Journal articles on the topic 'Poetry in English, 1945- - Texts'
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1
Calderón Farfán, Alí. "Futuro pasado. la evolución del concepto Poesía en Octavio Paz." Studia Universitatis Babeș-Bolyai Philologia 66, no. 4 (December 17, 2021): 173–86. http://dx.doi.org/10.24193/subbphilo.2021.4.11.
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Future Past. The Evolution of the Concept of Poetry in Octavio Paz. Octavio Paz (1914) is a poet writing in Spanish whose aesthetic ideas have built a vision of relevant poetry for at least three traditions: poetry in French, English and, of course, Spanish. This study will analyze, from the metalinguistic perspective proposed by Reinhart Koselleck, how the concept of “poetry” evolved in the thought of the Mexican Nobel Prize winner. Framed by his tradition, by his space of experience, Octavio Paz wrote works that have been instrumental in understanding and valuing poetry in the twentieth century. From “Poesía de soledad y poesía de communion” (1943) to La otra voz, Poesía y fin de siglo (1990), Paz synthesized the aesthetic ideas of his time in El arco y la lira (1956), rethought the lyrical exercise in “Los signos de rotación” (1956), modified his poetic in the prologue to Poesía en movimiento and made his position explicit in Los hijos del limo and his thoughts on Lévi-Strauss and Marcel Duchamp. By focusing on these texts, as well as on a corpus of conferences, interviews, correspondence and even poetry recitals, this study explores the evolution of poetic thought and the horizon of expectations that the work of the last Spanish-speaking poet who received the Nobel Prize opens for us. Keywords: Octavio Paz, style, poetics, post-utopian time, semantics of concepts
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Van der Mescht, H. "Die agtergrond en ontstaansgeskiedenis van Hubert du Plessis se Duitse en Franse liedere." Literator 24, no. 2 (August 1, 2003): 125–44. http://dx.doi.org/10.4102/lit.v24i2.294.
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The background and genesis of Hubert du Plessis’s German and French songs On 7 June 2002 the South African composer Hubert du Plessis turned 80. Among his 77 art songs there are (apart from songs in Afrikaans, Dutch and English) eleven on German texts and one on a French text. The aim of this article is to investigate the genesis of these German and French songs. Du Plessis was influenced by his second cousin, the Afrikaans poet Barend J. Toerien, who lived in the same residence as Du Plessis at the University of Stellenbosch where they studied in the early 1940s. Toerien introduced Du Plessis to the work of Rilke, of whose poetry Du Plessis later set to music “Herbst”. Du Plessis’s ten Morgenstern songs were inspired by a chance gift of a Morgenstern volume from Susanne Stark-Schwietering, a student in Grahamstown where Du Plessis taught at Rhodes University College (1944-1951). During his studies in London (1951-1954) Du Plessis also received a volume of Morgenstern poetry from Howard Ferguson in 1951. The choice of French verses from Solomon’s Song of Songs was influenced by the advice of Hilda de Wet (Stellenbosch, 1966). It is notable that Du Plessis’s main composition teachers, William Bell, Friedrich Hartmann and Alan Bush, had practically no influence on the choice of the texts of his German and French songs.
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Salfen, Kevin. "Britten the Anthologist." 19th-Century Music 38, no. 1 (2014): 79–112. http://dx.doi.org/10.1525/ncm.2014.38.1.079.
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Abstract Benjamin Britten was one of several twentieth-century British composers active before the Second World War who wrote “anthology cycles”—that is, cyclic vocal works on poetry anthologies of the composer's own making. This apparently British invention is deeply indebted to the widespread success of the anthology as a literary form in classrooms, homes, and marketplaces of Victorian and Edwardian England. Britten's early attraction to canonical anthologies such as Arthur Quiller-Couch's Oxford Book of English Verse (1900), for example, is representative of a cultural practice of reading. Britten and other British composers renewed their connection to that practice when they became anthologists for their musical works, identifying themselves as arbiters of poetic and musical taste. Britten's anthology cycle Serenade for tenor, horn, and strings (1943) uses Quiller-Couch's Oxford Book for as many as four of its six texts, many of which share pastoral themes. And yet the composer's musical settings often seem to challenge a conventional reading of the chosen texts and the generic titles Britten assigned to each movement. By creating a canonical, pastoral anthology and then challenging it through music, Britten, who had just returned to England from the United States, invested Serenade with the potential to present the world of prewar England as embattled.
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Folga-Januszewska, Dorota. "HISTORY OF THE MUSEUM CONCEPT AND CONTEMPORARY CHALLENGES: INTRODUCTION INTO THE DEBATE ON THE NEW ICOM MUSEUM DEFINITION." Muzealnictwo 61 (April 17, 2020): 39–57. http://dx.doi.org/10.5604/01.3001.0014.1129.
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The topic discussed in the paper is the change and evolution the concept of museum (Greek: museion, Latin: musaeum) has been undergoing for over 2500 years, as well as many of its different meanings: from the definition of a spot in space, including a place of worship, up to the name of learning form, research and knowledge centre, collection of texts and poetry, music and theatre festival, synonyms of a dictionary and encyclopaedia, library and a secluded study spot, up to large institutions co-creating culture and educating socially. Once museums had become social institutions, the process of defining their organizational form and their mission limits began. The International Council of Museums (ICOM), as an organization grouping museum employees and museologists, namely both practitioners and theoreticians, ever since its establishment in 1946 has on a number of occasions initiated works on a shared definition of museum. The paper assembles all the ICOM-proposed definitions in 1946–2007 presented both in English and Polish. The latest proposal submitted at the Kyoto ICOM General Conference on 7 September 2019 (Annex 1), however, for the first time aroused a heated debate and was not finally voted on by the ICOM General Assembly; instead, the debate has continued on the proposed phrasing since. The historical overview of the museum concept and the history of the ICOM museum definition presented against the opinions of invited Polish museum professionals is the ‘record of time’, documenting the considerations on the role and tasks of museum in contemporary society.
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BOBOEV LOIQ SAMIEVICH. "PECULIARITIES OF TRANSLATION POETRY TEXTS IN ENGLISH." JETA (Journal of English Teaching and Applied Linguistic) 4, no. 1 (June 30, 2023): 54–63. http://dx.doi.org/10.52217/jeta.v4i1.1236.
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This article deals with the problems in translating literary poesy and reveals some pertinent solutions and also concentrates on the need to expand the perimeters of Translation Studies. Unfortunately, the translators lay more emphasis on the translation of poetry; there should be more research regarding the particular problems of translating literary poetry. One explanation of this could be the fact that the status of poetry is considered higher, but it is more possibly due to the notable flawed notion that the novels, essays, fiction etc. possess a simple structure compared to that of a poem and is thus easier to translate. However, many debates have been organized over when to translate, when to apply the close local equivalent, when to invent a new word by translating clearly, and when to copy.
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Denisova, Nataliya, and Dinara Yusipova. "A Comparative Analysis of Temporal Structure of English Poetic Texts for Adults and Children." Journal of Language and Education 2, no. 2 (June 1, 2016): 6–13. http://dx.doi.org/10.17323/2411-7390-2016-2-2-6-13.
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Poetry has always been under the focus of scholars’ attention, though the problem of performing a comparative analysis of children’s and adults’ poetry has not received enough attention yet. The study undertaken is aimed to fill in this gap and provide the analysis of English poetry for adults and children with the attempt to identify some grammatical peculiarities of the corresponding poetic texts. The scope of the texts for examination is limited to English poetry of the nineteenth – twentieth centuries focused on the animal theme. The analysis of the temporal structure of the texts selected was based on the method elaborated by Ludmila Nozdrina in her work “Poetics of grammar categories” (2004). The results of the study have proved the hypothesis stated: there are some differences in temporal structuring of the nineteenth–twentieth century poetic English texts focused on the animal theme. The main difference lies in targeting the poem: whether it appeals to adults or children. The current study contains quantitative information on the usage of certain grammatical phenomena within the texts analyzed, and the attempts of their interpretations. Consequently, the study might be of particular interest for those scholars who do research on differentiating grammatical peculiarities of poetry in general and drawing differences between children’s and adults’ poetry, in particular.
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Khvostenko, Y., and I. Redka. "EMOTIVES OF SURPRISE IN MODERN ENGLISH POETRY." Studia Philologica 1, no. 16 (2021): 29–34. http://dx.doi.org/10.28925/2311-2425.2021.164.
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The paper focuses on linguistic manifestation of emotion of surprise in modern English poetic texts. The study is guided by the statement that emotions – psychosomatic processes – can be fixed in fictional texts (including the poetic ones) in the form of emotives – the linguistic units that manifest emotions and/or feelings of the addresser. The emotion of surprise differs from other basic emotions of a person due to its ambivalence and specific prerequisites to emergence. As surprise comes forth unexpectedly, the study looks for basic situations in the context of poetic texts when emotives of surprise appear. To study the phenomenon, the concept of emotional situation is employed. It marks the circumstances under which the persona experiences the emotion of surprise. The results obtained from the analysis of modern English poems distinguish several emotional situations in which emotives of surprise appear. They occur at the junction of image-bearing spaces of 1) dream and reality; 2) reality and fantasy; 3) expectations and their fulfilment; 4) two contrasting situations in reality. These image-bearing spaces may have either contrasting or complementing features. The defeated expectancy effect that occurs due their interaction manifests itself verbally via the emotives of surprise.
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Brookman, Helen, and Olivia Robinson. "Creativity, Translation, and Teaching Old English Poetry." Translation and Literature 25, no. 3 (November 2016): 275–97. http://dx.doi.org/10.3366/tal.2016.0259.
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This article explores the benefits to undergraduate learning, and the broader critical significance of, the ‘creative translation’ of Old English literature. First-year students of English language and literature at Oxford University were encouraged to inhabit and understand poetic texts by producing creative, free modern versions that responded to the content, form, style, and sound of the source text. How far this approach helps students is analysed through their own perspectives on the process, gathered via interviews. Their writing is explored as a visible product of their learning, and as a creative-critical response to medieval texts: in particular, did the process of collaborative composition give the students a uniquely experiential insight into Old English poetic practice? Thus some broader conceptual issues in the fields Old English literary studies and translation studies are approached through teaching, learning, and creative-critical practice.
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Weiskott, Eric. "Old English poetry, verse by verse." Anglo-Saxon England 44 (December 2015): 95–130. http://dx.doi.org/10.1017/s0263675100080078.
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AbstractCertain syntactical ambiguities in Old English poetry have been the focus of debate among students of metre and syntax. Proponents of intentional ambiguity must demonstrate that the passages in question exhibit, not an absence of syntactical clarity, but a presence of syntactical ambiguity. This article attempts such a demonstration. It does so by shifting the terms of the debate, from clauses to verses and from a spatial to a temporal understanding of syntax. The article proposes a new interpretation of many problematic passages that opens onto a new way of parsing and punctuating Old English poetry.In this essay in the history of poetic style, I demonstrate that the sequence in time of Old English half-lines sometimes necessitates retrospective syntactical reanalysis, a state of affairs which modern punctuation is ill-equipped to capture, but in which Anglo-Saxon readers and listeners would have recognized specific literary effects. In the second section, I extrapolate two larger syntactical units, the half-line sequence and the verse paragraph, which differ in important ways from the clauses and sentences that modern editors impose on Old English poetic texts. Along the way, I improve the descriptive accuracy of Kuhn's Laws by reinterpreting them as governing half-line sequences rather than clauses. I conclude with a call for unpunctuated or minimally punctuated critical editions of Old English verse texts.
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Fein, Susanna. "Middle English Poetry: Texts and Traditions. A. J. Minnis." Speculum 79, no. 1 (January 2004): 251–54. http://dx.doi.org/10.1017/s0038713400095439.
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Calin, Ovidiu. "Statistics and Machine Learning Experiments in English and Romanian Poetry." Sci 2, no. 4 (October 22, 2020): 78. http://dx.doi.org/10.3390/sci2040078.
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This paper presents a quantitative approach to poetry, based on the use of several statistical measures (entropy, informational energy, N-gram, etc.) applied to a few characteristic English writings. We found that English language changes its entropy as time passes, and that entropy depends on the language used and on the author. In order to compare two similar texts, we were able to introduce a statistical method to asses the information entropy between two texts. We also introduced a method of computing the average information conveyed by a group of letters about the next letter in the text. We found a formula for computing the Shannon language entropy and we introduced the concept of N-gram informational energy of a poetry. We also constructed a neural network, which is able to generate Byron-type poetry and to analyze the information proximity to the genuine Byron poetry.
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Calin, Ovidiu. "Statistics and Machine Learning Experiments in English and Romanian Poetry." Sci 2, no. 4 (December 11, 2020): 92. http://dx.doi.org/10.3390/sci2040092.
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This paper presents a quantitative approach to poetry, based on the use of several statistical measures (entropy, informational energy, N-gram, etc.) applied to a few characteristic English writings. We found that English language changes its entropy as time passes, and that entropy depends on the language used and on the author. In order to compare two similar texts, we were able to introduce a statistical method to asses the information entropy between two texts. We also introduced a method of computing the average information conveyed by a group of letters about the next letter in the text. We found a formula for computing the Shannon language entropy and we introduced the concept of N-gram informational energy of a poetry. We also constructed a neural network, which is able to generate Byron-type poetry and to analyze the information proximity to the genuine Byron poetry.
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Akbar Joseph A. Syed and Yazid Meftah Ali Wahas. "Challenges and Solutions in Teaching English through Poetry to EFL Students at Hajjah University: A Case Study of William Wordsworth’s Lucy and John Donne’s Death Poems." rEFLections 27, no. 2 (November 23, 2020): 189–98. http://dx.doi.org/10.61508/refl.v27i2.248043.
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Poetry is an effective and reliable material in teaching English language. It offers astounding opportunities for reading, writing, speaking and listening practices for English learners. Teaching English through poetry has many advantages such as it being of authentic material, being a medium to express emotions and feelings, being a wonderful carrier of culture, and being able to help improve students’ linguistic knowledge and skills. Poetry is often regarded as the most sophisticated genre of literature, comprising a variety of contents that are narrative, lyrical and dramatic in nature. Some of the difficulties teachers face while teaching English through poetry are the students’ proficiency level, the teachers’ method of teaching and the chosen poetry texts. Thus, this paper proposes to explore the advantages of teaching English language through poetry and its challenges at Hajjah University in Yemen, from which suggestions for choosing poetries to teach English will be given with special reference to “Death, be not Proud” and “Lucy”, as well as other suggested teaching methods for students of the Bachelor of Education (English) program at Hajjah University in Yemen.
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Lutz, Angelika. "Æthelweard's Chronicon and Old English poetry." Anglo-Saxon England 29 (January 2000): 177–214. http://dx.doi.org/10.1017/s0263675100002453.
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The author of the Chronicon Æthelweardi is commonly identified with the ealdor-man of the western shires who signed charters from 973–98 and played an important political role particularly in King Æthelred's England. Ealdorman Æthelweard is also known as the patron of Abbot Ælfric, as the addressee of Ælfric's famous preface to his translation of Genesis and of his Old English preface to his Lives of Saints; that is, we know him as a person who took great interest in religious texts written in or translated into the vernacular. The Chronicon was written in Latin, although it was mainly based on the Anglo-Saxon Chronicle. The reason for his choice of language may be determined from the prologue to his Chronicon, from which it becomes clear that he wrote it for his kinswoman Mathilda (949–1011), abbess of Essen, whose grandmother Eadgyth, daughter of King Edward the Elder, had been married to Emperor Otto I. We may assume that Mathilda's native tongue was Old Saxon, a variety of Low German that was closely related to West Saxon English.
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Calin, Ovidiu. "Statistics and Machine Learning Experiments in Poetry." Sci 2, no. 3 (July 2, 2020): 48. http://dx.doi.org/10.3390/sci2030048.
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This paper presents a quantitative approach to poetry, based on the use of several statistical measures (entropy, information energy, N-gram, etc.) applied to a few characteristic English writings. We found that English language changes its entropy as time passes, and that entropy depends on the language used and on the author. In order to compare two similar texts, we were able to introduce a statistical method to asses the information entropy between two texts. We also introduced a method of computing the average information conveyed by a group of letters about the next letter in the text. We found a formula for computing the Shannon language entropy and we introduced the concept of N-gram informational energy of a poetry. We also constructed a neural network, which is able to generate Byron-type poetry and to analyze the information proximity to the genuine Byron poetry.
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Faust, Mark, and Mark Dressman. "The Other Tradition: Populist Perspectives on Teaching Poetry, as Published in English Journal, 1912–2005." English Education 41, no. 2 (January 1, 2009): 114–34. http://dx.doi.org/10.58680/ee20096952.
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In 2005 we began a comprehensive review of every article published in English Journal on the topics of poetry and its teaching since its first issue in 1912. Did high school English teachers and college professors in 1914 or 1945 or 1963 see the teaching of poetry as we see it today? Did they have similar problems and concerns? Is the sense of history that directs our own practice today accurate, or is a revision of that historical sense in order?
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Macaj, Edlira. "Missing Poetry: A historiography of Albanian Literature during the Communist Regime." Interlitteraria 28, no. 2 (December 31, 2023): 291–300. http://dx.doi.org/10.12697/il.2023.28.2.8.
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The paper aims at a panoramic view of the partial representation of Albanian poetry in the texts of the history of Albanian literature published during the dictatorship period (1945–1990). The fragmentary presentation of Albanian poetry and poets in informative scholarly and university texts on literature highlights the complications and the problems derived from this one-sided representation. The information gained only after the fall of the dictatorship, changed the situation regarding the literary values specifically related to poetry. What crucial representative texts on Albanian literary history were published during the dictatorship? Who were the most noticeable authors and poets, and why were they set aside, censored, imprisoned, executed, and not published? The answers suggest that only thanks to political change and awareness of literature can the reader today reassess this missing part of Albanian literature in historical texts published during the communist regime.
The methodology relies on a historical, analytical, and critical approach to the most representative authors and their texts that is intertwined with factual data. The conclusions reinforce the idea that any evaluation of the literary process dictated by extra-literary principles damages the natural literary process. The revitalisation of literature after the 1990s, although with much delay, restored the natural process of aesthetic assessment. Now we can reassess the best part of that missing poetry.
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Lobejón Santos, Sergio. "Translations of English-language poetry in post-war Spain (1939-1983)." Translation Matters 2, no. 2 (2020): 113–30. http://dx.doi.org/10.21747/21844585/tm2_2a7.
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In the years immediately following the Spanish Civil War, the domestic poetry market underwent a lengthy and traumatic transformation stemming directly from the conflict and the Francoist regime’s implementation of systematic censorship. The death and exile of many of the preeminent poets from previous generations, along with the closure and relocation to Latin America of many publishing houses, left a considerable cultural void which would be partly filled with translated texts, most of them from authors writing in English. This article outlines some of the main results of a comprehensive study into the impact of censorship on the Spanish translations of English-language poetry between 1939 and 1983. Although the quantitative data point to a high authorisation rate for translated poetry, the regime used several mechanisms to curb the public’s exposure to ideas deemed harmful which profoundly impacted the translation and reception of those texts.
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Mitzner, Piotr. "The Return of the „Red Donkey Jacket”." Tekstualia 1, no. 48 (July 20, 2017): 173–77. http://dx.doi.org/10.5604/01.3001.0013.3096.
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The article is devoted to Polish wartime poetry (1939–1945) and its later reception. The term „the third avant-guard” has been used to indicate a singular tendency. Its representatives, who disapproved of banality and stereotypes, themselves wrote texts based on stereotypes. These texts became subject to manipulation in the post-war period so as to serve ideological purposes. The article also examines the category of the patriotic song and a connection between text and music in this form.
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Karunaratne, K. M. Sunethra Kumari. "Representation of Socio-cultural Authenticity in Post-colonial Sri Lankan Poetry in English." Studies in Linguistics and Literature 7, no. 3 (June 12, 2023): p1. http://dx.doi.org/10.22158/sll.v7n3p1.
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The criticisms of Sri Lankan Literature in English have emphasized the inherent inability of Sri Lankans to produce competently written poetry in the English language when compared with the native English standards. These critics have underrated or completely have overlooked the significant achievements and a substantial amount of high-quality English poetry which carries authentic Sri Lankan flavor. Only a handful of researches on Sri Lankan Poetry has investigated the “genuine Sri Lankanness” of the subject. This study investigated how the authentic Sri Lankan flavor is represented in Sri Lankan poetry in English which were subjected to timely socio-cultural movements. The Sinhala-Buddhist identity, the criticism of Tamil separatism, the suffering undergone by the Sinhalese in Lankan civil war are elucidated combined with a typically Sri Lankan flavor. The absence of researches on this particular aspect where the poets have employed the Sri Lankan flavor in their writing tempted the researcher to study the area in detail. A qualitative approach with a content, thematic and discourse analyses have been applied in this research in elucidating the areas of Sri Lankan flavor in the literary texts. The true Sri Lankanness represented in the literary texts of selected Sri Lankan authors representing areas such as relationships, politics, social contexts, religions as well as education have been investigated and emphasized in this study.
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Azizi, Barialay, Seyed Aga Musafer, and Fahim Rahimi. "Understanding the Nature and Elements of Poem." Sprin Journal of Arts, Humanities and Social Sciences 3, no. 6 (June 8, 2024): 06–10. http://dx.doi.org/10.55559/sjahss.v3i6.346.
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Poetry is an effective and prosperous instructional approach for the English language. For individuals who are acquiring knowledge of the English language, it serves as an exceptional method to enhance their skills in reading, writing, speaking, and listening. Poetry is an excellent method for instructing English due to its authenticity, capacity to enable children to articulate their thoughts and emotions, its role as a remarkable cultural representative, and its ability to enhance their language proficiency. Poetry is sometimes regarded as the most intricate genre of literature, as it explores a broad spectrum of lyrical, dramatic, and narrative themes. When teaching English through poetry, teachers must consider various elements, including the students' proficiency level, the selected texts, and their teaching approach. Examining the definition of poetry and its core components in great detail is challenging, if not unachievable, due to the lack of prior exploration on the subject. Poets have characterized poetry as the harmonious manifestation that arises from the fusion of intellect and imagination. Authors have included intellectual concepts and notions into poetry, alongside the rhythmic and imaginative aspects of the belletrists.
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Letcher, Mark. "Off the Shelves: Poetry and Verse Novels for Young Adults." English Journal 99, no. 3 (January 1, 2010): 87–90. http://dx.doi.org/10.58680/ej20109529.
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Webster, Stephanie, Nathaniel Ihde, E. Brianna VanBlargan, Chelsea Crabbe, and Jill Froebel. "Book Walk: Works That Move Our Teaching Forward: Exploring Texts That Engage Students and Teachers in Poetry." English Education 38, no. 3 (April 1, 2006): 245–57. http://dx.doi.org/10.58680/ee20065081.
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Book Walk: Works That Move Our Teaching Forward: Exploring Texts That Engage Students and Teachers in Poetry English Education, Vol. 38, No. 3, April 2006 Five preservice teachers each review a book on teaching poetry, a book they had previously presented to their peers as part of a literature circle.
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Lutz, Angelika. "The Use of Norse Loanwords in Late Old English Historical Poems." Anglia 140, no. 2 (June 1, 2022): 190–223. http://dx.doi.org/10.1515/ang-2022-0018.
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Abstract The use of Norse loanwords in Old English poetry seems to be restricted to historical poems in praise of prominent contemporaries. It is demonstrated that the few Norse loans in these poems neither contribute to the laudatory character of such texts nor serve as new, additional means of stylistic enrichment. Instead, the Norse loans in these late Old English historical poems can be shown to have been used to add factual plausibility to such poems as historical texts. This contrasts with the use of Norse loanwords in Middle English poems.
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Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.
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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiarities of the historical formation and identity of American choral art of the second half of the twentieth century using the the works of famous American artists as examples. The research methodology is based on theoretical, historical and analytical methods, generalization and specification. Results. The general picture of the development of American composers’ practice in the genre of choral music is characterized by genre and style diversity. In our research we present portraits of iconic figures of American choral music in the period under consideration. So, the choral works of William Dawson (1899–1990), one of the most famous African-American composers, are characterized by the richness of the choral texture, intense sonority and demonstration of his great understanding of the vocal potential of the choir. Dawson was remembered, especially, for the numerous arrangements of spirituals, which do not lose their popularity. Aaron Copland (1899–1990), which was called “the Dean of American Composers”, was one of the founder of American music “classical” style, whose name associated with the America image in music. Despite the fact that the composer tends to atonalism, impressionism, jazz, constantly uses in his choral opuses sharp dissonant sounds and timbre contrasts, his choral works associated with folk traditions, written in a style that the composer himself called “vernacular”, which is characterized by a clearer and more melodic language. Among Copland’s famous choral works are “At The River”, “Four Motets”, “In the Beginning”, “Lark”, “The Promise of Living”; “Stomp Your Foot” (from “The Tender Land”), “Simple Gifts”, “Zion’s Walls” and others. Dominick Argento’s (1927–2019) style is close to the style of an Italian composer G. C. Menotti. Argento’s musical style, first of all, distinguishes the dominance of melody, so he is a leading composer in the genre of lyrical opera. Argento’s choral works are distinguished by a variety of performers’ stuff: from a cappella choral pieces – “A Nation of Cowslips”, “Easter Day” for mixed choir – to large-scale works accompanied by various instruments: “Apollo in Cambridge”, “Odi et Amo”, “Jonah and the Whale”, “Peter Quince at the Clavier”, “Te Deum”, “Tria Carmina Paschalia”, “Walden Pond”. For the choir and percussion, Argento created “Odi et Amo” (“I Hate and I Love”), 1981, based on the texts of the ancient Roman poet Catullus, which testifies to the sophistication of the composer’s literary taste and his skill in reproducing complex psychological states. The most famous from Argento’s spiritual compositions is “Te Deum” (1988), where the Latin text is combined with medieval English folk poetry, was recorded and nominated for a Grammy Award. Among the works of Samuel Barber’s (1910–1981) vocal and choral music were dominating. His cantata “Prayers of Kierkegaard”, based on the lyrics of four prayers by this Danish philosopher and theologian, for solo soprano, mixed choir and symphony orchestra is an example of an eclectic trend. Chapter I “Thou Who art unchangeable” traces the imitation of a traditional Gregorian male choral singing a cappella. Chapter II “Lord Jesus Christ, Who suffered all lifelong” for solo soprano accompanied by oboe solo is an example of minimalism. Chapter III “Father in Heaven, well we know that it is Thou” reflects the traditions of Russian choral writing. William Schumann (1910–1992) stands among the most honorable and prominent American composers. In 1943, he received the first Pulitzer Prize for Music for Cantata No 2 “A Free Song”, based on lyrics from the poems by Walt Whitman. In his choral works, Schumann emphasized the lyrics of American poetry. Norman Luboff (1917–1987), the founder and conductor of one of the leading American choirs in the 1950–1970s, is one of the great American musicians who dared to dedicate most of their lives to the popular media cultures of the time. Holiday albums of Christmas Songs with the Norman Luboff Choir have been bestselling for many years. In 1961, Norman Luboff Choir received the Grammy Award for Best Performance by a Chorus. Luboff’s productive work on folk song arrangements, which helped to preserve these popular melodies from generation to generation, is considered to be his main heritage. The choral work by Leonard Bernstein (1918–1990) – a great musician – composer, pianist, brilliant conductor – is represented by such works as “Chichester Psalms”, “Hashkiveinu”, “Kaddish” Symphony No 3)”,”The Lark (French & Latin Choruses)”, “Make Our Garden Grow (from Candide)”, “Mass”. “Chichester Psalms”, where the choir sings lyrics in Hebrew, became Bernstein’s most famous choral work and one of the most successfully performed choral masterpieces in America. An equally popular composition by Bernstein is “Mass: A Theater Piece for Singers, Players, and Dancers”, which was dedicated to the memory of John F. Kennedy, the stage drama written in the style of a musical about American youth in searching of the Lord. More than 200 singers, actors, dancers, musicians of two orchestras, three choirs are involved in the performance of “Mass”: a four-part mixed “street” choir, a four-part mixed academic choir and a two-part boys’ choir. The eclecticism of the music in the “Mass” shows the versatility of the composer’s work. The composer skillfully mixes Latin texts with English poetry, Broadway musical with rock, jazz and avant-garde music. Choral cycles by Conrad Susa (1935–2013), whose entire creative life was focused on vocal and dramatic music, are written along a story line or related thematically. Bright examples of his work are “Landscapes and Silly Songs” and “Hymns for the Amusement of Children”; the last cycle is an fascinating staging of Christopher Smart’s poetry (the18 century). The composer’s music is based on a synthesis of tonal basis, baroque counterpoint, polyphony and many modern techniques and idioms drawn from popular music. The cycle “Songs of Innocence and of Experience”, created by a composer and a pianist William Bolcom (b. 1938) on the similar-titled poems by W. Blake, represents musical styles from romantic to modern, from country to rock. More than 200 vocalists take part in the performance of this work, in academic choruses (mixed, children’s choirs) and as soloists; as well as country, rock and folk singers, and the orchestral musicians. This composition successfully synthesizes an impressive range of musical styles: reggae, classical music, western, rock, opera and other styles. Morten Lauridsen (b. 1943) was named “American Choral Master” by the National Endowment for the Arts (2006). The musical language of Lauridsen’s compositions is very diverse: in his Latin sacred works, such as “Lux Aeterna” and “Motets”, he often refers to Gregorian chant, polyphonic techniques of the Middle Ages and the Renaissance, and mixes them with modern sound. Lauridsen’s “Lux Aeterna” is a striking example of the organic synthesis of the old and the new traditions, or more precisely, the presentation of the old in a new way. At the same time, his other compositions, such as “Madrigali” and “Cuatro Canciones”, are chromatic or atonal, addressing us to the technique of the Renaissance and the style of postmodernism. Conclusions. Analysis of the choral work of American composers proves the idea of moving the meaningful centers of professional choral music, the gradual disappearance of the contrast, which had previously existed between consumer audiences, the convergence of positions of “third direction” music and professional choral music. In the context of globalization of society and media culture, genre and stylistic content, spiritual meanings of choral works gradually tend to acquire new features such as interaction of ancient and modern musical systems, traditional and new, modified folklore and pop. There is a tendency to use pop instruments or some stylistic components of jazz, such as rhythm and intonation formula, in choral compositions. Innovative processes, metamorphosis and transformations in modern American choral music reveal its integration specificity, which is defined by meta-language, which is formed basing on interaction and dialogue of different types of thinking and musical systems, expansion of the musical sound environment, enrichment of acoustic possibilities of choral music, globalization intentions. Thus, the actualization of new cultural dominants and the synthesis of various stylistic origins determine the specificity of American choral music.
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Anlezark, Daniel. "Poisoned places: the Avernian tradition in Old English poetry." Anglo-Saxon England 36 (November 14, 2007): 103–26. http://dx.doi.org/10.1017/s0263675107000051.
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AbstractScholars have long disputed whether or not Beowulf reflects the influence of Classical Latin literature. This essay examines the motif of the ‘poisoned place’ present in a range of texts known to the Anglo-Saxons, most famously represented by Avernus in the Aeneid. While Grendel's mere presents the best-known poisonous locale in Old English poetry, another is found in the dense and enigmatic poem Solomon and Saturn II. The relationship between these poems is discussed beside a consideration of the possibility that their use of the ‘Avernian tradition’ points to the influence of Latin epic on their Anglo-Saxon authors.
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Redka, I. "Emotiveness of convergent and divergent poems: a study of late 18th- and early 21st-century English poetry." Studia Philologica 1, no. 14 (2020): 53–59. http://dx.doi.org/10.28925/2311-2425.2020.148.
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The article is devoted to the study of emotiveness of English divergent and convergent poetic texts. Emotiveness is regarded as a category of the poetic text that is formally represented by emotives (verbal means that name, express, or describe emotions). Emotive units combine within the poem creating the dominant emotive image that accompanies the central concept of the poetic text. The way the author processes and then implements his / her emotional images in the poetic text predetermines the type of poetry (according to R. Tsur) as convergent or divergent. The convergent poetry complies with the rules of traditional poetry writing (that include meter and rhythm, rhyme, etc.) while divergent poetry associates with automatic writing. The former is marked by the aesthetic design, presence of aesthetic feelings or so-called “metamorphic passions” (D. Miall). The latter contains immediate or “raw” feelings of the author, in other words, feelings that he experiences at the moment of writing. Analysis of the poems of the late 18th — early 21st century has revealed that the convergent thinking is more typical of classical poetry (for example, of the period of Romance). The genre system destruction and appearance of new trends in arts have brought forth new techniques of imagery formation. The 20th century experimental poetry becomes less convergent and more biphasic which presupposes implementation of both thinking types in poetic texts writing. Thus, the divergent thinking is called forth to shatter stale images and break them to fragments out of which new fresh images can be created due to convergence techniques. Such transformations within poetic texts have also influenced their emotive side which is closely connected with conceptual nodes. The implementation of divergent, convergent, or biphasic thinking shapes the emotive focus of a poetic piece, which may become implicit, explicit, blurred, sharp, etc.
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Shoqairat, Wasfi, and Majed Kraishan. "The Middle Ages’ Influence on Women’s Role in Romantic Poetry." Theory and Practice in Language Studies 13, no. 10 (October 2, 2023): 2596–604. http://dx.doi.org/10.17507/tpls.1310.18.
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Women in the medieval period suffered from abuse and inequality. The pressure on women was so noticeable that they were treated as a marginal component of society in all aspects, an important one of which is the literary aspect. The literary role of women has largely disappeared from the European society in general and the English one in particular. Therefore, women, at every stage, struggled to show themselves amid these great pressures; their struggle led them to reach and succeed in the feminist movement. They attempted to counter the stereotypical image of the medieval women being helpless and subservient in the warrior societies depicted in Old English texts and the evil shrews responsible for men’s failings in Middle English texts. Their new adapted literary role focuses on showing their strength, intelligence, agency in society, and the extent of women’s impact on society and its change, despite the fact that this change came in secret. This study sheds some light on the women’s role in the literary social movement by critically examining the relevant literary works through which the role and effectiveness of women are revealed. This study contributes to dispelling some of the myths surrounding the perspectives assumed about women by providing greater clarity for their cultural and historical settings. Also, this study offers a feminist reading to the female characters in the selected works which clearly illustrates women’s role and the impact of feminist literature on English literature and English society at that period using the famous old legendary epic in English literature, Beowulf.
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ZHU, Sizhe. "An Alternative Approach to the Translation of Poems in Political Texts: Take Xi Jinping: The Governance of China as an example." Asia-Pacific Journal of Humanities and Social Sciences 3, no. 1 (March 15, 2023): 150–58. http://dx.doi.org/10.53789/j.1653-0465.2023.0301.016.p.
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Chinese poetry translation is currently dominated by the rhymed translations of poetry represented by Xu Yuanchong and the unrhymed translations of poetry represented by Weng Xianliang. Both of these poetry translation methods have provided us with valuable practical experience. However, volumes 1 to 3 of Xi Jinping: The Governance of China, as authoritative interpretations of Chinese wisdom, Chinese plans, and Chinese theories, contain a large number of ancient Chinese poems. However, in the English version of the three volumes, the English translations of the relevant verses do not copy the existing translations, of famous translators, but instead, use the paraphrasing method to render these verses. By collecting representative verses on different topics and comparing the similarities and differences between translators’ translations of the same poems in the three volumes, the author summarizes the different paths of poetry translation, explores the feasibility and merits of the paraphrasing method as the main path of translating poetry in political texts, and provides a practical basis for promoting the paraphrasing method of poetry translation.
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Kuzub, A. V., and V. A. Sukhanov. "Epistolary poetry in Joseph Brodsky’s English verses: “For Sara Jangfeldt on her 13th Birthday” in the context of poetical bilingualism." Sibirskiy filologicheskiy zhurnal, no. 3 (2020): 128–41. http://dx.doi.org/10.17223/18137083/72/10.
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The paper focuses on Joseph Brodsky’s original English verse “For Sara Jangfeldt, on her 13th Birthday” (1989). The analysis reveals different aspects of Brodsky’s poetical thinking. Although Brodsky’s English poetry is a huge part of his literary legacy, it has not yet been studied enough and needs to be analyzed in order to clarify his aesthetic principles. The paper addresses the semantics of epistolary poetry, considering the verse “For Sara…” as one of the most revealing texts of the genre. A detailed analysis of the poem (object of portrayal, nature of poetical introspection, lyric character’s horizons and viewpoint, addressee’s distinctive features as a part of communicative interaction, system of characters, linguistic tools of representation, modality, spacious organization) allows determining the frontier status of Brodsky’s English poetry, reflected in the combination of English and Russian linguistic tools and poetical systems and also in harmonic co-existence of English and Russian epistolary genre elements of different time periods in Brodsky’s English poetical epistles. The paper examines Brodsky’s poetical language as the author’s idiolect combining features of both English and Russian poetical languages.
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BELIMOVA, Tetiana. "MEMORY IN MODERN REFUGEE POETRY: ENGLISH AND UKRAINIAN CONTEXTS." Astraea 4, no. 1 (2023): 10–33. http://dx.doi.org/10.34142/astraea.2023.4.1.01.
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The concept of “refugee poetry” or “poetry of migrants” is quite new for both English and Ukrainian literature. However, in the modern world, the phenomenon of migration, or even forced migration, is well known and researched. It is primarily about the social, political and economic dimensions of the movement of people from one continent / region / country to another. Most often, the countries that actively accepted migrants in the 19th, 20thand 21stcentury were the USA, Canada, Australia, partly Great Britain, in fact the entire English-speaking world (we are talking about different periods and factors that do not actually constitute a separate topic of research in the present study). At the same time, there was a big layer of art, in particular poetry, which reflected the difficult topic of people displacement and further integration into new societies. For some time refugee poetry (here in after the author of the article will mainly use this term), as well as the archive of memories recorded in it, were on the margins and were not the object of a deep scientific analysis in foreign literary studies. As for Ukrainian refugee poetry, it appeared in its new dimension after an almost century-long break (we are talking about poetic texts at the end of the 19thcentury and the first half of the 20th century, which coincide with the first and second waves of migration of Ukrainians) and has also been very little researched, except for several scientific articles. The object of literary analysis of the article is the English refugee poems in comparison with the Ukrainian poetic texts that appeared after 24 February 2022 upon the full-scale invasion of the Russian occupying forces in the territory of the sovereign state Ukraine when millions of Ukrainians were forced to leave their homes and become seekers of temporary shelters. Therefore, the main goal of the article is to outline the main themes and arrays of refugee English and Ukrainian poetry in a comparative aspect, as well as to visualize the archive that correlates with the national memory of a particular people and/or the state it represents. Such a comparative analysis of two poetic dimensions has not yet been the object of literary studies in Ukraine.
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Maver, Igor. "From Albion's shore: Lord Byron' poetry in Slovene translations until 1945." Acta Neophilologica 22 (December 15, 1989): 51–59. http://dx.doi.org/10.4312/an.22.0.51-59.
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The publication in 1830 of the early poems of the doyen of Slovene poetry - Dr France Prešeren in Kranjska čbelica (The Carniola Bee) - marks the beginning of Slovene Romanticism, which ends in 1848, -with the last of his poems published in the fifth volume of the same literary magazine. The period from 1830 to the »revolutionary« year of 1848 is thus committed to Romanticism as the leading movement of Slovene literature, artfully embodied in Prešeren's fine lyrical poetry that aimed at and considerably contributed to national unification and identification, as well as in the Europe-oriented literary criticism of Matija čop. Comparing the trends of the English and Slovene Romantic Revival, we can readily establish that the emergence of Romantic tenets expressed in poetry was somewhat late on Slovene ground. In England, of course, the crucial years are1789, when Lyrical Ballads were published by Wordsworth and Coleridge, and the year 1832, which marks the death of Sir Walter Scott.
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Maver, Igor. "From Albion's shore: Lord Byron' poetry in Slovene translations until 1945." Acta Neophilologica 22 (December 15, 1989): 51–59. http://dx.doi.org/10.4312/an.22.1.51-59.
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The publication in 1830 of the early poems of the doyen of Slovene poetry - Dr France Prešeren in Kranjska čbelica (The Carniola Bee) - marks the beginning of Slovene Romanticism, which ends in 1848, -with the last of his poems published in the fifth volume of the same literary magazine. The period from 1830 to the »revolutionary« year of 1848 is thus committed to Romanticism as the leading movement of Slovene literature, artfully embodied in Prešeren's fine lyrical poetry that aimed at and considerably contributed to national unification and identification, as well as in the Europe-oriented literary criticism of Matija čop. Comparing the trends of the English and Slovene Romantic Revival, we can readily establish that the emergence of Romantic tenets expressed in poetry was somewhat late on Slovene ground. In England, of course, the crucial years are1789, when Lyrical Ballads were published by Wordsworth and Coleridge, and the year 1832, which marks the death of Sir Walter Scott.
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Nabilla, Ega Viorenti, and Rahmah Fithriani. "GENERATING IDEAS TO WRITE NARRATIVE THROUGH ILLUSTRATED POEM : INDONESIAN EFL STUDENTS’ EXPERIENCES." TELL-US JOURNAL 9, no. 1 (March 31, 2023): 127–45. http://dx.doi.org/10.22202/tus.2023.v9i1.6591.
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Writing has become the most important skill to learn for English as a foreign language (EFL) students. However, students often have difficulty getting ideas when writing narrative stories. This article aims to offer suggestions on using pictorial poetry to generate ideas for writing narrative texts as an innovation in learning English. Pre-tests and written assignments were used for data collection in this qualitative study. Participants' narrative texts were evaluated using adaptations from the Teaching for Better Educators Model (2019) and Advanced English Books by the Ministry of Education and Culture Research and Technology (2020) Narrative Analytical Rubric. Seven students from a state senior high school in Percut Sei Tuan, Indonesia, became the participants. The results showed that participants had difficulties in getting ideas during the pre-test but were able to come up with writing ideas after being stimulated using the pictorial poem "Unicorn." The participants' narrative texts also meet the requirements for narrative text organization, sensory details, and proof of revision and editing as described in the Narrative Analytical Rubric. However, the use of visual stimuli can only help in generating story ideas; further teaching is needed to produce qualified narrative texts. It can be concluded that pictorial poetry can be used as a learning resource for teaching narrative writing, so educators should consider this to help students learn.
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Maček, Dora. "Some Observations on Poetic YOU." ELOPE: English Language Overseas Perspectives and Enquiries 3, no. 1-2 (June 20, 2006): 115–26. http://dx.doi.org/10.4312/elope.3.1-2.115-126.
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One of the difficulties that may arise in translating poetry is the schematic character of personal pronouns. For this reason the identities of the speaker and addressee can be ambiguous, which is a problem in translating into languages that grammaticalize more semantic features than the source language. The article analyzes some ambiguous texts in some English and Danish poetry and suggests some translation strategies used.
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Pavlova, Anna. "Traditions and Innovation in Russian Rap Poetry." Stephanos Peer reviewed multilanguage scientific journal 55, no. 5 (September 30, 2022): 63–69. http://dx.doi.org/10.24249/2309-9917-2022-55-5-63-69.
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The article is devoted to the analysis of Russian-language rap compositions and their comparison with similar earlier English-language rap-texts. The purpose of the article is to highlight the traditional features of rap-tracks, transferred from English, and innovative elements of form and content, formed on the basis of national culture. The analysis showed that songs of Russian rappers are in many ways similar to rap-tracks of their American colleagues, but today it is possible to find both completely new features of the genre and those that have transformed from traditional ones. Since rap is a fairly young genre that continues its active development, its evolution is a case of great interest to researchers of modern culture.
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Manuhutu, Natalia. "STUDENTS’ PERCEPTIONS TOWARDS THE IMPLEMENTATION OF ROBERT FROST’ POETRY IN WRITING CLASS AT MUSAMUS UNIVERSITY." Journal of English Teaching, Applied Linguistics and Literatures (JETALL) 4, no. 2 (October 1, 2021): 115. http://dx.doi.org/10.20527/jetall.v4i2.9070.
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This study investigated the students’ perceptions concerning the use of Robert Frost’s poetry in writing class at English Literature Department of Musamus University which was obtained through a survey. A total of 17 undergraduate students taking writing class participated in this study. The participants responded to a questionnaire and an open-ended questions concerning the two focal points: (1) how the students perceived the use of Robert Frost’s poetry in teaching writing, (2) the implementation of Frost’s poetry in improving students’ writing short story. The results of the study revealed that the implementation of Frost’s poetry helped them to be easier in writing short story. Most of the participants gave positive response to the use of Frost’s poetry in teaching them to write a short story. In addition, they seemed to prefer learning writing short story by using English poetry in writing classes. The concluding discussion addresses suggestion about the need to consider students’ wants and needs by gauging their perceptions as the student evaluation of teaching in order to keep up the better improvement to the teaching writing the texts and the using of authentic material or media in English Literature Department at Musamus University.
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Schendl, Herbert. "Code-switching in early English literature." Language and Literature: International Journal of Stylistics 24, no. 3 (August 2015): 233–48. http://dx.doi.org/10.1177/0963947015585245.
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Code-switching has been a frequent feature of literary texts from the beginning of English literary tradition to the present time. The medieval period, in particular, with its complex multilingual situation, has provided a fruitful background for multilingual texts, and will be the focus of the present article. After looking at the linguistic background of the period and some specifics of medieval literature and of historical code-switching, the article discusses the main functions of code-switching in medieval poetry and drama, especially in regard to the different but changing status of the three main languages of literacy: Latin, French and English. This functional-pragmatic approach is complemented by a section on syntactic aspects of medieval literary code-switching, which also contains a brief comparison with modern spoken code-switching and shows some important similarities and differences between the two sets of data.
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Walkden, George. "Null subjects in Old English." Language Variation and Change 25, no. 2 (July 2013): 155–78. http://dx.doi.org/10.1017/s0954394513000070.
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AbstractThe possibility of referential null subjects in Old English has been the subject of conflicting assertions. Hulk and van Kemenade (1995:245) stated that “the phenomenon of referentialpro-drop does not exist in Old English,” but van Gelderen (2000:137) claimed that “Old English has pro-drop.” This paper presents a systematic quantitative investigation of referential null subjects in Old English, drawing on the York-Toronto-Helsinki Parsed Corpus of Old English Prose (YCOE; Taylor, Warner, Pintzuk, & Beths, 2003) and the York-Helsinki Parsed Corpus of Old English Poetry (YCOEP; Pintzuk & Plug, 2001). The results indicate substantial variation between texts. In those texts that systematically exhibit null subjects, these are much rarer in subordinate clauses, with first- and second-person null subjects also being rare. I argue that the theory of identification of null subjects by rich verbal agreement is not sufficient to explain the Old English phenomenon, and instead I develop an account based on Holmberg's (2010) analysis of partial null subject languages.
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Edwards, A. S. G. "Gavin Bone and his Old English Translations." Translation and Literature 30, no. 2 (July 2021): 147–69. http://dx.doi.org/10.3366/tal.2021.0461.
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This article examines the verse translations of various shorter Old English poems and of Beowulf by the Oxford scholar Gavin Bone (1907–1942), mainly published posthumously. It provides a biographical account of him, before going on assess his introductions to Anglo-Saxon Poetry (1943) and Beowulf (1945). It further describes the various techniques Bone used in his translations, the lexical and metrical forms he employed, and their relative degrees of success. The article also considers the illustrations Bone created to accompany his Beowulf translation. It concludes with an examination of the afterlife and subsequent neglect of Bone's translations.
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Waldron, R. "Middle English Poetry: Texts and Traditions. Essays in Honour of Derek Pearsall." Notes and Queries 50, no. 1 (March 1, 2003): 93–94. http://dx.doi.org/10.1093/nq/50.1.93.
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Waldron, Ronald. "Middle English Poetry: Texts and Traditions. Essays in Honour of Derek Pearsall." Notes and Queries 50, no. 1 (March 1, 2003): 93–94. http://dx.doi.org/10.1093/nq/500093.
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Amri, M. Misbahul, and Yazid Basthomi. "USING A “PROSING POEM” STRATEGY IN TEACHING POETRY IN THE EFL CONTEXT OF INDONESIA." TEFLIN Journal: A publication on the teaching and learning of English 33, no. 1 (May 12, 2022): 201. http://dx.doi.org/10.15639/teflinjournal.v33i1/201-219.
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The present article reports our reflections on how to teach an introductory course on poetry in an Indonesian tertiary educational institution where English is a foreign language. The reflections are made on the basis of our experiences of teaching the course, the main challenge of which centres on students’ wronged perception of what poetry is; students tend to have an entrenched idea that poetry must be perplexing. The reflections have led us to a teaching strategy which we call “prosing poem.” Applying the strategy, we help students by providing made-up prosaic forms of the poems. This strategy has proven to help demystify students’ idea on poetry as a difficult subject. It allows students to unpack the poetic texts in a less daunting way as they can rely on their English mastery without having cognitive block.
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Кузуб, Алёна Владимировна. "J. BRODSKY’S ENGLISH POETRY IN ENGLISH CRITICS." Tomsk state pedagogical university bulletin, no. 5(211) (September 7, 2020): 181–91. http://dx.doi.org/10.23951/1609-624x-2020-5-181-191.
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Введение. Рассматриваются высказывания в адрес оригинальной англоязычной поэзии И. Бродского, сделанные англоязычными критиками, поэтами и переводчиками. Все высказывания разделены на группы согласно географической, лингвистической и профессиональной принадлежности их авторов. Большинство характеристик в адрес английских стихов Бродского носят ситуативный, несистемный характер, представляя собой разрозненные высказывания. Объединяет их то, что многие даже самые ярые сторонники английской поэзии Бродского вынуждены отмечать некоторые шероховатости использования им языка, стилистические несуразицы и излишнюю «русскость» английских стихов поэта. Цель статьи – систематизация и критическая оценка подобных высказываний, носящих ситуативный и несистемный характер. Материал и методы. В качестве материала исследования выступили высказывания зарубежных исследователей и поэтов, касающиеся оригинального англоязычного поэтического творчества Бродского, встречающиеся в многочисленных интервью и книгах, посвященных жизни и творчеству поэта. Предметом исследования становится рецепция англоязычных стихотворений Бродского носителями языка. Были использованы методы фронтального анализа и контент-анализа, сравнительный метод. Результаты и обсуждение. Английские стихотворения Бродского до сих пор являются малоизученными, исследователи обходят стороной этот важный пласт творчества поэта, который, однако, может помочь достроить картину эстетического мышления автора до ее логической завершенности. В то время как исследователи традиционно концентрируются на русской поэзии, англоязычной прозе и (авто)переводах Бродского, в фокус данной статьи попадает англоязычная оригинальная поэзия автора – феномен, нуждающийся в более глубоком осмыслении. В работе классифицируются причины обращения Бродского к английскому языку, которые можно разделить на три группы: эстетические, утилитарные, лингвистические. Отношение Бродского к своим английским стихотворениям было непростым. Создание оригинальных поэтических текстов на английском для него было сродни так называемой игре в стихосложение с использованием иного лингвистического инструментария. Он видел в английском стихосложении возможность рифмовать краткосложные лексемы английского языка в различных комбинациях, использовать невозможные в русском языке ритмико-синтаксические структуры, экспериментировать с просодией. Одна из самых больших претензий к английским поэтическим текстам Бродского – некорректное использование им английских идиоматических единиц. По мнению даже большинства доброжелательных критиков, английская идиоматика стихов Бродского бывала проблематична. Многие отмечают взаимопроникаемость и взаимообусловленность русского и английского языков в поэтическом творчестве Бродского. Некоторые находят подобное явление неприемлемым, другие считают это уникальным стилем поэтики двуязычного автора. Заключение. Сделан вывод о том, что Бродский являлся носителем двух национально-языковых культур и литератур: русской и английской. При всем разночтении мнений критиков и поэтов, подавляющее большинство из них касаются исключительно лингвистического уровня оригинальных англоязычных стихотворений Бродского, ни один из критиков или высказывающихся по этому вопросу поэтов не обращается к эстетическому уровню анализа английских стихов автора. Будущее исследование предполагает ответить на вопрос: остается ли мироощущение Бродского русским и в его английской поэзии или оно меняется вслед за языком? Introduction. The article focuses on different statements concerning Joseph Brodsky’s original English poetry made by English and American critics, poets and translators. Aim and objectives. The paper aims to classify, systematize and critically value those statements, which can be described as occasional and unsystematic. Material and methods. The research is based on statements concerning Brodsky’s original English poetical works made by foreign English-speaking philologists, critics and poets. All the statements are found in variety of different interviews and books dedicated to Brodsky’s life and work. The methods used in the research are as follows: frontal analysis and content analysis, comparative method. Results and discussion. Brodsky’s English verses are yet to be studied as for researchers neglect such an important component of Brodsky’s works, which however is to help construct the whole picture of one’s esthetic thinking to its logical whole. As long as philologists traditionally concentrate on Brodsky’s Russian verses, English essays and (self) translations, this paper addresses Brodsky’s original English poetry as a phenomenon craving for deeper scientific understanding. The article brings the light on the reasons determined Brodsky’s turn toward English which can be divided into three groups: esthetic, utilitarian and linguistic ones. Brodsky’s attitude towards his own English verses was complicated. Creating original English poetical texts was like so-called play in versification and prosody with the using of new linguistic tools. He admitted in English prosody ability of rhyming short English lexical elements in broad variety of possible combinations, using impossible in Russian rhythmical and syntactic structures, experimenting with prosody. The paper provides review of statements addressing Brodsky’s original English poetry. All the statements are divided into groups according to geographical, linguistic and professional areas of the authors they were made by. The majority of studying statements are occasional and unsystematic, united however with some same features. Even supporters of Brodsky’s English poetry were forced to mention a bunch of imperfections in Brodsky’s English, stylistic mistakes and too Russian being of his English verses. One of the main grievance about Brodsky’s English verses is his incorrect using of English idiomatic elements. Many underline interferential and interconditional nature of English and Russian languages in Brodsky’s verses. Some consider this feature to be unacceptable, others as a unique style of bilingual author. Conclusion. Finally the article concludes that Joseph Brodsky was a two-cultured and two-language representative: Russian and English. Despite all the deviation in opinion of critics, poets and translators, the majority of them focus solemnly on linguistic level of Brodsky’s English verses. It’s worth noticing the lack of esthetic interpretation of Brodsky’s English poetry. The upcoming research can provide an answer to a question: does Brodsky’s world view remain the same in his English poetry or did it change subsequent to the language?
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Bruno, Cosima. "The public life of contemporary Chinese poetry in English translation." Target. International Journal of Translation Studies 24, no. 2 (December 31, 2012): 253–85. http://dx.doi.org/10.1075/target.24.2.03bru.
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This essay is an exploration of some of the social and cultural factors that have played a role in the production, publication and reception of English translations of contemporary Chinese poetry, from the beginning of the 1980s to today. The aim is to link translations to the broader context, highlighting modalities and expectations of reception that have evolved within the social structures through which the translation of contemporary Chinese poetry has been circulating: the publishing industry, universities, the periodical press, public intellectual debates, and the market. The article does not try to establish if this or that expectation are either real or perceived features of the source texts. Nor does it deal with translators’ individual interpretations, their private readings. Instead, adopting a wider sociocultural approach, the analysis proposes to shed light on the industrial and commercial dimension—the public life—of contemporary Chinese poetry in English translation.
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Ayassrah, Mohamed Ayed Ibrahim, and Ali Odeh Alidmat. "Metaphor as a Means of Pessimism in English Poetry." International Journal of English Linguistics 7, no. 5 (July 27, 2017): 135. http://dx.doi.org/10.5539/ijel.v7n5p135.
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The present study attempts to investigate using metaphor as a powerful tool of pessimism in poetic texts with special emphasis on T.S Eliot’s Waste Land. Eliot’s Waste Land which is heavily pregnant of metaphors is a great epic poetic story summarizes the gloomy circumstances of the European life after the World War I where a complexity of sad feelings dominates the whole five parts of the poem. Eliot vividly used metaphor as an effective means in transferring the real degradation of the European life after the Great War.This study includes an introduction, significance of the study, choosing the metaphorical pessimistic expressions in Eliot’s Waste Land, questions of the study, objectives of the study, methodology, what is metaphor? functions of metaphor, what is pessimism? The Waste Land, Eliot’s life, why was Eliot pessimist in his great Waste Land? the analysis session, the answers of the study questions and the references.
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Josifović-Elezović, Sanja. "Reciting poetry in contemporary EFL instruction." Zbornik radova Filozofskog fakulteta u Pristini 51, no. 4 (2021): 27–50. http://dx.doi.org/10.5937/zrffp51-34029.
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The paper analyses the effects of reciting various poetic texts in a foreign language instruction at the advanced level, in order to improve linguistic, cultural, and personal competences of English language students. Contemporary foreign language teaching methodology is reviewed briefly, and the possibilities and consequences of using different poetic styles are considered, in the ways that successfully integrate foreign and native language, literature and culture, intensive and extensive reading in a foreign language. Final year students of English language and literature at the Faculty of Philology in Banja Luka participate in a project of reciting world poetry in English in front of an audience, within the compulsory subject Contemporary English Language 7. In this case study from the academic 2016/2017, the perceptions of 25 students of English language and literature and the observation notes of their professor, project leader, are critically analysed, after their participation in the recitation project. The aim of the study is to gain a better insight into the effectiveness of reciting poetry in a foreign language by university students, and in other contexts in which a foreign language is learned. İn this qualitative research, the method of data interpretation is content analysis, and the data collection methods are observation and survey. The research instrument is a questionnaire with open-ended questions. The results show that by practicing reciting in a foreign language for a public appearance in front of colleagues and an audience, students can significantly improve their personal, linguistic, cultural, and professional competencies.
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Cui, Lifang, Gillian Hubbard, and Margaret Gleeson. "Teaching poetry to Chinese English majors: a review of articles from 2000-2013." English Teaching: Practice & Critique 14, no. 3 (December 7, 2015): 270–84. http://dx.doi.org/10.1108/etpc-03-2015-0024.
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Purpose – The purpose of this paper is to survey and consider the implications of the literature justifying the value of teaching poetry. There has been a long tradition of literature education in the English departments of Chinese universities. English Poetry courses are offered within optional literature modules in senior stages of a BA in English language and literature. In 2000, the new national syllabus for tertiary English majors was issued. This syllabus has brought the teaching of English into line with the perceived practical needs of society. As a result, poetry courses have been under threat within the degree. A substantial number of university teachers have responded to this threat with articles arguing the value of teaching of poetry. Design/methodology/approach – The China National Knowledge Infrastructure (CNKI), the largest database of academic journals in China, reveals that from 2000 to 2013, 102 articles about teaching English poetry to Chinese people learning English as a foreign language were published in Chinese academic journals, of which 67 are concerned with English majors. This literature examines these 67 articles. Findings – These articles justify the purpose of teaching English poetry, evaluate the content of poetry courses and share pedagogical strategies. The issues within this discussion fall into three categories: why teach poetry; what to teach in poetry courses; and how to teach poetry. Because the commitment of Chinese teachers to sharing their beliefs about teaching English poetry is positioned in the context of increased advocacy for the creation of inter-disciplinary market-orientated graduates, discomfort, uncertainty and the desire for change emerge in this discussion. On the other hand, teachers looking for change express caution about the costs of changing pedagogical approaches on the development of the skills of close reading and analysis of poetical texts. Originality/value – This investigation of the local Chinese context resonates with and contributes to the wider discussion of the challenges faced by English literature teachers in both second- (L2) and first-language (L1) contexts and warrants examination. It is difficult to say in advance how far such knowledge could contribute to any policy decisions that may be made in the future, but it is important that the voice of teachers contributes to the larger international debate about the value of humanities in tertiary-level education.
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Ajtony, Zsuzsanna. "Translating Poetry – An Impossible Task?" Acta Universitatis Sapientiae, Philologica 14, no. 3 (December 1, 2022): 1–12. http://dx.doi.org/10.2478/ausp-2022-0022.
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Abstract Poetry is often claimed to be untranslatable. More specifically, rendering light verse, i.e. poetic humour in another language poses serious challenges for the translator to encounter. In spite of these alleged obstacles, T. S. Eliot’s Old Possum’s Book of Practical Cats has been translated and lately retranslated into Hungarian in the form of inventive and jocular texts for children. After summarizing the theoretical aspects of poetry translation and providing a brief overview of Eliot’s collection of poems about cats, the present study aims to approach the English source text by highlighting its foregrounded elements: titles, names, and cultural realia and their Hungarian counterparts in the latest translation by Attila Havasi and Dániel Varró.
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Lanseros Sánchez, Raquel. "Aprovechamiento didáctico de los recursos literarios bilingües: Lectura original y traducida de la poesía de Lewis Carroll." Investigaciones Sobre Lectura, no. 5 (January 31, 2016): 7–18. http://dx.doi.org/10.37132/isl.v0i5.105.
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This paper seeks to enhance the promotion of reading from the area of English as a foreign language, as well as to raise awareness of the cultural richness of literature written in the English language. It aims to delve into the classroom applicability of English literary works translated into Spanish and their didactic exploitation. In order to do this, we will exemplify with the poetry of Lewis Carroll and its translation into Spanish. The objectives are to expand the vocabulary of the students of English as a foreign language, to approach poetry in the English classroom through various means which help us overcome the challenge and to help students improve their skills in the field of literacy in the foreign language, by using translated versions of the poetic texts. Target key competencies in this paper are linguistic competence and learning autonomy or learning to learn. Some models of Didactics of Literature followed by literary workshops with beginners, intermediate and advanced students will be presented. We will work withthe poetry of Lewis Carroll in order to exemplify way the educational possibilities of literature in the English classroom.