this contemporary work it is still necessary to question how this procedure operates in a context in which the evocation of the musical element usually consists in the verifcation of its loss in a poetry that has been increasingly conceived like discursive or prosodic for excellence.
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Huanyu, Wang. "THE SPECIFICITY OF CHAMBER VOCAL GENRES IN CHINESE CULTURE." Arts education and science 1, no. 30 (2022): 155–61. http://dx.doi.org/10.36871/hon.202201018.
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Chamber vocal music belongs to the most multifaceted fields of musical art, involving not only the expressiveness and cantilena of the singing voice, but also the poetry of speech. This article is devoted to one of the most pressing issues considered in the study of chamber vocal music, directly or indirectly present in numerous studies, ranging from small essays to major scientific works created by prominent musicologists, including B. V. Asafiev, V. A. Vasina- Grossman, L. A. Mazel. This question concerns the interaction of words and music in chamber vocal works, the peculiarities and conditions of this interaction, the genre organization of textual and musical sources, and the singing of the word. Here the problems of the artistic content are considered mainly on the examples of Chinese songs dedicated to the images of nature and the state of the human mental world. They are given in Russian translations. The popular Soviet song from the World War II "Dorozhenka", which became popular in China in a revised form, is considered separately.
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Махова, Л. П. "Songs and Rituals of the Altai Mounting District from the Stepan Gulyaev’s Collection." OPERA MUSICOLOGICA, no. 1 (March 26, 2020): 70–100. http://dx.doi.org/10.26156/om.2020.12.1.005.
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В Институте русской литературы Российской академии наук (г.Санкт-Петербург) хранится рукопись С.И.Гуляева, которая состоит из пяти тетрадей: Песни обрядные, Свадебные обряды, Песни круговые, Песни девичьи, женские и юнацкие, Знахарство. В совокупности они составляют самый ранний сборник народной поэзии Алтайского горного округа. Некоторые тексты народных песен и заговоров, а также фрагменты описания свадебного обряда Гуляев записал на Алтае еще в 1820-е годы. Частично материалы сборника были опубликованы в 1848 году в статье Этнографические очерки Южной Сибири . Затем до 1881 года автор вносил в рукопись дополнения: новые записи текстов песен и заговоров, этнографические описания свадебного обряда. В тетрадь Песни круговые он вложил черновик статьи о выпускнике Санкт-Петербургской консерватории, оперном и камерном певце Иване Васильевиче Матчинском, выступившем летом 1875 года с концертом в Барнауле. К статье Гуляев приклеил титульный лист тетради круговых песен, после чего в письме сообщил М.И.Писареву об окончании работы над сборником народной поэзии. Позднее в тетрадь Свадебные обряды собиратель внес описание умыкания невест у крещенской Иордани, случившееся в Барнауле в 1881 году. Тогда же он написал письмо С.Н.Шубинскому с вопросом о возможной публикации своего собрания в журнале Исторический вестник . Не считая заговоров, в четырех тетрадях рукописи содержится 291 текст хороводных (98), свадебных (84), лирических (72), плясовых (16) песен, причитаний (3 свадебных и 2 похоронных), духовных стихов (15) и рацейки (1), из них 156 не были опубликованы при жизни автора. В приложении к статье приводится содержание этих тетрадей сборника с отсылками к публикациям. Некоторые песни из собрания Гуляева в 19662016 годы удалось записать с напевами во время экспедиций Московской консерватории в южные районы Алтайского края. The Manuscript Department of the Russian Literature Institute (St. Petersburg) keeps a Stepan Gulyaevs manuscript, consisting of five notebooks: Ritual Songs, Wedding Ritual, Round Songs, Girls, Womens and Mens Songs, Sorcery. Together they form the earliest collection of the folk poetry of Altai mountain district. Some of these texts, along with the description of the wedding ceremony, were recorded by Gulyaev in Altai back in the 1820s. Partly the material was published in 1848, in Gulyaevs article Ethnographic Essays of South Siberia. After that, until 1881, he was making additions to the manuscript: the new lyrics, healers spells, and other. Gulyaev enclosed inside the Round Songs notebook the draft of his article about the recital of Ivan V.Matchinsky, a singer and a graduate of the St. Petersburg Conservatoire. The recital was held in Barnaul in 1875. Gulyaev glued the title-page of the Round Songs notebook to the article and then reported in the letter to Modest I.Pisarev that he had completed his work on the folk poetry collection. Gulyaev added the Wedding Rituals notebook with the description of the bride theft that happened in 1881 in Barnaul. At the same time he wrote a letter to Sergey Shubinskiy with a question about a possibility to publish his collection in the Historical Herald journal. Besides the spells, the four song notebooks contain 291 lyrics of round songs (98), wedding songs (84), lyrical songs (72), dance songs (16), spiritual poems (15), and other. The contents of these notebooks are attached to the article with the references to the published lyrics. Some of the songs from Gulyaevs collection were recorded with melodies in 19662016 during the expeditions to the southern regions of Altai.
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Kravets’, Yarema. "Lusatian Folklore in the Slavic Research of the Italian Wolfango (Wolf) Giusti." Problems of slavonic studies 69 (2020): 36–44. http://dx.doi.org/10.30970/sls.2020.69.3487.
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Purpose: The article is devoted to the Sorbian studies work of the Italian Slavic scholar of Lusatian origin Wolfango Giusti (1901-1980) “The Folk Lusatian Serbian Song” (1926), totally unknown in Ukrainian Slavic scholars’ circles. The author of a large number of Sorbian studies publications printed in the 1920s and 1930s in the pages of Italian Slavic editions, he became a true popularizer of Lusatian culture, and his works found a special reverberation in the research papers of authoritative Sorbian scholars. W. Giusti’s name as researcher and translator has recently been more frequently mentioned in Slavistic publications, his interest in Ukrainian poetry, esp. in the 1920s, is written about. The interest in W. Giusti’s literary legacy is linked, in particular, to his being interested in T. Shevchenko’s and M. Shashkevych’s lyrics. In the research under analysis, the Italian scholar stressed that “the soul of the Lusatian people has found its best and fullest expression in their folk song”. Also mentioned by W. Giusti were Ukrainian folk songs, rich in their multi-genre samples. Results: The paper presents a classification of the most characteristic folk songs, the classification coming to be basis-providing for the Italian scholar: W. Giusti relied on authoritative research papers, including those by the scholars K. Fiedler and B. Krawc. The Italian Slavicist acquaints us with songs of love between brother and sister, love songs about the way of life of the whole people, songs resonating with the motif of fidelity. Neither has the literary scholar bypassed the issue of the neighbouring peoples’ influence experienced by Lusatian culture, particularly that of a Germanic culture, providing some examples of a “spiritual analogy” with German folk songs. W. Giusti completed his short essay by promising to offer the reader, before long, “other genres of the extremely rich Lusatian folklore”. The promise came to be fulfilled as early as the next year, in the work published under the title “Folk Lusatian Serbian Songs”. Key words: Lusatian folklore, Wolfango Giusti, folk song, motif of fidelity/infidelity, dramatic mood, classification of songs, aspects of “Wendish” folklore, Germanic influence.
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Sieber, Patricia, Mario De Grandis, Ke Wang, Hui Yao, Jingying Gao, Ian McNally, Xu Yichun, and Jenn Marie Nunes. "In Search of Pure Sound: Sanqu Songs, Genre Aesthetics, and Translation Tactics." Journal of Chinese Literature and Culture 8, no. 1 (April 1, 2021): 163–202. http://dx.doi.org/10.1215/23290048-8898674.
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Abstract This article consists of an introduction by Patricia Sieber and six short essays on translation approaches together with actual translations of sanqu songs by Mario De Grandis, Ke Wang, Hui Yao, Jingying Gao and Ian McNally, Xu Yichun, and Jenn Marie Nunes. The introduction provides a short history of the translation of sanqu songs into English, followed by a reflection on which distinctive features of the genre beg for attention in the translation process. In particular, it argues that the different sonic features of sanqu merit close consideration, the loss of the notational contours of the original tunes notwithstanding. Rather than bemoaning the absence of the underlying music, it suggests that, in keeping with Walter Benjamin's vision of the “task of the translator,” translation into another language can be an opportunity to reinvent that musicality in different ways. The six short essays that follow consider sanqu songs from the corpus of diasporic writers from the Yuan dynasty, with a view toward enriching the repertoire of translation strategies for sanqu in terms of musicality and other salient features of the genre. The six essays discuss, respectively, pronouns, rhyme, punctuation, language registers, allusion, and citational practice. In contextualizing such strategies theoretically and illustrating them with examples, the short essays seek to contribute more broadly to the theory and practice of the literary translation of Chinese poetic forms.
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Hascher, Xavier. "‘In dunklen Träumen’: Schubert's Heine-Lieder through the Psychoanalytical Prism." Nineteenth-Century Music Review 5, no. 2 (November 2008): 43–70. http://dx.doi.org/10.1017/s1479409800003360.
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Why – one might be tempted to add: why again – the Heine-Lieder? And why psychoanalysis? Like most of Schubert's music and especially the late works, yet with a distinctive nuance, Schubert's set of six songs to texts from Heine's Buch der Lieder has been regularly discussed in the musicological literature of the last decades. Among those writings, the articles by Harry Goldschmidt and Richard Kramer, the collection of essays on Schwanengesang edited by Martin Chusid, and the latter's publication of the facsimile of the autograph and first edition of the cycle are of particular interest to us here. The reason for it has to do with the nuance referred to at the beginning of this paragraph. While some authors are inclined to discuss Schubert's understanding of the poetry (notably in terms of the celebrated Heinesque ‘irony’), others choose to address the set from another perspective, namely that of the order of the songs. Indeed, the following questions inevitably arise in considering the Heine songs: Why did Schubert alter the order of the poems from that in which they appear in Heine's original collection, therefore (seemingly) destroying the logic of the sequence? Did Schubert actually conceive the text as a sequence – that is to say, a cycle? In dealing with those issues, Goldschmidt and Kramer have suggested a provocative and radical solution, which consists in reordering the songs to match the succession in Heine. This, of course, has occasioned much eyebrow-raising in the musicological community, and has led to successive refutation and counter-refutation.
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Haile, Getatchew. "Amharic Poetry of the Ethiopian Diaspora in America: A Sampler." Diaspora: A Journal of Transnational Studies 15, no. 2-3 (March 2011): 321–39. http://dx.doi.org/10.3138/diaspora.15.2-3.321.
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This essay offers the first English-language translations of Amharic poetry written by Ethiopian immigrants to the United States. Following an introduction to the Amharic language and the central place of poetry in Ethiopian literature and cultural life, the author discusses the work of four poets. The poems of Tewodros Abebe, Amha Asfaw, Alemayehu Gebrehiwot, and Alemtsehay Wedajo make creative use of Ethiopian verbal constructions reminiscent of traditional war songs and verbal interrogations used in legal contexts. Many of the poems speak eloquently of the personal losses Ethiopians have suffered as a result of their departure from their homeland. The essay includes biographical and ethnographic details about the individual poets and various influences on their compositions. (April 2009)
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Baruch, Adele. "Chapter 2." Narrative Works 9, no. 1 (March 10, 2020): 31–42. http://dx.doi.org/10.7202/1068122ar.
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Phase 2 of the Courage and Moral Choice Project (CMCP) involved a more structured and planned learning experience than had Phase 1. Two teachers at an alternative public high school collaborated with researchers and artist educators to develop an integrated, three-month learning experience around stories of helping. Students participated on a voluntary basis and focused on these stories through language arts, history, art, and service learning experiences. They were encouraged to tell their own stories of courageous moral choices, and their exchanges led to more general disclosure and trust in the learning environment. Artist educators were brought into the schools to encourage students to translate their experiences of moral choice into poetry, essays, art, and songs. Teachers and students reported a more cohesive sense of community as well as increased empathy and awareness of the help of others among participants.
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Jamasaki, Kajoko. "Japanese voices in Zenit: Daigaku Horiguchi." Zbornik Akademije umetnosti, no. 9 (2021): 122–35. http://dx.doi.org/10.5937/zbaku2109122j.
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This paper analyses the essay entitled "The Word as a Principle" by Yvan Goll (1891-1950), published in Zenit (Issue 9, November 1921), which shows the non European tendency of Avant-garde poetics. In his text, Goll emphasises the need to create a new form of poetry quoting the verses of the Japanese poet Daigaku Horiguchi (1892-1981), one of the most important Japanese poets and translators of the last century. As the son of a distinguished diplomat, a rare bilingual poet among the Japanese at the time, he published poems in French and Japanese. After reviewing research on Zenit conducted in Japan so far, the first part of this paper determines the original text of the mentioned poem. In December 1921, Horiguchi published in Paris his first collection of Tankas in French. The foreword to it was written by the famous French poet Paul Fort (1872-1960). Goll, however, did not take it from there, but from the manuscript of his anthology Les Cinq Continents, which was published in Paris in 1922. The chosen song by Horiguchi is not traditional, but shows a new poetic spirit. Although it was written in five lines, which is reminiscent of the tanka form (5; 7; 5; 7; 7), the poet introduced a new topic: how the Japanese feel in a foreign country. In order to clarify the nature of Goll's connection with Horiguchi, a detailed description of Horiguchi's life is given, focusing on his stay abroad from 1911 to 1925. It can be seen from his biography that the meeting with the French painter Marie Laurencin (1883-1956) in Madrid in 1915 marked Horiguchi's poetic turn: his interest shifted from the poetics of symbolism to the Avant-garde, as the painter introduced him to Guillaume Apollinaire's (1880-1918) poetry. After staying in foreign countries (Mexico, Belgium, Switzerland, Spain, Brazil and Romania), when he returned to Japan in 1925, Horiguchi published the Crowd under the Moon anthology, which contains translations of French songs from Parnassians to Avant-garde poets, including Yvan Goll. Although no traces of their connection can be established, it is clear that they both felt poetically related and close, with mutual respect. Finally, Goll's understanding of Japanese poetry in the context of Avant-garde poetics is considered in comparison with Miloš Crnjanski's essay entitled "For Free Verse" (1922), which also mentions Japanese poetry. While Goll emphasises the simplicity and conciseness of Japanese poetry, Crnjanski points to the improvisation as its significant feature. While Goll is searching for new poetry that is in line with living fast in the high-tech society, Crnjanski sees the everlasting connection of man with nature, which Japanese poetry is all about.
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Correia, Paulo Petronílio, and Michael Silva. "While Performance Poem: poetry n. 1 songs Book." Guará 7, no. 1 (June 30, 2017): 6. http://dx.doi.org/10.18224/gua.v7i1.6207.
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This essay will make an assessment of the poem n° 1 of the book Songs of the Portuguese poet António Botto [1897-1959, Brazil]. To do so, you will notice text constituents to highlight aspects of the homoerostismo of the poem while performance. The work is based on sensations caused from the date the poem to raise hypothesis that the poetic text can introduce at least five moments of performance.Poema Enquanto Performance: a poesia n. 1 do livro CançõesEste ensaio fará uma apreciação do poema nº 1 do livro Canções, do poeta português António Botto [1897-1959, Brasil]. Para tanto, observará aspectos constituintes do texto para salientar o homoerostismo do poema enquanto performance. O trabalho se alicerça nas sensações provocadas a partir do encontro com o poema para levantar hipótese de que o texto poético pode instaurar, pelo menos, cinco momentos de performance.
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MILLER, BONNY H. "Augusta Browne: From Musical Prodigy to Musical Pilgrim in Nineteenth-Century America." Journal of the Society for American Music 8, no. 2 (May 2014): 189–218. http://dx.doi.org/10.1017/s1752196314000078.
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AbstractAugusta Browne Garrett composed at least two hundred piano pieces, songs, duets, hymns, and sacred settings between her birth in Dublin, Ireland, around 1820, and her death in Washington, D.C., in 1882. Judith Tick celebrated Browne as the “most prolific woman composer in America before 1870” in her landmark study American Women Composers before 1870. Browne, however, cast an enduring shadow as an author as well, publishing two books, a dozen poems, several Protestant morality tracts, and more than sixty music essays, nonfiction pieces, and short stories. By means of her prose publications, Augusta Browne “put herself into the text—as into the world, into history—by her own movement,” as feminist writer Hélène Cixous urged of women a century later. Browne maintained a presence in the periodical press for four decades in a literary career that spanned music journalism, memoir, humor, fiction, poetry, and Christian devotional literature, but one essay, “The Music of America” (1845), generated attention through the twentieth century. With much of her work now easily available in digitized sources, Browne's life can be recovered, her music experienced, and her prose reassessed, which taken together yield a rich picture of the struggles, successes, and opinions of a singular participant and witness in American music of her era.
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Newton, Michael Steven. "Virginia Blankenhorn. Tradition, Transmission, Transformation: Essays on Scottish Gaelic Poetry and Song." International Review of Scottish Studies 45 (December 1, 2020): 119–22. http://dx.doi.org/10.21083/irss.v45i0.6201.
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Freedman, Richard. "Pastourelle jolie: The Chanson at the Court of Lorraine, c. 1500." Journal of the Royal Musical Association 116, no. 2 (1991): 161–200. http://dx.doi.org/10.1093/jrma/116.2.161.
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The focus of this study is an anonymous four-voice chanson of the early sixteenth century. On its own the piece is enigmatic at best, a densely contrapuntal arrangement of a simple monophonic song. The importance of Pastourelle jolie, however, transcends the apparent simplicity of these musical materials. Its ‘meanings’, according to this argument, are multiple, dwelling at once in the lyric traditions on which it draws, in its place in the history of French secular music around the year 1500, and in its important links with popular and aristocratic cultures of the day. This essay, therefore, reads and rereads this song in a series of related contexts. It dwells, for instance, upon the conventions of French pastoral poetry and the habits of composers who reworked the popular tunes with which songs like Pastourelle jolie are associated. But the piece has a highly specific meaning, too, one suggested by the only source to preserve this particular chanson and by the literary tastes of the ducal household that was its special audience.
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Lindqvist, Ursula. "Roy Andersson’s Cinematic Poetry and the Spectre of César Vallejo." Scandinavian-Canadian Studies 19 (December 1, 2010): 200–229. http://dx.doi.org/10.29173/scancan57.
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ABSTRACT: Sånger från andra våningen [Songs from the Second Floor] was Roy Andersson’s first feature film in 25 years when it won the Special Jury Prize at the Cannes Film Festival in 2000. It exemplifies the maturation of a distinctive filmmaking style Andersson developed in two and half decades of making shorts and advertising films and testifies to his decades-long engagement with Peruvian modernist César Vallejo’s poetry. Andersson is known for his contentious relationship with Sweden’s film establishment, and his critiques of Nordic contemporary filmmakers parallel Vallejo’s similarly pointed critiques, in 1930s Paris, of the so-called “revolutionary” agenda of French Surrealists. The formal correspondences between Vallejo’s modernist poetry and Andersson’s “trivialist” cinema are likewise striking. In this essay, I argue that the spectre of Vallejo has so informed the development of Andersson’s distinctive vision and style as a filmmaker that an investigation of the interart correspondences between this unlikely pairing of avantgardists is overdue.
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Jędrzejko, Paweł. "The Times They Are A-Changin’." Review of International American Studies 12, no. 2 (December 23, 2019): 5–24. http://dx.doi.org/10.31261/rias.8007.
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The article, whose central premise is to address the ellusive issue of the Zeitgeist of the "long 1968," revolves around the appeal of the singer-songwriter activism and the international, cross-cultural popularity of protest songs that defy political borders and linguistic divides. The argument opens with reference to Bob Dylan's famous song "The Times They Are A-Changing," whose evergreen topicality resulted not only in the emergence of its numerous official and unofficial covers and reinterpretations, but also generated translations into all major languages of the world, and which has provided inspiration to engaged artists, whose present-day remakes serve as a medium of criticism of the unjust mechanisms of power affecting contemporary societies. The "spirit of the 1968," which evades clear-cut definitions attempted by cultural historians and sociologists, seems to lend itself to capturing in terms of what Beate Kutschke dubs "mental" criteria, perhaps best comprehended in the analysis of the emotional reactions to simple messages of exhortative poetry or simple protest songs, which appeal to the shared frustrations of self-organized, grassroot movements and offer them both the sense of purpose and a glimpse of hope. In this sense, the Zeitgeist of '68 is similar to that of revolutionary Romanticism that united the young engaged intellectuals on both sides of the Atlantic, and whose messages reverberate in the activist songwriters' work until today. As such, the essay provides the keynote to the whole issue, which explores some of the transnational legacies of "1969."
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Solanke, Stephen O. "A Fete of Lamentations." Matatu 49, no. 1 (2017): 72–95. http://dx.doi.org/10.1163/18757421-04901005.
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The Nigerian political milieu has, for more than five decades since independence, been bedevilled by adventurist civilian and military leaders, coups d’ état, and a seemingly ‘docile’ citizenry (who receive the ‘fallout’ of bad governance). This political landscape saw a handful of democratic governments (two overthrown by putsch). These leadership swaps have resulted in no major changes in the socio-political and economic lives of the led. In his poem collection Songs of Odamolugbe, Ademola Dasylva explores imagery, realistic symbolism, and revolutionary poetry to paint, recall, and re-live various past and present debilitating national issues engendered by groups and personalities. This essay draws on Sigmund Freud’s psychoanalytical theory of the unconscious. Freud distinguishes between psychoanalysis as i) a method for investigating unconscious mental processes and ii) a method for treating neurotic disorders. There is the subtle examination of the mental workings of the leadership and the led in and towards governance. This essay seeks to explore how Dasylva exposes leaders’ mental flaws, egoistic behaviour, and wrongly placed ‘patriotism’ and seeks redeeming positives in his poetry of social protest and resistance. The poetry rejects the cerebral, laissez-faire ‘sit-down-look’ attitude of the people, encouraging instead a different type of analytical and active ‘patriotism’ imbued with the fresh spirit of ‘Naija’. The essay affirms that there should be full and positive participation in the polity and development of the country by both the leaders and the led.
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Shunnaq, Abdullah, and Fayez Abul-Kas. "Jordanian Folkloric Songs from Arabic into English." Babel. Revue internationale de la traduction / International Journal of Translation 44, no. 2 (January 1, 1998): 150–74. http://dx.doi.org/10.1075/babel.44.2.06shu.
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Abstract Poetry in general and lyric poetry in particular are perhaps the most difficult types of texts to be rendered from one language into another without much change in meaning and structure. That is why folkloric songs could be considered as toilsome to be rendered, because they are often culture-bound. Moreover, they have a highly complicated sign structure which plays an important role in transmitting culture. It may be helpful and useful to investigate a number of difficulties in translating these rhymed texts which reflect certain aspects of culture (social, political and ecological, among others). Despite the dearth of references, the authors have succeeded in obtaining the necessary data of translating these folkloric songs. They aim to reach modest findings which could be beneficial to students of translation. In this paper, it may be useful to introduce some ideas about the nature of translation and translatability as well as literary translation with special reference to the semantic vs. communicative translation. It also aims to shed light on the translatability of some Jordanian folkloric songs. This study partly provides examples of the authors' translations from Arabic into English, which are only attempts of translating these literary texts. The translations are meant only for the aim of comparison or to support data. Some conclusions and recommendations about the translatability of folkloric songs are reached. Résumé La poésie en général et la poésie lyrique en particulier sont probablement les types de textes les plus difficiles à reproduire d'une langue dans une autre sans introduction de changement de signification ou de structure. C'est la rasion pour laquelle les chants folkloriques, généralement liés à la culture sont difficiles à traduire. De plus, la structure des signes est éminemment compliquée et joue un rôle important au niveau de la transmission de la teneur culturelle. Il peut donc être intéressant et utile d'analyser un certain nombre de difficultés qui surgissent lors de la traduction de ces textes rythmés qui reflètent certains aspects culturels (sociaux, politiques et écologiques, entres autres). En dépit du manque de références, les auteurs sont parvenus à obtenir les informations nécessaires à la traduction de ces chants folkloriques. Leur but est d'obtenir certains indications susceptibles d'être précieuses pour les étudiants en traduction. Dans le présent article, les auteurs ont estimé qu'il pouvait être utile d'introduire certains notions concernant la nature de la traduction et de la traductibilité mais aussi de la traduction littéraire, en particulier dans le domaine de l'opposition traduction sémantique — traduction communicative. Les auteurs souhaitent aussi aborder la traductibilité de certains chants folkloriques jordaniens, et ce à l'aide d'exemples de traductions arabe-anglais réalisées par les auteurs mais qui ne sont d'après ces derniers que des essais de traduction de ces textes littéraires. Ces traductions visent uniquement à comparer les informations ou à fournir des indications utiles. Ce faisant ils sont parvenus à formuler un certain nombre de conclusions et de recommendations concernant la traductibilité des chants folkloriques.
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Ko, Eun, and So-Yeon Chung. "An Essay on Liberal arts and Natural sciences Integration Education by Korean Classical Poetry and Songs." Asia-pacific Journal of Multimedia services convergent with Art, Humanities, and Sociology 7, no. 2 (February 28, 2017): 899–906. http://dx.doi.org/10.14257/ajmahs.2017.02.60.
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Di Nuncio, Novella. "CANTI POPOLARI LITUANI: THE FIRST COLLECTION OF LITHUANIAN FOLK POETRY IN ITALIAN." Vertimo studijos 7, no. 7 (April 5, 2017): 110. http://dx.doi.org/10.15388/vertstud.2014.7.10535.
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The essay starts by analyzing an editorial project, the series Poesia popolare indoeuropea (Indo-European Folk Poetry), realized in Italy in 1930 under the guidance of the expert of Slavic Studies Ettore Lo Gatto. The series aimed at a vast audience, with the objective to inform and sensitize the society to ancient and folk literatures of the Indo-European area, a theme not so popular and almost unknown at that time, but also not easy to study, considering the historical period was closed to international cultures. Unfortunately, it was a short experience: the volumes composing the series were just three. The second one, Canti popolari lituani (Lithuanian Folk Songs) by Giuseppe Morici, is the first collection of Lithuanian dainos translated into Italian. This study places a special emphasis on Morici’s work, analyzing its contents and, through its example, reflecting on the issue of translation.
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Teffeteller, Annette. "Thalia Delighting in Song: Essays on Ancient Greek Poetry by Emmet I. RobbinsEmmet I. Robbins. Thalia Delighting in Song: Essays on Ancient Greek Poetry. Ed. Bonnie MacLachlan. University of Toronto Press. xxiv, 324. $32.95." University of Toronto Quarterly 85, no. 3 (August 2016): 440–42. http://dx.doi.org/10.3138/utq.85.3.440.
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Κατσιγιάννης, Αλέξανδρος. "Ιστορίες πρόσληψης έργων της Κρητικής Αναγέννησης. Ο Byron και η Βοσκοπούλα: Η διαιώνιση μιας παρεξήγησης." Gleaner 28 (December 30, 2011): 287. http://dx.doi.org/10.12681/er.136.
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<br />BYRON AND THE RECEPTION<br />OF THE CRETAN PASTORAL POEM VOSKOPOULA<br />The Prolonging of a Misunderstanding<br /><br /><br />In this essay I will discuss whether Byron was indeed influenced by the Cretan pastoral poem Voskopoula in some cantos of his epic-satiric poem Don Juan (published in 1819), as argued by D.C. Hesseling in 1938 and by several researchers after him. This discussion stands as a starting point to analysing the reception of the literary works of the Cretan Renaissance by English scholars in the first two decades of the 19th century. In parallel, I hope that this article will shed light upon the troubling matter of the popular reception of Cretan Renaissance poetry and demotic songs by the scholars of the Enlightenment and Romanticism, which led to several misunderstandings concerning the character, origin and dissemination of Cretan Renaissance poetry in the scholars’ discourse network throughout the 19th century. <br /><br />ALEXANDER KATSIGIANNIS<br />
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Dobie, Madeleine. "Assia Djebar: Writing between Land and Language." Publications of the Modern Language Association of America 131, no. 1 (January 2016): 128–33. http://dx.doi.org/10.1632/pmla.2016.131.1.128.
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The death of assia djebar on 7 february 2015 marks the end of an era in literary and world history. The last survivor of the generation of Algerian writers who took up the pen in the mid-1950s as their country embarked on its historic struggle for independence from France, Djebar continued writing long after the deaths of Mouloud Feraoun (1962), Kateb Yacine (1989), Mouloud Mammeri (1989), and Mohammed Dib (2003). With her death, the age of decolonization and African revolution as it resonated in literature seems truly to have come to a close. Djebar was the only woman among the Algerian literary pioneers, and her work, which includes novels, essays, documentary films, and plays, explores, above all, the experience of Algerian women. Challenging official nationalism, these counternarratives tell stories about women's roles in war in which the political doesn't efface the personal and victory doesn't signal the end of suffering or the fading of loss. This oppositional stance was carried even into the rituals observed in the aftermath of her death. Official services conducted at the airport and the Palais de la Culture in Algiers were shadowed and indeed overshadowed by less-formal ceremonies in which family, friends, and members of Algerian women's movements recited poetry and chanted Berber songs.
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Clooney, Francis X. "By the Power of Her Word: Absence, Memory, and Speech in the Song of Songs and a Hindu Mystical Text." Exchange 41, no. 3 (2012): 213–44. http://dx.doi.org/10.1163/157254312x650577.
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Abstract Religious pluralism today surely poses an ongoing theological challenge, requiring us to think through the significance of the many religions of the world for Christians. But facing the challenge is more urgently the work of the imagination. Even the best theological solutions fall short if they block or ignore the deeper, required work of interreligious learning that occurs in the careful study of the poetry, dramas, and other literary productions of the various traditions. Using as a guide Hans Urs von Balthasar’s great trilogy — aesthetics, dramatics, and theologic — this essay is an exercise in reading together the Biblical Song of Songs along with the medieval Hindu Holy Word of Mouth (Tiruvaymoli) with special attention of the scenes of absence, wherein the human lover waits for the divine beloved to return. From both we learn that in waiting, there is anguish, but in anguish arise powerful memories about, and speech evocative of, the beloved. Each text is read also with attention to medieval religious interpretations. Practicing this dynamic across religious boundaries is an imaginative interreligious exercise that first causes a crisis for theology — where is the beloved? who are those other lovers and beloveds? what to do with the flood of new images and scenes? — yet then a new source for a Christian theology that redeems and deepens Christian particularity after and through, not despite, interreligious learning.
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Black, Fiona. "BEAUTY OR THE BEAST? THE GROTESQUE BODY IN THE SONG OF SONGS." Biblical Interpretation 8, no. 3 (2000): 302–23. http://dx.doi.org/10.1163/156851500750096363.
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AbstractThe expressions of love and desire made by the lovers in the Song of Songs include intimate and detailed poetic descriptions of the body. These often cause difficulty for interpreters because the imagery used is cryptic and seemingly nonsensical. Biblical scholars frequently express some discomfort or embarrassment over this language, yet largely maintain the view that it should be interpreted positively—as complementary and loving description. In all this, they are bowled over by their own amorous relationships with this text, which make them stutter and fumble almost as much as the Song's lovers do. This essay looks at (scrutinizes) the bodies in the Song of Songs—the physical bodies described in the Song and the textual body (corpus) with which readers engage. The literary and artistic construct of the grotesque serves—ostensibly perversely—as a heuristic for viewing bodily imagery and readerly desire. The grotesque's emphasis on the exaggerated and hybridised body and its weavings of the comic and the terrifying facilitate an investigation of the Song's gender politics and its complicated and potentially conflicting presentation of desire.
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Loreto, Paola. "Audial and Visual Conversation in Mary Oliver's Dog Songs: Language as a Trans-Species Faculty." Ecozon@: European Journal of Literature, Culture and Environment 12, no. 1 (February 10, 2021): 153–66. http://dx.doi.org/10.37536/ecozona.2021.12.1.3677.
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The essay investigates Mary Oliver’s reflection upon, and questioning of, language as a marker of human/nonhuman divide as it unfolds in her second, 2013 “species collection” on dogs, Dog Songs (her first one being Owls and Other Fantasies, her 2006 similar collection, portraying her ways of communicating with birds). Through an exploration of both the visual and audial modes of Oliver’s conversations with the dogs she owned in her life, and treated as companions, this study demonstrates that the poet held an attitude toward the nonhuman which in contemporary theoretical terms would be defined as an “indistinction approach” to the animal question (Calarco 2015). In Dog Songs, Oliver portrays a proximity between humans and animals that ultimately preserves an unavoidable distance. Her writing exploits both her intuition of animals’ capacity for agency and creativity—which accompanies the de-emphasizing of human uniqueness—and her consciousness that we need tropes from human experience to convey our perception of nonhuman ways of life. Moreover, through her representation of the animal’s gaze, of a powerfully ironic reversal of the aims (and effects) of the pathetic fallacy, and of narrative empathy, she proves that an imaginative use of language makes poetry a distinct space for our efforts to envisage an ecosystem that animals may inhabit as our equals.
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Scarano, Laura. "Jorge Riechmann: el poema como crónica pública." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada 1, no. 18 (January 9, 2012): 74. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.201218550.
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En 1997, el poeta madrileño Jorge Riechmann (1962) editó un peculiar poemario dentro de una ya vasta producción. Lo titulaba con evidente afán paródico El día que dejé de leer El País y se transformó en uno de los mejores ejemplos del cruce discursivo entre ensayo, crónica periodística y poema (o, mejor dicho, “anti-poema”). El nuevo collage emergente —plenamente posvanguardista— no rinde lúdico homenaje a tradiciones estéticas previas, sino que se erige como documento fiel de un imaginario cultural mutante e híbrido que renuncia a los compartimentos estancos de los géneros literarios y funda su naturaleza en un afán de crónica actualísima de la vida urbana, entre el inconformismo y la parodia, sin claudicar ante el fatalismo cultural de ciertos intelectuales ni los cantos de sirena de la hiperglobalizada cultura comunicacional. Palabras-clave: poesía, collage, compromiso, prosaísmo. In 1997, the poet Jorge Riechmann (Madrid, 1962) published a peculiar collection of poems, entitled El día que dejé de leer El País, as part of a wide poetic an theoretical production. This book is an excellent example of postmodern (“post-avantgarde”) collage, a hybrid discursive between essay, journalistic chronicle and poem (or better said, “anti-poem”). This collage stands as a faithful document of a mutant multicultural imaginary which stands against the ideological fatalism of certain intellectuals or the promising songs from the hiper-globalized communication culture. Keywords: poetry, collage, commitment, prosaism.
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Cook, Tim. "Anti-heroes of the Canadian Expeditionary Force." Journal of the Canadian Historical Association 19, no. 1 (May 28, 2009): 171–93. http://dx.doi.org/10.7202/037431ar.
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Abstract The civilian-soldiers that formed the ranks of the Canadian Corps created a unique soldiers’ culture composed of songs, poetry, doggerel, cartoons, and newspapers during the course of the war to cope with the strain of service. This unique soldiers’ culture offers keen insight into soldiers’ experience. The antihero was one of the most important themes running through soldiers’ culture. In a war where soldiers were elevated to heroes by civilians, the soldiers in turn often chose instead to emphasis the antiheroic in their cultural products. There were several antihero archetypes in Canadian soldiers’ culture, and this essay will examine three: British cartoonist Bruce Bairnsfather’s Old Bill, “old soldiers,” and malingers. While these archetypes were separate, with identifiable qualities, they also bled into one another, creating a rich tapestry of anti-heroic cultural products and icons. These antiheroes provided a voice to the soldiers, even at times a language by which the soldiers could make sense of their war experience. The antiheroes were not always emulated, but their unheroic actions resonated with the trench warriors.
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Pierse, Michael. "Ireland's Working-Class Literature: Neglected Themes, Amphibian Academics, and the Challenges Ahead." Irish University Review 50, no. 1 (May 2020): 67–81. http://dx.doi.org/10.3366/iur.2020.0435.
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Irish working-class history, culture, and literature are attracting increasing academic interest. With the publication of A History of Irish Working-Class Writing (2017), Declan Kiberd could write that its focus on ‘an astonishing range of writing – from work-songs and political rhymes to poetry and government reports, from novels and plays to biographies by or about working people’, would ‘set many of the terms of cultural debate in the decade to come’. This essay asks a number of timely questions in that regard: What is the likely shape of that future debate, in terms of class and culture in Ireland, and what are the lacunae that will guide research and publishing priorities for those who engage with it in academia and the arts? What has been achieved in terms of the recent scholarly inquiry into working-class writing and what are that inquiry's blindspots and limitations? The international contexts, historical breadth, categorical limitations, and institutional and societal challenges are all surveyed in this necessarily short sketch of some of the major issues.
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Fritz-Morkin, Maggie. "Poetry and Poetics in Gilles of Corbeil and Gentile da Foligno’s Carmina de urinarum iudiciis." Romanic Review 113, no. 1 (May 1, 2022): 7–19. http://dx.doi.org/10.1215/00358118-9560676.
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Abstract Some medical treatises from medieval France and Italy demonstrate surprising rhetorical exuberance, especially in the paratexts where an authorial persona can emerge in the first person. This essay launches from the scatological metaphors and epithets in the exordia of works and commentaries by the physicians Archimattheus, Gilles of Corbeil, and Gentile da Foligno. In captationes benevolentiae styled after Ciceronian precepts, these authors attack their rivals before presenting their own superior science. Their scurrilous invectives—“Hoc salernitani cacantes sanitatem nominant!” (This is what the shitting Salernitans call health!); “discursores alienis fecibus imbuti” (vagrants steeped in other dreck)—tap into carnivalesque modes where excrement is organic, filthy, vituperative, and comic, in contrast to the sterility of the treatises’ technical, Scholastic discourse. A close reading of Gilles’s twelfth-century Carmina de urinarum iudiciis (Songs on Judging Urine) and Gentile’s fourteenth-century commentary on this verse treatise shows that both of these experts in uroscopy tie their excremental imagery into a nuanced poetics that extends from the paratexts into the heart of the work. Both writers demonstrate acute metaliterary sensibility, and respectable training in classical and medieval theories of rhetoric and poetry. Gilles defends his choice to write in verse through a constellation of metaphors pitting the synthetic clarity of both urine and poetry against the muddled confusion of feces and prose. He further ennobles his work by comparing the hermeneutics of uroscopy with allegorical interpretation. Gentile assumes the role of exegete, interpreting Gilles’s verses and unveiling their philosophical and theoretical underpinnings.
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Safonova, Victoria V. "Creative Writing as Part and Parcel of Developing Communicative & Intellectual FL Learners’ Powers." European Journal of Social Science Education and Research 5, no. 1 (April 1, 2018): 130–41. http://dx.doi.org/10.2478/ejser-2018-0014.
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Abstract For many years in ELT methodology the questions of teaching writing in ELT coursebooks have been given much attention in terms of its nature, differences between written and spoken speech, ELT objectives and approaches to teaching writing, types of writing genres, writing assessment. But one rather neglected area in that regard is a graded teaching of creative writing to FL learners. The fifteen-year experience with organizing language-and-culture competitions launched by the Research Centre “Euroschool” for foreign language /FL/ students across Russia have proved that even intermediate FL learners, not to speak about advanced students are quite capable of writing in a FL: a) poems and songs expressing their ideas about teenagers’ lifestyle & visions of contemporary world; b) short stories describing family and school life experiences of their own or their peers; c) essays based on their comparative study of native and foreign cultures; d) presentations of Russian culture & other cultures of the Russian Federation in an English environment while being on exchange visits; e) translations of English poetry, short stories, excerpts from humours books, stripes of comics. The paper compares teaching creative writing in Russian and English, discusses the questions arisen from the outcomes of the language-and-culture competitions, arguing that effective teaching of creative writing presupposes: 1) teaching a FL in the context of the dialogue of cultures and civilizations, 2) introducing creative writing into a FL curriculum, 3) designing a package of thought-provoking teaching materials aiming at developing communicative, intellectual & mediating learners’ powers, 4) applying appropriate assessment scales for observing the dynamics of learners’ development as creative writers, 5) marrying students’ bilingual and crosscultural/ pluricultural classroom activities stimulating their participation in language-and-culture competitions.
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Suadnyana, Ida Bagus Putu Eka. "Nilai yang Terkandung dalam Gaguritan Mituturin Angga." Sanjiwani: Jurnal Filsafat 9, no. 2 (July 7, 2020): 165. http://dx.doi.org/10.25078/sjf.v9i2.1622.
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<p><em>There is an inheritance of classical texts written in lontar leaves in the form of poetry and untold. Classical texts in the form of classified prose such as parwa, babad, speech, wariga and usadha. While the classical text in the form of poetry is classified as a form of script that uses songs such as: kakawin, kidung and gaguritan. Gaguritan Mituturin Angga is an essay that contains advice for yourself. The theory used to solve research problems is the theory of functional structure, and value theory. This research takes the form of a qualitative design with a phenomenological approach. Data is collected by using, literature studies, and text studies. After the data is collected, the data is analyzed with qualitative descriptive methods.</em></p><p><em>Based on this analysis, the ethical value of Gaguritan Mituturin Angga emphasizes the importance of children showing an attitude of filial piety to parents and other creatures as an application process / practice of the teachings of Tri Kaya Parisudha. Social value Gaguritan Mituturin Angga emphasizes good behavior in life, especially when faced with complicated problems involving the social field, the value of yoga education emphasizes the control of the mind of all temptations both temptations of destiny and outward temptations of others, the value of wiweka emphasizes the ability to distinguish -different, weighing, and finally choosing between good and bad, and divine value emphasizing the importance of understanding and mastery of characters that build the human body as a form of identity, especially Hindus.</em></p>
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Orsini, Francesca. "From Eastern Love to Eastern Song: Re-translating Asian Poetry." Comparative Critical Studies 17, no. 2 (June 2020): 183–203. http://dx.doi.org/10.3366/ccs.2020.0358.
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This essay explores the loop of translations and re-translations of ‘Eastern poetry’ from Asia into Europe and back into (South) Asia at the hands of ‘Oriental translators’, translators of poetry who typically used existing translations as their original texts for their ambitious and voluminous enterprises. If ‘Eastern’ stood in all cases for a kind of exotic (in the etymological sense of ‘from the outside’) poetic exploration, for Adolphe Thalasso in French and E. Powys Mathers in English, Eastern love poetry could shade into prurient ethno-eroticism. For the Urdu poet and translator Miraji, instead, what counted in Eastern poetry was oral, rhythmic and visual richness – song.
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Claude, Calame. "Il soggetto che si dice nella poesia melica greca. Finzione enunciatva, immagini poetiche e pragmatica." PARADIGMI, no. 3 (November 2009): 85–99. http://dx.doi.org/10.3280/para2009-003007.
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- Poetic images and Pragmatics Starting from Benveniste's analyses of historical enunciation, the nature of pronouns and the subjectivity of language, this essay focuses on that the kind of subjectivity implied in much Greek lyric poetry, especially in Pindar. By means of discursive tools, the narration builds an exclusively verbal image of the "I", which comes before any reference to elements external to the text. In this way, the "I" stands for an enunciative, pragmatic and polyphonic subject: it is, indeed, the actor (singer, tragic actor, choral group) of a ritualized situation. This performative identity is different from the author of the written text. In Greek poetry, the written text is above all a speech-act, mostly a song-act. This raises the problem of the difference - and of the relation - between the author's biographic subjectivity and the identity created by the linguistic devices in the text. Using different images: chariots, ceremonial processions, Calame's analysis focuses on the metaphorical identification between poetic song and journey.Key words: Enunciation, Image, Metaphor, Poetry, Pragmatics, Subjectivity.Parole chiave: Enunciazione, Immagine, Metafora, Poesia, Pragmatica, Soggettivitŕ. Vedere come.
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Hall, Alexander E. W. "ESSAYS ON EARLY GREEK POETRY - (E.I.) Robbins Thalia Delighting in Song. Essays on Ancient Greek Poetry. Edited by Bonnie MacLachlan . (Phoenix Supplementary Volume 53.) Pp. xxiv + 324, ills. Toronto, Buffalo and London: University of Toronto Press, 2013. Paper, CAD$32.95. ISBN: 978-1-4426-1343-0." Classical Review 64, no. 2 (May 8, 2014): 341–43. http://dx.doi.org/10.1017/s0009840x14000912.
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Kadić, Snežana. "Semantic analysis of corporeality in the poetic discourse of Momčilo Nastasijević." Bastina, no. 51 (2020): 143–55. http://dx.doi.org/10.5937/bastina30-26915.
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The paper semantically analyzes the corporeality in the poetic discourse of Momčilo Nastasijević. The verses indicate the semantic structure of the body through its sensuous, affective and ontological segment. The conceptual distinction between the body and corporeality is emphasized, by pointing to the body as a conceptual domain that is conceptualized through the plant world and corporeality as a quality that arises in bodily intercommunication. Corporeality is semantically formed in the fusion of bodily relationship and the dynamics of its meaning finds the words whose semantic content is dynamic, and in most cases these words are lexemes that denote processes in the vegetative world. Corporeality is not limited to the material appearance of the body, but is recognized as a space in which the body exists incorporeal and immaterial. Corporeality arises in the human physical-physiological substance of the body, but at the same time it is in the human being an inseparable form with the soul (feelings). There is an ontological component of meaning of the corporeality based on Christian ethical theses. Corporeality is also a metaphysical presupposition of human existence. It is confirmed in the songs with verses about the insatiability of thirst, i.e., eros, which is not bare libido sexualis, but longing and necessity for another being, i.e., the necessity to know the spiritual and divine principle through another body (another being). The function of desire is also shown in conceptual representations of corporeality. According to the poet's essays, desire is the disharmonization of the human personality, and that connotation predetermines the negative meaning of corporeality. In that sense, the body is a state of death and carries the potential for perversion. Hence, the thought of bodily renunciation and prohibition of bodily desire appears in the verses, which is also the influence of Christian views on Nastasijević's poetics and semantics of corporality.