Journal articles on the topic 'Poets'
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1
Mansurov, Sobir. "Classification Of Poems In The Collection “Gulshani Dilafgor”." American Journal of Social Science and Education Innovations 03, no. 05 (May 31, 2021): 482–89. http://dx.doi.org/10.37547/tajssei/volume03issue05-85.
Abstract:
This article classifies some of the poems in the “Gulshani Dilafgor” collection. Most of the poet’s poems are in sync with the lyrical works of poets such as Furqat, Muqimi, Hamza, Khislat, Kami, imbued with the ideas of nationalism and enlightenment. The classification of lyrical poems in the collection of the poet “Gulshani Dilafgor” shows that Dilafgor could not avoid the themes that accompanied the poets in Uzbek classical poetry. He, too, relied on the progressive ideas of his time in continuing the traditions of his predecessors.
2
Menelaou, Iakovos. "‘My Verses Are the Children of My Blood’: Autobiography in the Poetry of Kostas Karyotakis." International Journal of Comparative Literature and Translation Studies 5, no. 3 (July 31, 2017): 5. http://dx.doi.org/10.7575/aiac.ijclts.v.5n.3p.5.
Abstract:
Kostas Karyotakis (1896-1928) is one of the most important Modern Greek poets. His poetry not only influenced several other poets, but it also attracted critics’ interest. Former critics dealt with Karyotakis’ poetry and spoke about the relation between life and work in his poems. Nevertheless, they did not analyse extensively certain poems, which reflect clearly the poet’s personal experience. In addition, other critics attempted to analyse and see Karyotakis’ poems as independent entities, isolated from the poet’s life. While the results of such an approach were interesting, indeed, in fact they do not show the real meaning of the poems. Although such theories are useful and productive, when reading poets who made their life an important part of their poetry, biography is a key element for the interpretation of their works; thus a New Historicism approach is preferred. My purpose in this paper is to show the close relation between life and work in Karyotakis’ poetry through a parallel focus on life and poetry. Going beyond the results of previous critique, I intend to show how Karyotakis’ poetry alludes to his personal experience.
3
ELBİR, Bilal, and Yusuf AYDIN. "NAZIRES IN THE CONTEXT OF THE INTERACTION OF CLASSICAL AND FOLK LITERATURE." Turkology 112, no. 4 (December 15, 2022): 110–34. http://dx.doi.org/10.47526/2022-4/2664-3162.06.
Abstract:
Nazire; It is a poet’s rewriting of another poet’s poem by using elements such as measure, rhyme, and content. The artist has the opportunity to show himself better by improving himself in the production process, which he starts by imitating. For this reason, nazireism played an important role in the upbringing, self-development and mastery of poets. The first reflections of the Nazire tradition were seen in classical literature, and then nazire was also used by folk literature poets. Nazires provided intercultural interaction by being written on works written in different languages as well as on works written in the same language. In this study; it is aimed to reveal the reflections of the nazire tradition, which is one of the most important elements of the relationship between classical literature and folk literature. In this direction, some related examples of nazires in classical and folk literature have been identified. Admiration and imitation were influential on the basis of folk poets writing nazires for classical poets. The nazires written by folk poets to classical poets are an example that increases the common points of the two literatures. It is known that folk poets wrote nazires to each other, except for the nazires written by poets of classical literature. It has been seen that the poems written by the folk poets in nazire are also the works that are admired and arranged in the classical poetry tradition.
4
Erkinov, Aftondil, and Abdumalik Qurbonov. "ALISHER NAVOI AND OTTOMAN TURKISH POETS." ALISHER NAVOIY INTERNATIONAL JOURNAL 1, no. 1 (January 30, 2021): 82–91. http://dx.doi.org/10.26739/2181-1490-2021-1-9.
Abstract:
In the dynasty of the Ottoman sultans (1299–1922), there was a great interest in the personality and heritage of the poet Alisher Navai (1441-1501). This interest, which arose during the poet’s lifetime, still exists today. The article highlights the imitation and follow-up of Ottoman poets to Navai’s poems. We are talking about the influence of Uzbek classical literature and especially the heritage of the Navai on the literature of the Ottoman dynasty. Ottoman poets imitated Nawai’s Hamsa poems and, as a result, created their own versions of the Nawai poems. They wrote poetry in Ottoman and Persian. In addition, they created poems in the Old Uzbek (Turkic) language. At the same time, imitation of the creativity of the heritage of Alisher Nawai played a big role.
5
Rhmany, Prof Asst Dr Aishaq, and Dr mrim Ebasely Nzad. "The Codes And Illustrations Of Code In Fadva Toghan’s Poem." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 222, no. 1 (September 1, 2017): 113–35. http://dx.doi.org/10.36473/ujhss.v222i1.370.
Abstract:
Inclination toward using code is one of the manifestations of modernism in the contemporary poetry to which poets, especially poets of literature of resistance are inclined, in order to decorate their words and make them ambiguous so that the reader has to probe deep into his mind in order to get the poet’s intended meaning. Fadava Toghan is one of the poets’ of literature of resistance who utilizes code in her literature. Toghan uses code and code illustrations in most of her poems, especially those about her country and issues of Palestine. She gets use of various and new ways like using colors, religion , myths, characters and historical events in order to express the code illustrations. She expresses the most of her codes with illustration eloquent. As the reader see the shadows of these illustration eloquent in most of her poems
6
Yong, Ping. "The Imagination of Romantic Poetry under Different Regional and Cultural Backgrounds: Comparison and Analysis of Kubla Khan and Mount Skyland ascended in a Dream-A Song of Farewell." Communications in Humanities Research 3, no. 1 (May 17, 2023): 340–47. http://dx.doi.org/10.54254/2753-7064/3/20220335.
Abstract:
Romanticism is an important branch of the literary genre, and imagination is an important feature of it. From different historical backgrounds, Both British poets and Chinese have each profound insight into the imagination in their romantic poetry creations. Samuel Taylor Coleridge, as a pioneer of English Romantic poetry, his dream fragment Kublai Khan established an unshakable position in the poet's literary circle, while Li Bai was a well-known romantic poet in the prosperous Tang Dynasty. His representative work, Mount Skyland ascended in a Dream-A Song of Farewell, shocked the entire Chinese poetry circle as soon as it came out. This essay analyzes the poets' poetic thoughts on imagination by studying the different backgrounds of the two poets, the cultural traditions they contacted, and the philosophical thoughts they infected and meanwhile compares and analyzes the image characteristics of the two poets' representative works to explore the concrete expression of the poet's imagination in the poems. It is found that there are similarities and differences spatially and emotionally in terms of imagery. Moreover, the imagination in romantic poetry not only creates a series of illusory images and casts a phantom veil on the whole poem but also insinuates the poet's poetic thought and inner emotional appeal.
7
مطلك, أنوار جاسم. "Realism of Details in the Poetry of the Seventies: The Poet Ra’ad Abdul-Qadir as Example." JOURNAL OF LANGUAGE STUDIES 4, no. 4 (October 12, 2023): 313–25. http://dx.doi.org/10.25130/jls.4.4.16.
Abstract:
The critical writings did not pay much attention to the poem of fine details in modern poetry except in some recent studies that were partially concerned with some poems, and I found in this study that post-1960s poets paid attention to reality and monitored it and worked to condemn and refute it. The Iraqi poet Ra’ad Abdul-Qadir (1953 - 2003) One of the most important poets who paid attention to the small details in their poems, and this study reveals to us the poet’s relationship with the details of reality and contains aspects of what is expected of him and marginalized in life, and is combined with a keen cultural structure.
8
Brio, Valentina. "Osip Mandelstam in the Works of Polish Poets." Literatūra 62, no. 2 (November 2, 2020): 112–28. http://dx.doi.org/10.15388/litera.2020.2.6.
Abstract:
This article analyzes poems written by Polish authors about Osip Mandelstam. Fifteen poems by famous Polish authors, such as Artur Międzyrzecki, Wiktor Woroszylski, and Jarosław Marek Rymkiewicz, are examined. Polish poets perceive Mandelstam‘s tragic fate through the prism of the poet‘s image and significance of poetry as they appear in the context of the lives of the Polish literary and cultural tradition. These authors see Mandelstam as a martyr, an outstanding poet. To them, their mission is to bear testimony.
9
Çınarcı, Mehmet Nuri, and Merima Grabčanović. "Historic Ottoman Poet Biographers." Prilozi za orijentalnu filologiju, no. 70 (November 30, 2021): 79–102. http://dx.doi.org/10.48116/issn.2303-8586.2020.70.79.
Abstract:
Ottoman poet biographies, whose main purpose is to provide information about the lives, arts and works of poets, are among the most important sources of classical Turkish literature with their examples written more than once in every century from the 16th century to the XX century. The poets, whose biographies give information about their lives, are composed of people who have undertaken different duties belonging to different layers of the Ottoman social structure. After all, the most important point that brings together the biographies of these people, who have serious differences in status, is that they are poets. For the biographies of poets belonging to different strata, the tadhkirah definitely refers to the sources. These sources can be the poet himself, a close friend, another poet’s biographies or a history book, or the author himself. Historical poems written by poets on various occasions over the centuries are also one of the written sources used by tadhkirahs. An important part of the poets in the biographies, using this systematic called abjad calculation and created by assigning numerical values to Arabic letters, they make history on the success of the sultans, the conquests of cities, an important natural event, and even the death of a book they have finished. However, besides the poets, it is seen that the authors of tadhkirahs also write down history with an approach that puts the poets in the center. These dates, which were dropped, give them the identity of a pastor, in the words of the tadhkirahs. It is not because they wrote a history book that is meant by their identity as a pastor; it is the poets’ reduction of dates on some important issues in their lives, which are based on the abjad calculation and written in verse. Within the tradition of Ottoman tadhkirah writing, many tadhkirah writers have dropped dates about the poets they mentioned in their works. In this study, information has been given from the authors of tadhkirahs, who have included history poems in their biographies, and in what ways these dates have contributed to the science of history and literature.
10
Gurbiel, Andrzej. "Poeci i uczeni w wierszach okolicznościowych Wincentego Pola." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 18 (December 12, 2018): 19–32. http://dx.doi.org/10.24917/20811853.18.2.
Abstract:
The first part of the paper is dedicated to Wincenty Pol’s occasional poems, dedicated to poets and poetry, and on that basis, it is possible to reconstruct the author’s perception of the situation of poets and poetry, as well as their role in society deprived of political identity. The second area of discussion are Pol’s works, which are addressed to scholars and, at the same time, emphasise the significance of their activity for the spiritual condition of the Poles, and indicate the originality of the poet’s (and an active researcher’s) reflections in relation to individual and collective research initiatives.
11
Ulugov, Abdulla. "Ruling poets, inviting poems." Asian Journal of Multidimensional Research (AJMR) 10, no. 3 (2021): 64–82. http://dx.doi.org/10.5958/2278-4853.2021.00101.4.
12
KARDAŞ, Sedat. "The Semantic World of Nedîm: Literary Genres, Literary Styles, and Narrative Techniques in Nedîm’s Dîvân." Akademik Dil ve Edebiyat Dergisi 6, no. 3 (October 30, 2022): 81–95. http://dx.doi.org/10.34083/akaded.1151204.
Abstract:
As in every work of art, meaning and expression in Divan poetry are among the basic tools that determine the poet's style and artistry. In Divan poetry, which produces products based on tradition, poets shape and express their feelings and thoughts through poetry, while they differ from other poets with their stylistic features. Poets process the common content from different aspects thanks to their expressive ability. In this way, poets with style have always been one step ahead of other poets. One of the poets who has a unique style and is known for this style is Nedîm, one of the leading poets of the 18th century, who is remembered for his time. Poet Nedim has worked by adapting the content and expression features of Classical poetry to his own artistic creation and Nedimâne has become the creator of the style. A better understanding of this style depends on recognizing the content and expressions of Nedim's poems. Genre, style, and expression techniques, which have an important place in the establishment of literary texts, are the elements that mediate the understanding of the depth of meaning of literary texts and the determination of the stylistic features of poets. From this point of view, in the present study, Nedim’s Divan has been scanned from beginning to end, literary genres, literary styles, and expression techniques used in the work have been determined and the determined elements have been given together with sample texts, and the meaning and imaginary world that shaped Nedim’s style has been tried to be revealed.
13
Sutton-Spence, Rachel, and Ronice Müller de Quadros. "Sign language poetry and Deaf identity." Language Acquisition 8, no. 1-2 (December 31, 2005): 177–212. http://dx.doi.org/10.1075/sll.8.1.10sut.
Abstract:
In this paper, we consider the role of sign language poetry in creating and expressing the Deaf poet’s identity as a “visual person” in a community living within a wider national community. We show how two Deaf poets from different linguistic, national and cultural backgrounds nevertheless have both created similar effects through their sign language poems, drawing on the folkloric knowledge of their Deaf communities and wider national folklore. Analysis of the language and themes in the poems reveals that sign language components including neologism and use of symmetry can be manipulated directly to celebrate the visual experience of Deaf people. The poetic language can be seen as a way to empower poets and their audiences to understand their place better within the world Deaf community and their own national communities.
14
Franco, Márcia Maria de Arruda. "AINDA A REDESCOBERTA DE SÁ DE MIRANDA NO SÉCULO XX: CARLITO AZEVEDO E ALEXANDRE O’NEILL." Revista do Centro de Estudos Portugueses 20, no. 26 (June 30, 2000): 61. http://dx.doi.org/10.17851/2359-0076.20.26.61-80.
Abstract:
<p>Na segunda metade do século XX, a poesia de Sá de Miranda foi redescoberta por alguns poetas da língua portuguesa, nos dois lados do Atlântico. Aqui apresentamos dois exemplos desta redescoberta, o de Carlito Azevedo, nos anos noventa, no Brasil, e o de Alexandre O’Neill, nos anos setenta, em Portugal. Ambos parecem redescobrir a atualidade do poeta antigo através dos irmãos Campos.</p> <p>On the second half of the XXth century, Sá de Miranda’ s poetry has been discovered by some poets of the Portuguese language, on both sides of the Atlantic. Here are presented the discovery of two poets: Carlito Azevedo, in the nineties, in Brazil, and Alexandre O’Neill, in the seventies, in Portugal. Both poets seem to have discovered the newness of Sá de Miranda in the writings of brothers Campos.</p>
15
Q. Alsaeed, Dr Norah Hadi. "MELANCHOLIA AND PESSIMISM IN SOME OF THOMAS HARDY’S POEMS." Journal of English Language and Literature 09, no. 01 (2022): 109–17. http://dx.doi.org/10.54513/joell.2022.9113.
Abstract:
Thomas Hardy is one of the poets of the nineteenth century and a pioneer of the twentieth century’s poetics. More than two thirds of his poems dealt with many topics that are not absent, as they fluctuate between frustration, pessimism, loss, pain, death and life. One of the poet's creations, the unidentified speaker used it to express his point of view about life, death, despair, and other beautiful negative topics. These works require a lot of research and study to decipher the cause of the despair and depression that clouded the works of the poet Thomas Hardy. Despite the pessimistic view of life in many of his poems, it is, from the critics' point of view, attractive in its presentation. Where his pessimism is not considered a disease, but rather a point of view worthy of study and analysis. This paper will shed light mainly on the seeds of the poet’s pessimism and how he presents the literary pessimism in a very attractive literary device.
16
PASTERNAK, Ekaterina. "“CHTO ZH! STAKAN DERZHA VINA // VYP’IEM ZA...”: ABOUT DERZHAVIN IN RUSSIAN POETRY." Lomonosov Journal of Philology, no. 6, 2023 (December 17, 2023): 161–70. http://dx.doi.org/10.55959/msu0130-0075-9-2023-47-06-14.
Abstract:
The article deals with mentions of the name of Gavriil Derzhavin in Russian poetry in 1790-2023. In the poems, the singer of Felitsa appears not only as an outstanding original poet, but also as a lover of truth, a statesman, a representative of the Catherine the Great era, and finally, a friend and acquaintance of his peers and the idol of the young Pushkin and Delwig. In later texts, the image of the real Derzhavin, as we know him from sources, including autobiographical Notes, becomes more and more blurred. Some hypostases of Derzhavin attract poets more often (poet and statesman), others are much less common (a friend of some of his contemporaries), some are not mentioned at all (literary theorist or the author of the mentioned Notes). Such a choice also influences the formation of the image of the poet among the general readers (for example, in the 20th century, one of the favorite plots is the description of the meeting between Derzhavin and Pushkin at the Lyceum, which is clearly related to the importance of this episode in Pushkin’s biography, but not in that of “old Derzhavin”), and among other poets. Avant-garde poets represent Derzhavin in their texts in their own way. Very few poets pay attention to the formal features of Derzhavin’s poems. Sometimes voluminous quotes from his work are included in poems by later authors (for example, by K. Ryleev and K. Simonov). A new poem by German Lukomnikov, lines from which are included in the title of this work, is considered separately: Derzhavin’s name is not mentioned in the text, the poet’s unspoken surname is encrypted in a compound rhyme.
17
Bedoya, Luis Iván. "30 años de poesía colombiana: 9 metáforas y bibliografías." Estudios de Literatura Colombiana, no. 12 (November 8, 2011): 115–50. http://dx.doi.org/10.17533/udea.elc.10541.
Abstract:
Resumen: La nota preliminar de esta copiosa y metódica compilación de Luis Iván Bedoya dice: “Este trabajo registra el resultado de la de revisión de la poesía colombiana de los poetas colombianos nacidos a lo largo de 30 años, entre 1942 y 1972, en cuanto al acervo bibliográfico encontrado y la determinación de nueve metáforas que concentran sus valores temáticos y expresivos. Los poemarios revisados, un poco más de 300, están integrados por libros de poesía, antologías y reuniones de obras de 60 poetas. Éstas han aparecido, también, durante 30 años así: las últimas en el 2002 y las primeras en 1972.” Esta selección contextualiza el trabajo estético de cada poeta “en torno a una metáfora que aglutina una o varias de sus obras, o a la elaboración cabal de poemas en torno a metáforas consolidadas por sus contemporáneos o antecesores”. Descriptores: Poesía colombiana; Bibliografía; Metáfora. Abstract: The preliminary notes of this copious and methodic compilation of Luis Ivan Bedoya says: “This work registers the result of a revision of the Colombian poetry and Colombian poets born around 30 years, between 1942 y 1972, in the concern of their bibliographic heap found and the determination of nine metaphors that form their thematic and expressive value. The collections of poems revised, a bit more than 300, are integrated by books of poetry, anthologies and collections of works of 60 poets. Those works have also appeared during 30 years as follows: the later in 2002 and the former in 1972.” The Bedoya’s selection is methodic because he has selected the writings based on a central question: the aesthetic work of each poet “around a metaphor that agglutinates one or various works or the exact elaboration of the poems around metaphors consolidated by their contemporary and predecessors”. Key words: Colombian Poetry; Bibliography; Metaphor.
18
Karjagdiu, Lirak, and Naser Mrasori. "Influences of George Gordon Byron on Asdren." Anglia 140, no. 3-4 (December 1, 2022): 440–62. http://dx.doi.org/10.1515/ang-2022-0051.
Abstract:
Abstract Poets and writers who introduced Byron to the Albanians a few years before his death, who expressed their sympathy, respect, and admiration for his works, and who were influenced by him in one way or another are Jeronim De Rada, Elena Gjika, Anastas Kullurioti, Faik Konica, Asdren, Luigj Gurakuqi, Ismail Kadare, Agim Shehu, Dhori Qirjazi, Faik Deda, etc. Some of them even wrote poems about Byron. Out of all the aforementioned Albanian poets, one of the Albanian poets most influenced by Byron was Asdren. Using qualitative and comparative literary methods, this article examines the impact of Byron’s poetry on Asdren’s poetry by focusing on the main similarities and differences of these two poets who belong to different literatures and cultures. The paper concludes that Asdren is beyond doubt one of the poets most influenced by Byron. His poems have strange and interesting similarities as well as concordance with the themes, motifs, messages, and style of Byron’s poems. Most likely, Asdren read Byron’s poems and tried to imitate his way of writing, therefore Asdren’s poems are quite similar to Byron’s poems in terms of themes, motifs, symbols, style, etc., though there are differences between their poems as well. The themes and motifs of tyranny, rebellion, struggle for freedom, sacrifice, suffering, honor, death, etc., connect Byron’s poetry to Asdren’s.
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E HOSNE ARA, JANNAT. "Harmonization of Mythology into the Poetry of the Modern Poets: A Study on the Selected Poems of Yeats, Eliot and Auden." International Journal of Language and Literary Studies 4, no. 3 (August 5, 2022): 165–75. http://dx.doi.org/10.36892/ijlls.v4i3.969.
Abstract:
This research is an endeavour to explore the poetry of the three prevalent modern poets William Butler Yeats, Thomas Sterns Eliot and Wystan Hugh Auden, through the lenses of their harmonization of mythology. Though they belong to the modern period in English literature, they reference different types of myths as they teach us moral lessons and profound purpose, explain historical events and add creativity to literary pieces. This study searches for the reason why and how the poets incorporate the usage of mythology into their poetry. In this paper, the writer will allude to some of the lines of different poems of the three poets above. Through the reference of these poems, the reader will come to understand with what purpose the poets integrate the representation of mythology into their poems. Specifically, this research will focus on the poetry of the modern poets. These three poet depict their poems with mythology in their own way. They always try to deploy different myths into their poems as these are very meaningful and purposeful to our life still. Our selected three poets more or less experience both the WWI and WWII and the after effects of these two massive war make them to contemplate for the people, the country and the world. They ruminate on the contemporary devastative circumstances of the world. Through exhibiting various mythical allusions into their poetry, they attempt to rekindle peace and complacency all over the world. The researcher captures evidence from textual reference to support her opinion regarding the related issues. This paper attempts to expose the related reasons why and how the modern poets delineate mythology into their poetry.
20
Glushakov, P. S. "‘For lack of a better word…’ M. Isakovsky’s two letters on A. Prasolov’s poetry." Voprosy literatury, no. 5 (October 30, 2022): 125–40. http://dx.doi.org/10.31425/0042-8795-2022-5-125-140.
Abstract:
Letters of the poet Mikhail Isakovsky to the literary historian Anatoly Abramov (1917–2005) published in this article constitute a portion of the poet’s extensive epistolary legacy. The two selected letters dated 1968 are mainly concerned with the poet Aleksey Prasolov (1930–1972), whose literary career Abramov actively supported. Having approached Isakovsky for an opinion about the Voronezh-based poet’s verses, Abramov received very harsh feedback. There can be a number of reasons why the poems, some later recognised as Prasolov’s best, were dismissed by Isakovsky: the fact that the two poets belonged to very different poetic generations and traditions and adhered to disparate aesthetic principles may have played a key role here. A poet of a traditional folk-poetic formation, Isakovsky rejected Prasolov’s verses, whose poetics is directly influenced by Blok’s modernist experimentations. Isakovsky expected Prasolov, an author of challenging complexity, to write about subjects easily recognisable and clear to the reader. Thus, incompatible ideas about a poet’s purpose and dissimilarity of poetic languages precluded the two remarkable poets from ever meeting in person.
21
Kryeziu, Naim, and Lirak Karjagdiu. "Heinrich Heine in Albanian Literature." Theory and Practice in Language Studies 13, no. 2 (February 1, 2023): 299–310. http://dx.doi.org/10.17507/tpls.1302.04.
Abstract:
Those who wrote about and introduced Heinrich Heine into Albanian literature and culture are the following distinguished Albanian intellectuals, researches and scholars: Javer Malo, Nexhip Gami, Vehbi Bala, Perikli Jorgoni, Pertef Kruja, Robert Shvarc, Petraq Kolevica, etc. However, no all-embracing articles or papers in English or German were written about Heinrich Heine’s presence, popularity and influence on Albanian literature. Therefore, through qualitative and comparative literature methods this article attempts to illuminate the presence, popularity and impact of Heine’s poetry on the poems of some of the most popular Albanian writers and poets, such as: Çajupi, Konica, Noli and Poradeci by focusing on the main similarities and differences of Heine’s poems with those of the aforementioned Albanian poets. The paper demonstrates and proves that it is beyond doubt that the poems of the aforesaid Albanian poets share strange and interesting similarities and a kind of concordance with the topics, motifs, messages and style of Heine’s poems and that he influenced those poets in different ways and to various degrees. The themes and motifs of politics, patriotism, social injustice, longing for motherland, freedom, brotherhood, nature, enthusiasm, love, hate, pain, sadness, disbelief, tradition, anticipation of future, dreams, etc. best connect the poems of Albanian poets to Heine’s.
22
Alashbayev, Yerlan. "Nazira Tradition and “Leyla and Majnun” Love Poem in the Kazakh Literature." Global Journal of Arts Education 6, no. 2 (October 18, 2016): 39. http://dx.doi.org/10.18844/gjae.v6i2.556.
Abstract:
Many works of the eastern poets were devoted to love theme. The most spread “Leyla and Majnun” is a love story originated in Arabic, later significantly expanded to Persian and got its fictional peak in Turkic literature. Poets frequently wrote on this theme. The actual reason is “nazira, nazirashylyk” tradition which is the source of love tradition. Poets wrote their poem lines in Arabic aruz style. That nazira tradition took its continuation in Kazakh steppes in the end of XIX century and in the beginning of the XX century but not exactly in its poem style . It is obvious from the Kazakh writers’ works that the object of written literature was love poems and were written in rhymes. Love poems did not leave the Kazakh poems indifferently. That’s why, poets tried to introduce the eastern poem to Kazakh nation. Kazakh poets were good as eastern poets in terms of the above mentioned theme. After that new works with different styles peculiar to poets were coming out in the literature. This article deals with nazira tradition in the Kazakh literature and “Leyla and Majnun” poem which is written in nazira tradition. Along with it, we try to evaluate the role of nazira tradition as the witness of historical events. Keywords: Kazakh literature, nazira tradition, Leyla, Majnun, love poem ;
23
King, Bruce, and Eunice de Souza. "Talking Poems: Conversations with Poets." World Literature Today 74, no. 3 (2000): 583. http://dx.doi.org/10.2307/40155860.
24
Jones, John H., and Joseph C. Sitterson. "Romantic Poems, Poets, and Narrators." South Atlantic Review 66, no. 4 (2001): 190. http://dx.doi.org/10.2307/3202082.
25
Alpaizova, Busadat Sabyrovna, and Bazargul Toktosunovna Apyshova. "REMEMBERANS POEMS IN POETS’ WORKS." Известия Кыргызского государственного технического университета им. И. Раззакова, no. 3 (2022): 253–57. http://dx.doi.org/10.56634/16948335_2022_3_253.
26
Valentine, Sonia L. "Beginning Poets Dig for Poems." Language Arts 63, no. 3 (March 1, 1986): 246–52. http://dx.doi.org/10.58680/la198625644.
27
Kürtösi, Katalin. "Poets of Bifurcated Tongues, or on the Plurilingualism of Canadian-Hungarian Poets." TTR : traduction, terminologie, rédaction 6, no. 2 (March 16, 2007): 103–30. http://dx.doi.org/10.7202/037153ar.
Abstract:
Abstract Poets of Bifurcated Tongues, or on the plurilingualism of Canadian-Hungarian Poets — This article aims at an analysis of the plurilingualism of four poets of Hungarian origin, living in Canada: Robert Zend, George Vitéz, László Kemenes Géfin and Endre Farkas. Before examining the poems themselves, the various concepts of plurilingualism and the aspects of grouping these poems, including the code-switching strategies used in them, are reviewed. The base language and the nature of code-switching is discussed with a special emphasis on the relationship of grammatical units, intra- and intersentential switches within contexts where plurilingualism occurs. The first three poets have become bilinguals as adults: they form part of Hungarian literature as well as of Canadian writing. The last one, however, has a childhood bilingualism and is considered an English-Canadian Poet. Since they have a twofold minority status (Hungarian origins, plus writing in English in Montréal), analysis of these poets requires a special approach. The main hypothesis of the article is that, when using more than one language within the same work, the author is able to reach special effects which would be otherwise impossible. These poems, plurilingual in nature, also show that, for these authors, language is of multiple use: not only is language a tool of communication, but also the theme of some of their poems: they are often self-reflexive, making formal and semantic experimentation possible.
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Afolayan, Kayode, and INYANG Utitofon Ebong. "Of Divination Tray and the Search for Utopia: A Postcolonial Reading of Okinba Launko’s Selected Poems." KENTE - Cape Coast Journal of Literature and the Arts 3, no. 1 (May 28, 2022): 59–74. http://dx.doi.org/10.47963/jla.v3i1.222.
Abstract:
Primordial oral literary forms have always been very central to the evolution of modern African literature. Arguably, these forms have impacted on modern African poetry, not only on account of their recurrence in the works of poets, but also as important indices in current poetry studies and criticism. Contemporary African poets have since stretched the limits and aesthetics of these forms to emphasize their relevance in the postcolonial space, following after the Negritude poets who set the antecedent in the use of Africa’s primordial forms,. This paper, using selected poems from Okinba Launko’s Dream-Seeker on Divining Chain (1993), Commemorations (2007) Seven Stations Up the Trays Way (2013), discusses the different tropes and manifestations of oral forms in modern African poetry. The writers isolate the poet’s use of Ifa, the Yoruba divinity muse, to comment on the dilemmas of the postcolonial space. The paper concludes that the dialectic prism of Okinba Launko’s poetry exteriorizes a neo-negritude template that sustains the relevance of primordial forms in African poetry.
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Sharma, Pradip. "Poetic Politics in the Confessional Poetry of Lowell and Plath." Literary Studies 35, no. 01 (March 9, 2022): 89–97. http://dx.doi.org/10.3126/litstud.v35i01.43683.
Abstract:
This paper critically examines the cultural shifts the confessional poets mainly Robert Lowell and Sylvia Plath brought in post war American poetry. Under the rubric of postwar isolation ongoing developmental practices induced by Fordist culture whatever psychic disturbances the contemporary generations encountered, are reflected in Lowell and Plath’s poetry. Unlike St. Augustine’s sacramental confession, confessional poetry primarily aims at autobiographical self-exploration in essence. Yet, the confessional poetry departs from the life writing with its sharp delving into the poet’s life. The kernel point of this paper is to discuss the way the poets debunk the boundary between private and public domain and the way they prefer to write on socially stigmatized issues like alcoholism, mental illness, adultery, suicidal thought, and depression. By exploring these issues, I argue that confessional poetry penetrates into the poetics of politics under postmodernism which blurs the border line of raw and cooked, decent and profane matters. While examining the selected poems of Lowell and Plath, the cathartic motto of the poets has been highly focused when they express their troubled experiences which were indecent in the past.
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Venn, Edward. "SERENADES AND ELEGIES: THE RECENT MUSIC OF HUGH WOOD — PART II." Tempo 59, no. 233 (June 21, 2005): 26–37. http://dx.doi.org/10.1017/s0040298205000215.
Abstract:
Geoffrey Hill's latest book of poems, Scenes from Comus, borrows its title from Wood's op. 6, and is dedicated to the composer for his seventieth birthday. The two men have been friends for many years and are exact contemporaries: for the poet's seventieth birthday, Wood wrote a vocal-instrumental setting of Hill's Tenebrae. This interchange between poet and musician highlights Wood's abiding concern with poets and poetry, and particularly English verse of the 20th century. He has described this repertoire as ‘a treasure-house, and our poets continue to produce good lyric poetry to this day: it's a waste of being English not to draw on these riches; and the composer has a particular duty to the poets of his own time’. More recently, Jeremy Thurlow has drawn attention to Wood's ‘idiomatic and refined response to English verse: his songs for voice and piano form a considerable part of his oeuvre and must be considered the most distinctive and substantial contribution to British song-writing since Britten and Tippet’.
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S, Selvakumaran. "Feminist thought in the poems of modern women poets." International Research Journal of Tamil 3, no. 4 (September 17, 2021): 122–29. http://dx.doi.org/10.34256/irjt21415.
Abstract:
The poems of women poets have recently gone beyond the status of talking about women's life through feminist ideas and speaking of women's liberation. Some people's writings arise based on feminist theoretical definitions. There are differences between theoretical ideas naturally within a work and the creation of a work standing within the theory. If a work is created based solely on theory, it can distort creativity itself. But there are two different conditions, including this tendency, in the poems of modern women poets. They vary depending on the understanding of the poets. This article deals with feminism in the poetic tendencies of contemporary women poets like Lena Manimegalai, Vijayalakshmi, Kuttirevathi, Sugirdharani and others.
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Nguyen Hong, Linh. "Tang poetry of some poets during their exile in Vietnam." Journal of Science Social Science 67, no. 1 (February 2022): 23–31. http://dx.doi.org/10.18173/2354-1067.2022-0003.
Abstract:
The Tang Dynasty had a prosperous economy and political stability and good educational policies marking the golden age of Tang Poetry with the greatest number of poets and the most brilliant number of compositions in the history of classical Chinese poetry. As a precious cultural heritage, Tang poetry and the culture of the Tang Dynasty were positively received in Vietnam… Vietnam has been many in-depth research works about regarding the influence and reception of some typical poets of the Tang period, namely DuFu, Li Bai, Bai Ju Yi… Other Tang poets are still faint silhouettes. In the process of studying the history of the propagation and reception of Tang poetry into Vietnam, we have more knowledge about Tang poems composed by poets during their exile in our country. They have an intimate relationship with Vietnamese writers, so they have had the opportunity to disseminate the Tang poetry, and have contributed several poems with the enormous value in content and art at the same time. Within the scope of the article, we focus on introducing and surveying poetry in the exile of two poets of the Early Tang period – namely Du Shen Yan and Shen Quan Qi. The survey of poems written in a special historical period by two poets shows that the beauty and undying vitality of the Tang poetry is also the contribution of poems describing Vietnam’s nature, landscapes, and Vietnamese.
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Dr Muhammad Mohsan. "THEMATIC SIMILARITIES BETWEEN IQBAL AND HIS CONTEMPORARY POETS." Tasdiqتصدیق۔ 4, no. 2 (December 30, 2022): 127–38. http://dx.doi.org/10.56276/tasdiq.v4i2.110.
Abstract:
Iqbal was a great poet of modern Urdu poetry and his contemporary poets directly accepted his influence. Iqbal's poems were published in Sir Abdul Qadir's magazine "Makhzn", so he gained fame very quickly. His contemporary poets started imitating his themes and styles when he became famous. In the beginning, Iqbal made the phenomena of nature the subject of his poems. His contemporary poets have also presented the beauty of nature in their poetry. Soon Iqbal changed his direction of thought and awakened the consciousness of the nation. When Iqbal started patriotic, national, and reformist poetry, themes of national nature flourished in his contemporaries' poems. The poetry of Iqbal's era is intellectually homogenous and common. The main reason is that Iqbal and his contemporaries share many revolutionary ideas and national thoughts. In the poems of Iqbal and his contemporaries, dreams are found for the country's bright future. In their poetry, the description of the homeland, India's greatness, and the scenes of nature are reflected. Iqbal and his contemporary poets have made naturalism, nostalgia, patriotism, and children's literature the same subject. They have the same reform, moral, political, and social consciousness. Iqbal and his contemporary poets were patriotic. They revealed the hidden secrets of the universe and nature. In the poetry of Iqbal and his contemporary poets, the element of message and preaching is prominent. There is a lot of similarity in their imagination and thoughts.
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Khadka, Kul Bahadur. "The Un-bodied Voices in Shelley’s “To a Skylark” and Keats’s “Ode to a Nightingale”." Journal of Development Review 8, no. 1 (August 1, 2023): 16–21. http://dx.doi.org/10.3126/jdr.v8i1.57130.
Abstract:
B. Shelley and John Keats are noted Romantic poets and their works are celebrated. In this article, Percy Bysshe Shelly’s “To a Skylark” and John Keats’s “Ode to a Nightingale” have been appreciated. The skylark and the nightingale seem to be similar birds while reading the poems simultaneously. Shelley glorifies the skylark’s song and Keats immortalizes the nightingale due to its melodious song. The article, structured in four headings- Introduction, Appreciating, The Un-bodied Voices and Conclusion, introduces the poets and their aforesaid poems. It appreciates both the poems in matter of the contrasts and commonalties between the birds, the major themes in the poems, the poets’ power of imagination and the un-bodied voices in the poems. It makes a quest for how the un-bodied voices in the poems represent idealism in contrast to the harsh reality of life. To appreciate the poems and further strengthen the ideas, the poets’ respective poems and books by various writers have been consulted. The article concludes that the songs of the skylark and the nightingale are the un-bodied voices which symbolize beauty, purity, perfection and freedom. These un-bodied voices are in contrast to the harsh reality of human life on the earth.
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Unal, Yener. "Mehmet Akif Ersoy’un Orta Asya Türk Dünyası İle İlgili Müşahedeleri." International Journal of Social Sciences 7, no. 30 (June 25, 2023): 139–51. http://dx.doi.org/10.52096/usbd.7.30.10.
Abstract:
In his poems, Mehmet Akif Ersoy expresses the troubles and sufferings of the Central Asian, Caucasian and Balkan nations that were left unclaimed during the collapse of the Ottoman Empire. In this study, the issue of Central Asia and its problems in Ersoy's works will be discussed. The research draws attention to the backwardness, poverty and suffering of the local people of the Turkish world. Akif takes his place among the most important poets of Turkish Literature with his originality of the world of thought and his strong style in the language of poetry. The unique features of the poet's poems played an important role in Akif's special place among many poets of his time. The world view shaped around these values in Akif's works of understanding of Turkishness and Islam attracted attention not only in Anatolia but also in other places. Akif clearly describes some of the negative situations experienced by the geography of the Turkish World in his works. By drawing attention to the problems of the society in which he lives, he investigates how the problems arise and looks for ways to solve them. Akif also attaches special importance to the Turkish world living in the geography of the Islamic world. The poet, who describes the difficulties and poverty in the Turkish world in his works, tells the general situation in the Turkish world. In his work, Süleymaniye Chair, Abdürreşid İbrahim sheds light on the important issues of the region with his own words. The information about Central Asia in the poet's works reflects the understanding of national unity and integrity. Akif's influences in the Turkish World increased with Sırat-ı Müstakim, and it was effective in his transformation into a man of action. In this article, the characteristics of Akif, which are considered remarkable by the poets of the Turkish World, are discussed. In the examination, in which the interest shown by some Turkish World Poets to Akif's poems and personality is reflected in comparative texts, the identification of poets who had direct contact with Akif or who carried his influence into their poems, and the context in which they were affected, were evaluated considering the social and political conditions of the period. This study was carried out in order to determine the themes such as the problems of the Central Asian Turkish World, independence, awakening, underdevelopment and poverty in the works of Mehmet Akif Ersoy. In order to achieve this aim, qualitative research and comparison method was used in this study. In order to collect data in the research, the document analysis method from the qualitative research motifs was used. The data obtained are also given within the framework of the work “Safahat”. Key Words: Mehmet Akif Ersoy, Türk World, Safahat, Suleymaniye Kursusunde, Sırat-ı Müstakim.
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Englund, Harri. "Love and homophobia in Malawi's spoken-word poetry movement." Africa 91, no. 3 (April 26, 2021): 361–87. http://dx.doi.org/10.1017/s0001972021000255.
Abstract:
AbstractBy the early 2010s, a number of Malawian poets in their twenties had begun to substitute the elliptical expression of earlier generations with a language that resonated with popular idioms. As poetry directed at ‘the people’, its medium is spoken word rather than print, performed to live audiences and distributed through CDs, radio programmes and the internet. Crafted predominantly in Chichewa, the poems also address topics of popular interest. The selection of poetry presented here comes from a female and a male poet, who, unbeknown to each other, prepared poems sharply critical of homosexuality and what they regarded as its foreign and local advocacy. The same poets have also gained success for their love poems, which have depicted intimate desires in remarkably compatible ways for both women and men. The poets who performed ‘homophobic’ verse went against popular gender stereotypes in their depictions of romantic love and female and male desires. This introductory essay, as a contribution toAfrica's Local Intellectuals series, discusses the aesthetic challenges that the new poets have launched in the context of Malawi's modern poetry. With regard to gender relations in their love poems, the introduction also considers the poets’ possible countercultural contribution despite their avowed commitment to perform for ‘the people’.
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Rahman, Muhd Mustafizur. "An Overview of the Romantic Age, Romantic Poets and Romantic Poetry in English Literature: A Critical Analysis." Integrated Journal for Research in Arts and Humanities 3, no. 4 (July 13, 2023): 43–54. http://dx.doi.org/10.55544/ijrah.3.4.6.
Abstract:
This article aims at giving an overview on the whole romantic period. The start of the romantic period, the way it happened, the poets that helped to make this period shine, the background of the poets and the details of the romantic poetry that ruled this era – all of the aspects are described very elaborately in this article. The romantic age was established at the end of the eighteenth century and it lasted up to the 30’s of the nineteenth century. This romantic period replaced the neoclassical period where the classical poets like Alexander Pope made classical poetry famous among readers. Elements such as imagination, emotion, nature were used very passionately in the romantic poetry. There are more than four poets who wrote romantic poems in this period but only the life and poetry of the significant four poets are written in this article who was William Wordsworth, Samuel Coleridge, John Keats, P. B Shelley. Wordsworth and Coleridge were the very first influencers of the romantic period. Wordsworth portrayed nature very artistically with his imagination in his poems. He wrote poems to pleasure the feelings of the common people. His close friend, Coleridge was influenced by some early politic affairs, his master James bowers and poet William Bowles to write romantic poetry. His investigation of the human nature through his poems made his poems very relatable. John Keats came after Wordsworth and Coleridge in this era. He upheld beauty and imagination frequently in his writing and shared the importance of his created term ‘negative capability.’ P.B Shelley differed from the other romantic poets by giving some importance to logic. He cared about morality and good lessons in his poems. He also portrayed melancholy very beautifully with his pen. This article will guide people in knowing even the little things of the romantic era.
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Abdullah, Ahmed Mahmood, and Hawshen Slewa Eessa. "Elements of Short Poems by (Mudrik Zhali)." Journal of University of Raparin 8, no. 2 (June 7, 2021): 1–23. http://dx.doi.org/10.26750/vol(8).no(2).paper.1.
Abstract:
This research is entitled: ( Elements of Short Poems by (Mudrik Zhali)) .It consists of third sections, which are an attempt to define and use the content, form and Elements value of poetry. It has several concepts in contemporary Kurdish poetry, especially among contemporary poets in the last century in (Koya) city.
This present research has scientific significance and value in the field of regeneration and highlighting the poet's ability and talent in this field. For this research, we used an analytical and descriptive method. It consists of third topics: The first topic: Experience of the poet (Mudrik Zhali).. The concept of haiku. The second topic: Elements language, poetic music, poetic image, and symbols in poet’s poetry. The third topic: Reading poetry of (The Eves of the Memories of the Impossible Love).With abstracts of the research in Arabic and English and a list of references.
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Maher Ennad Al-Hamoud, Abdul-Karim Al-Hussein, Maher Ennad Al-Hamoud, Abdul-Karim Al-Hussein. "Poetic thefts in Al-Farazdaq's poetry: السَّرِقَات الِّشعْرِية فِي شِعْرِ الفِرزدق." مجلة العلوم الإنسانية و الإجتماعية 5, no. 16 (December 27, 2021): 55–33. http://dx.doi.org/10.26389/ajsrp.r090821.
Abstract:
The research studies the issue of poetic thefts at Al-Farazdaq, relying on the classifications of the ancient critics, trying to reveal what were the reasons that prompted the poet to steal, studying the critical issue and their types of theft in the poet's poetry, , and critics' opinions on the issue of taking poet from other poets. It has an ancient history of our Arab literature dating back to the first early Arab poetry. Research has studied the types of robberies found in in the poet's poetry. Raiding, usurpation plagiarism the Impersonation, the Vilification and its reasons for the desire of the poet to acquire the unique verses that fit his doctrine of pride. So the search consisted of two researchers and one finalist, the first researcher took up thefts and their types in the hair of the frieze. And the poet's knowledge of it, and the research showed the critics' view of Al Farazdaq thefts. The second researcher studied thefts statistically explaining the way in which poets were taken and how many poets were The second researcher studied thefts statistically explaining how many poets had acquired their poets and how many poets had acquired their poetry. Poetic theft is an important phenomenon that requires research, study and further elaboration of its monetary and psychological impact.
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Rasul, Hawkar Qadir, and Rebaz Mohammad Amin. "The Technique of Repetition in the Poems of Farhad Pirbal and Foroughi Forukhzad." Journal of University of Raparin 10, no. 1 (March 29, 2023): 329–44. http://dx.doi.org/10.26750/vol(10).no(1).paper16.
Abstract:
This research is entitled "The Technique of Repetition in The Poems of Farhad Pirbal and Foroughi Forukhzad" by benefiting from the principles of the French school in the science of literature comparison, one of the most important elements of poetry is the poetry of both poets, the technique of repetition, as a prominent principle and embodiment of the structure of inner music in new poems in general and the poetry of both poets in particular. The comparison between the two poets seems to be due to the fact that, despite the fact that the poetry experiences of both poets are very similar in many ways, this is a valuable focus on the science of literary comparison, on the other hand. The repetition technique is seen as a prominent symbol of the poetic style of both poets in terms of belief, which we believe is a fully aware process and is worth considering by the French school. That is why, despite the repeated types of repetition by both poets, we have pointed to the similarity and co-ordination of the worldview of both poets, and we have proved to what extent pirbal's poetry experience has been influenced by The Worldview of Forough Farrokhzad.
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Traoré, Moussa. "An Ecocritical Reading of Selected African Poems." KENTE - Cape Coast Journal of Literature and the Arts 1, no. 1 (December 19, 2019): 74–89. http://dx.doi.org/10.47963/jla.v1i1.87.
Abstract:
This paper discusses some ecocritical ideas in selected poems by Kofi Awoonor, Kofi Anyidoho and the Negritude poets David Diop and Birago Diop. Drawing on postcolonial ecocriticism theory the paper focuses on ecocritical symbolisms and their ramifications in order to show how African poets attend to the environment, community and modernity’s many flaws. The consideration of the Negritude poems in this study stems from the fact that Negritude Literature in general and the selected poems in particular have been examined mainly within the context of Black African identity and the antiracist effort in general. The paper demonstrates that ecological motifs or symbols are deployed by some African poets to express life, survival, and nostalgia.
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Du Plooy, H. J. G. "Skuil daar ’n verhaal in ’n liriese gedig? Nederlandstalige digters oor narratiwiteit in die poësie: Robert Anker, Tomas Lieske, Leonard Nolens, Willem van Toorn en Eva Gerlach." Literator 31, no. 3 (July 25, 2010): 139–60. http://dx.doi.org/10.4102/lit.v31i3.62.
Abstract:
Is there a narrative hidden in a lyric poem? Dutch poets on narrativity in poetry: Robert Anker, Tomas Lieske, Leonard Nolens, Willem van Toorn en Eva Gerlach This article is concerned with the views expressed by poets on narrativity in lyric poems. Contemporary poetic ideas and tendencies, such as the preference for longer poems, the use of sequences (sequential poetry) and cycles, are used as a point of departure and thus the argument is linked to historical issues. A motivation for the theoretical approach is provided because the article forms part of a larger project in which narrative structures and techniques in lyrical poetry are studied. The main part of the article is devoted to a discussion of the ideas of five poets, who write in Dutch, on the role and function of narrativity in their recent work. The discussion is based on extended interviews conducted with these poets. The article is concluded with an analysis and interpretation of a short cycle of poems by Eva Gerlach.
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Peeters, L. "Digterskap en poëtíkale besinning by vier Franse Simboliste." Literator 13, no. 1 (May 6, 1992): 119–34. http://dx.doi.org/10.4102/lit.v13i1.729.
Abstract:
When one studies the influence of French Symbolism on contemporary Western poetry it is necessary to define both Symbolism and influence. The first term is problematic not only because it is difficult to delimitate the reality it designates but because of the nature of the movement itself Rather than defining from the outside we will try to understand the genesis of the work of the four great 'symbolist’ poets in France, namely Nerval, Baudelaire, Rimbaud, and Mallarme. We do not consider the notion of influence as causal but as a confrontation from one poet’s work with that of another, the presence of poets of the past in the thinking of later poets. The structural genesis of the poetics of the four poets shows a marked resemblance in as far as they' all overestimate the creative capabilities of imagination and language. Their poetry is not so much a meditation about the essence of poetry as an interrogation about its power to change reality. Modem poetry develops thus inside a tension between dream and action, but it is only now, in the work of the most lucid contemporary' poets, and after the sometimes draconian claims of theory in the human sciences, that attention has focused on a possible solution of poetry's dilemma which was already present in the French poet's work: this solution can be indicated with the word caritas in the strong sense of the word namely the acceptation of contingency, the need of incarnation and the pursuit of universality through poetic language.
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Golkarian, Ghadir. "Nasimi's thought and effect in Comparative Literature in Foreign Resources (Analyzing with Goethe's, S. Remiev’s and Dafydd ap Gwilym)." Revista Amazonia Investiga 9, no. 29 (May 18, 2020): 264–72. http://dx.doi.org/10.34069/ai/2020.29.05.30.
Abstract:
Imadeddin Nasimi is one of the mystical poets of the 14th century as a continuation of the Hurufism movement among Turkish poets. From Nasimi's point of view, ontology has been explained based on theological thought that everything is from the first force, which is equivalent to the whole new soul of the Platonists. The first appearance and the highest manifestation is the originality, the "Word" or the "Word of God," which is called the holy word. A similar view of the origins of Plotinus can found in the poems of other talented medieval and contemporary poets. Nasimi appropriately evaluated in both Eastern and Western literature. Therefore, 2019 was declared the year of Nasimi by UNESCO. He tried to understand God, not through fear, but love and conscience. The greatness of the perfect human personality for the progress of societies can be seen in Nasimi's view. In foreign sources, the philosophical aspect of Nasimi's poems is considered more than his ideological approach. But in this article, the aim of the investigation is that the literary, mystical, and worldview aspects of Nasimi and analyzing the effect of his mystical view on other poets' poems. In this context, Goethe, Dafydd ap Gwilym, Remiev's intellectual approaches, and poems would be analyzed. In the philosophy of ontology, the importance of self-knowledge is a priority. Therefore, based on comparative studies between Nasimi's mystical thought and German, Russian, and English poets, it is possible to understand the constituent elements of the commonality between them. This research will lead to the study of philosophical-mystical themes and the similarity of views between Nasimi and other poets. The use of the research method is the analytical-descriptive method, and their poems compared and criticized. The results of the analysis show that the poets of the Western World influenced by the mystical view of the Eastern world, and the approach of literary celebrities in the world is common to the definition of a perfect human being.
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Batalov, S. A. "Behind a cold wall. Evgenia Jen Baranova. Where There Is Golden, There Is White [Gde zolotoe, tam i beloe]." Voprosy literatury, no. 2 (March 29, 2024): 51–59. http://dx.doi.org/10.31425/0042-8795-2024-2-51-59.
Abstract:
Batalov reviews a new collection of poems by the contemporary author and editor of the Formaslov publisher Evgenia Jen Baranova. The critic traces the principal motifs of Baranova’s lyrical poetry and considers the evolution of her work through the prism of Tsvetaeva’s concepts of ‘poets with history’ and ‘poets without history.’ He believes that, from the very outset, Baranova has sided with the latter, being mostly interested in low-key lyrical poetry with its emphasis on experiences and anxieties of the inner self rather than the outside world. In contrast to her previous collections also briefly discussed in the review, her new book Where There Is Golden, There Is White [Gde zolotoe, tam i beloe] includes poems that contemplate the poet’s attitude to reality. According to Batalov, Baranova seems to have developed a better understanding of the current period with its chronological and geographical circumstances and has the power to engage in a dialogue with time on virtually equal terms, all of which makes her new book a showcase for her impressive poetic talent and versatility.
46
Nnyigide, Nkoli. "Nzipụta Mmekọrịta Mmadụ na Ekerechi n’Abụ Ederede Igbo a Họọrọ." UJAH: Unizik Journal of Arts and Humanities 23, no. 2 (March 30, 2023): 139–65. http://dx.doi.org/10.4314/ujah.v23i2.7.
Abstract:
This study examines selected Igbo written poems so as to observe the extent to which the poets have represented various natural phenomena such as trees, sun, moon, rain, among others and the relationship between man and his environment in their poems. It is obvious that some Igbo poets like the Western poets represent some natural phenomena in their creative works. Their major concern is to project these natural phenomena and enhance the relationship between humans and these phenomena through their literary works. In spite of the efforts of many Igbo poets in representing different natural phenomena in their poems, previous studies have shown that some Igbo literary scholars, critics, teachers and students show more interest in studying other issues represented in Igbo written poetry like issues that border on the society, politics, leadership, gender, religion, culture, economy, among others. This shows that they do not have interest in the natural phenomena and the purpose for their representation in written Igbo poetry. It is against this backdrop that this study examines the natural phenomena prominent in the selected Igbo written poems so as to identify the nature of relationship between these natural phenomena and man as projected by the poets. The study adopted the ecocritical literary theory in analysing the selected poems and the data were presented descriptively. From the analysis, this study reveal that the selected poems represented the importance of some natural phenomena to man especially the economic values. This study also observed that there is good relationship between the natural phenomena projected in the selected poems, among other findings. It is hoped that this study would help to project and enhance the relationship between man his environment.
47
Nnyigide, Nkoli. "Nzipụta Mmekọrịta Mmadụ na Ekerechi n’Abụ Ederede Igbo a Họọrọ." UJAH: Unizik Journal of Arts and Humanities 24, no. 2 (March 8, 2024): 86–123. http://dx.doi.org/10.4314/ujah.v24i2.3.
Abstract:
This study examines selected Igbo written poems so as to observe the extent to which the poets have represented various natural phenomena such as trees, sun, moon, rain, among others and the relationship between man and his environment in their poems. It is obvious that some Igbo poets like the Western poets represent some natural phenomena in their creative works. Their major concern is to project these natural phenomena and enhance the relationship between humans and these phenomena through their literary works. In spite of the efforts of many Igbo poets in representing different natural phenomena in their poems, previous studies have shown that some Igbo literary scholars, critics, teachers and students show more interest in studying other issues represented in Igbo written poetry like issues that border on the society, politics, leadership, gender, religion, culture, economy, among others. This shows that they do not have interest in the natural phenomena and the purpose for their representation in written Igbo poetry. It is against this backdrop that this study examines the natural phenomena prominent in the selected Igbo written poems so as to identify the nature of relationship between these natural phenomena and man as projected by the poets. The study adopted the ecocritical literary theory in analysing the selected poems and the data were presented descriptively. From the analysis, this study reveal that the selected poems represented the importance of some natural phenomena to man especially the economic values. This study also observed that there is good relationship between the natural phenomena projected in the selected poems, among other findings. It is hoped that this study would help to project and enhance the relationship between man his environment.
48
M, Munees Moorthy. "'Ur (Town)' in the classical theory of Thinai: Based on Aingurunooru." International Research Journal of Tamil 4, S-13 (November 21, 2022): 137–43. http://dx.doi.org/10.34256/irjt224s1319.
Abstract:
The land is the basis for the survival of life. Therefore, the ancient Tamil poets and the ancient Tamil grammarians gave more importance to the land in the functions of creation and grammar. It is worth noting here that in the three-subjects distinction between the ecological and moral symbolism of human life (the triad of the first, thematic, and the object), the land and time are the primary objects. The strategies adopted by classical Tamil poets to place internal and external emotions as poems are essentially very important and should be identified separately. In particular, the poets who have written the Agam songs have inculcated in their minds the idea of Thinai theory (land, time, natural resources, etc.). One of the classical books in Tamil is Aingurunooru. The poets who have composed the chapters in this book, which have been planned and recited in five categories, have also composed poems with the names of the towns. The poets have composed the poems with a good understanding of the Thinai. Poets have given a significant place to the land (the habitat) in the singing of nature. This character can be seen in Aingurunooru. We can also take this as a general theoretical concept for the Sangam Classical texts on the place name post, like Orupanai chothukku is oru choru padham (for the entire pot, it is enough to test the single grain for the desired level of cooking).
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Ding, Fang. "The Making of Classics: Li Bai and Du Fu’s Poems in Anthologies of Tang Poetry between the Tang and the Ming Dynasties." Journal of Chinese Humanities 8, no. 2 (September 14, 2022): 163–88. http://dx.doi.org/10.1163/23521341-12340131.
Abstract:
Abstract The canonization of Li Bai and Du Fu’s poetry occurred over a period that spanned centuries and dynasties. The treatment of Li Bai and Du Fu’s works differed through the ages. Among anthologies from the Tang and the Five Dynasties that remain to our disposition today, only three contain poems by Li Bai, and only one includes some by Du Fu. Tang compilers had a poor opinion of the two poets. Their criticism contrasts substantially with the praise that was offered by Han Yu and other poets. During the Song and Yuan dynasties, scholars held Li Bai and Du Fu in high regard, yet their poems were often omitted by compilers. The main reason for this exclusion was that both poets’ complete works had long been considered unworthy and set aside. Compilers respected the skills of the two poets, but they did not truly appreciate their work. During the Ming dynasty, anthologies would comment on the two poets as important figures of literary history. Compilers praised their art as being of the highest quality. By then, both poets were highly respected, and their poems had officially already been made into classics. In the process of becoming classics, works of art can be seen as enduring, and as cumulating value through different periods of time. Times keep on changing, yet the significance of Li Bai and Du Fu’s poetry became all the more obvious as centuries passed.
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Nasir, Zayana. "Female Voice in Urdu Poetry." Orientalistica 4, no. 3 (October 12, 2021): 758–67. http://dx.doi.org/10.31696/2618-7043-2021-4-3-758-767.
Abstract:
This essay aims at understanding the development and struggles of a ‘female voice’ within Urdu poetic tradition through the writings of women poets of the Nineteenth century in contrast to the women poets of the twentieth-century feminist movement. The women in traditional Urdu poetry have remained a silent cruel beloved, the image offered is that of a ‘feckless beloved, endowed with heavenly beauty, reigned: fair to face, doe-eyed, dark hair, tall and willowy, a woman who vacillated from indifference, shyness and modesty to wanton cruelty. The essay is an attempt to understand the level of autonomy of the female voice in the poems of women poets through the years. To portray the development of a feminine expression in Urdu poetry the paper will be ranging from the poems of tawaifs (courtesan) of the eighteenth century like Mah Laqa Chanda, their attempts to acquire a place within the patrilineal Urdu literary tradition; the rekhti tradition where men wrote poems in a female voice, to the twentieth century feminist poets like Kishwar Naheed and Fehmida Riaz. The paper is based on Hakim Fasihuddin Ranj’s anthology ‘Baharistan-i-Naz’ which provides a brief yet important introduction on the status of various tawaif poets within the Urdu literary circle; Rahat Azmi’s Halat-i-Mah Laqa, a biographical work on the life and works of Mah Laqa Bai Chanda; and Rukhsana Ahmad’s ‘We Sinful Women’, a compilation of the original and translated works of feminist women poets of twentieth-century Pakistan. Various secondary sources have been used to understand the dynamics behind the writing style of these poets and how similar terms came to be used for portraying completely distinct themes.