Journal articles on the topic 'POVM reconstruction'
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1
Vitek, Marek, Michal Peterek, Dominik Koutny, Martin Paur, Bohumil Stoklasa, Libor Motka, Zdenek Hradil, Jaroslav Rehacek, and L. L. Sanchez-Soto. "Reconstruction of coherence matrix in x-representation using nonclassical Hartmann sensor." EPJ Web of Conferences 266 (2022): 10012. http://dx.doi.org/10.1051/epjconf/202226610012.
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We show the coherence properties of a signal can be measured by a Hartmann wavefront sensor in a nonclassical regime. Recasting the detection theory of the classical Hartmann sensor in the sense of quantum tomography enables to measure the coherence function, which is an analogy to the density matrix of mixed quantum states. Two methods were tested for the reconstruction of the coherence matrix from the intensity scan in the nonclassical mode of the Hartmann sensor. The reconstruction was performed in a classic way using the POVM matrix and using data pattern tomography.
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Maciejewski, Filip B., Zoltán Zimborás, and Michał Oszmaniec. "Mitigation of readout noise in near-term quantum devices by classical post-processing based on detector tomography." Quantum 4 (April 24, 2020): 257. http://dx.doi.org/10.22331/q-2020-04-24-257.
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We propose a simple scheme to reduce readout errors in experiments on quantum systems with finite number of measurement outcomes. Our method relies on performing classical post-processing which is preceded by Quantum Detector Tomography, i.e., the reconstruction of a Positive-Operator Valued Measure (POVM) describing the given quantum measurement device. If the measurement device is affected only by an invertible classical noise, it is possible to correct the outcome statistics of future experiments performed on the same device. To support the practical applicability of this scheme for near-term quantum devices, we characterize measurements implemented in IBM's and Rigetti's quantum processors. We find that for these devices, based on superconducting transmon qubits, classical noise is indeed the dominant source of readout errors. Moreover, we analyze the influence of the presence of coherent errors and finite statistics on the performance of our error-mitigation procedure. Applying our scheme on the IBM's 5-qubit device, we observe a significant improvement of the results of a number of single- and two-qubit tasks including Quantum State Tomography (QST), Quantum Process Tomography (QPT), the implementation of non-projective measurements, and certain quantum algorithms (Grover's search and the Bernstein-Vazirani algorithm). Finally, we present results showing improvement for the implementation of certain probability distributions in the case of five qubits.
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Wehlau, Ruth. "Rumination and Re-Creation: Poetic Instruction in The Order of the World." Florilegium 13, no. 1 (January 1994): 65–77. http://dx.doi.org/10.3138/flor.13.005.
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The Old English poem The Order of the World contains another poem within itself, a poem that is offered to the reader with the specific purpose of providing a sample or model of good poetry. Although this sample poem is to some extent based on Psalm 18, it is neither a translation nor a paraphrase of the psalm. Rather, it is a reconstruction of the psalm in an Old English idiom.
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Myers, Benjamin. "Predestination and freedom in Milton's Paradise Lost." Scottish Journal of Theology 59, no. 1 (February 2006): 64–80. http://dx.doi.org/10.1017/s0036930605001614.
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John Milton's epic poem Paradise Lost (1667) offers a highly creative seventeenth-century reconstruction of the doctrine of predestination, a reconstruction which both anticipates modern theological developments and sheds important light on the history of predestinarian thought. Moving beyond the framework of post-Reformation controversies, the poem emphasises both the freedom and the universality of electing grace, and the eternally decisive role of human freedom in salvation. The poem erases the distinction between an eternal election of some human beings and an eternal rejection of others, portraying reprobation instead as the temporal self-condemnation of those who wilfully reject their own election and so exclude themselves from salvation. While election is grounded in the gracious will of God, reprobation is thus grounded in the fluid sphere of human decision. Highlighting this sphere of human decision, the poem depicts the freedom of human beings to actualise the future as itself the object of divine predestination. While presenting its own unique vision of predestination, Paradise Lost thus moves towards the influential and distinctively modern formulations of later thinkers like Schleiermacher and Barth.
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Iplina, Antonina Alekandrovna. "Reconstruction of Uzbek poetry image system in translation." Interactive science, no. 10 (44) (October 19, 2019): 30–32. http://dx.doi.org/10.21661/r-508132.
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The article deals with the poetic system of images in the poetic speech of Uzbek lyrics on the material of the poem «Oshi halol» by the modern popular poet and translator Rustam Musurmon in the original language, as well as translations into English and Russian in a comparative aspect.
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Bammesberger, Alfred. "A Doubtful Reconstruction in the Old English Ruthwell Crucifixion Poem." Studia Neophilologica 74, no. 2 (January 2002): 143–45. http://dx.doi.org/10.1080/003932702321116163.
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Staroń, Ireneusz. "Wiersz jako parodia cytatu. „List do PI” Krzysztofa Koehlera." Prace Literackie 57 (July 12, 2018): 89–103. http://dx.doi.org/10.19195/0079-4767.57.8.
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The poem as aparody of aquote. Krzysztof Koehler’s List do PIThe article attempts to analyse the poem List do PI The letter to PI, one of the most representative of Krzysztof Koehler’s poetry. In the poem aquote from Horace’s Letter to the Pisos is treated as acrucial component of the lyrical subject creation. The lyrical “I” is both an Amfion’s creator and an ironist who changes the sense of each word during his “comic journey”. It must, however, be borne in mind that on the global level the ironisation of the lyrical world is only that what Linda Hutcheon called an “authorized transgression”. Essential for the Koelher’s parody is the reconstruction of the language.
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Nauta, Ruurd. "Catullus 63 In a Roman Context." Mnemosyne 57, no. 5 (2004): 596–628. http://dx.doi.org/10.1163/1568525043057900.
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AbstractIn this paper,1) Catullus' intentions in writing the Attis poem and his possible use of a Greek model are deliberately left out of account. Instead, the focus is on the meaning his poem may have had for his contemporary audience. Attis is a gallus, a castrated devotee of the Mater Magna, and thus a reconstruction is attempted of the mental picture that Romans of Catullus' time had of galli. Special importance is given to Lucretius' excursus on the Mater Magna, and his interpretation of castration as a punishment for lack of pietas. Finally, a slightly later source, Vergil's Aeneid, is used to suggest that Catullus' poem may also have been read as participating in a discourse about Roman national identity.
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Krasnikova, A. S. "Selvinsky’s Ulyalaevshchina in 1924–1927." Voprosy literatury, no. 4 (August 19, 2021): 34–69. http://dx.doi.org/10.31425/0042-8795-2021-4-34-69.
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A detailed reconstruction of the history behind the creation and publication of I. Selvinsky’s Ulyalaevshchina, a narrative poem about the Russian civil war in the Urals, following the 1917 revolution. Composed in 1924, Ulyalaevshchina was first published in 1927 and then underwent numerous alterations by Selvinsky, to a detrimental effect. The 1920s–1930s saw four publications of the poem as a separate book; the poem was considered a masterpiece of Selvinsky’s and of contemporary Soviet poetic output in general. However, its subsequent publications in the 1930s were unofficially vetoed up until the early Thaw years, when, in 1956, the poem was published again upon radical redrafting by the author. The scholar makes a meticulous comparison between various archive versions of Ulyalaevshchina, comments on textual juxtapositions and finds that the poem, conceived as a ‘verse novel’ about the Russian civil war and the Bolshevik pillaging of rural settlements during the food confiscation campaign (prodrazvyorstka), was intentionally rewritten by Selvinsky as an exemplary Soviet epic, which could not but damage the poem’s quality and intonation.
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Feduta, Alexander I. "Reappearance of a Mistake. (On the history of a disappeard text by N.A. Nekrasov)." Literary Fact, no. 18 (2020): 393–402. http://dx.doi.org/10.22455/2541-8297-2020-18-393-402.
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In posthumous editions of K.I. Chukovsky’s works, including the newest 15-volume Collected Works, his article “The Poet and the Executioner” (1922), which is essentially devoted to the poem “Raising the Grace Cup...” addressed to M.N. Muravyov-Vilensky, is re-published. In the 1930s B.Ya. Bukhshtab finally disavowed the authorship of N.A. Nekrasov, and Chukovsky not only excluded this poem from the body of the poet's works, but also refused to republish his article. Now its republishing requires detailed reservations and explanations, which can be facilitated by the reconstruction of scientific polemics of the past decades. Thу article is devoted to its history.
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Grądziel-Wójcik, Joanna. "Rings of a Poem – Rings of Interpretation: The Cooper’s Daughter by Ludmiła Marjańska." Ruch Literacki 57, no. 5 (September 1, 2016): 590–607. http://dx.doi.org/10.1515/ruch-2017-0086.
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Summary This article presents an interpretation of the title poem of The Cooper’s Daughter (2002), Ludmiła Marjańska’s penultimate volume of funeral, senile and feminist verse. ‘The cooper’s daughter’ stands out from Marjańska’s other lyrics by dint of its well-ordered rhythmic structure and its wealth of symbolic signs, placing it firmly in a broad anthropological and cultural context. It’s a dancing poem, re-enacting the mystery of life and death; its analysis opens a perspective on the whole of Marjańska’s work and provides the tools for a reconstruction of her truly original and disturbing ‘metaphysical project’.
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Vladimirova, Щдпф Мю, and Нгкш Вю Grigoriev. "Poetic Reconstructions, or Reduction to Symmetry (Based on S. Esenin’s Cycle “Persian Motives”)." NSU Vestnik. Series: Linguistics and Intercultural Communication 18, no. 4 (2020): 16–31. http://dx.doi.org/10.25205/1818-7935-2020-18-4-16-31.
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Based on the example of S. Esenin’s six poems from the cycle “Persian motives” certain reconstructions of poems making them parallel / symmetric are considered. It is pointed out that the strophes of some of them, namely in “Shaganet, o my love, Shaganet” are initially symmetric, others can be reduced to symmetry as a result of elementary transformations, still the others have the structure that does not allow of symmetrization without the reorganization of the whole poem. The poems considered in the paper are asymmetric five-line stanzas, however, they have a greater combinative power of verses than quatrains. In all the cases variants of reduction to symmetry are found or the reasons why it cannot be done are specified. Examples of “errors” in Pasternak’s and Merezhkovsky’s verses are identified and then “corrected”, which make the above poems symmetric.It is noted that the method of poetic symmetrization is universal and can be used both at the horizontal analysis level (regarding symmetry of rhythm), and at the vertical one (dealing with symmetry of rhyming schemes, refrains and other composite figures of prosody)
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Gelling, Margaret. "The landscape of Beowulf." Anglo-Saxon England 31 (December 2002): 7–11. http://dx.doi.org/10.1017/s0263675102000017.
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The landscape of the epic poem Beowulf is a fantasy construct in which incompatible features coexist, but while it is an unprofitable exercise to attempt a reconstruction of a coherent topography in which Beowulf's exploits took place, the poet's choice of individual landscape terms is not likely to be random. Where this choice is not influenced by alliteration, each term may have been intended to convey a specific image appropriate to its immediate context. Several of the landscape terms used in the poem are otherwise unrecorded or only found rarely in other literary sources. This applies to hlið, hop and gelad; but by contrast with their rarity in literature these words are well evidenced in place-names, and an understanding of the place-name usage may have some relevance to the interpretation of their occurrences in the poem.
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Sammons, Benjamin. "The Space of the Epigone in Early Greek Epic." Yearbook of Ancient Greek Epic Online 3, no. 1 (May 23, 2019): 48–66. http://dx.doi.org/10.1163/24688487-00301002.
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Abstract Several poems of the Epic Cycle (especially the Little Iliad and the Nostoi) have a strong interest in the figure of the epigone, as does the Odyssey. Reconstruction of these cyclic epics suggests the operation of narrative conventions that are found to be pointedly inverted in the Homeric poem and thoroughly perverted in the cyclic Telegony.
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Krauze-Kołodziej, Aleksandra. "Mit obrazem współczesności, czy współczesność odbiciem mitu? Homer, Iliada Alessandro Baricco." Roczniki Humanistyczne 67, no. 3 (July 8, 2019): 45. http://dx.doi.org/10.18290/rh.2019.67.3-3.
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The aim of the article is to analyze and interpret the new version of the Iliad written in 2004 by the contemporary Italian writer Alessandro Baricco. He based his version of the text on the Italian translation of Iliad by Maria Grazia Ciani.The reinterpretation and reconstruction of the ancient poem of Homer by Alessandro Baricco seems to be an interesting example of an attempt to modernize an ancient literary work. In the article, the author analyzes and interprets the content and the structure of the contemporary version of the poem, comparing it to the original text of the Iliad and its Italian translation on which Baricco was basing.
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Williams, Gareth. "On Ovid'sIbis: a poem in context." Proceedings of the Cambridge Philological Society 38 (1993): 171–89. http://dx.doi.org/10.1017/s006867350000167x.
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In Propertius' reconstruction of the battle of Actium in 4.6 Apollo is pictured taking his place over Augustus' ship, braced for war:non ille attulerat crinis in colla solutosaut testudineae carmen inerme lyrae. (31–2)In the opening couplet of theIbisOvid repeats the wordscarmen inermeat the same point in the pentameter:tempus ad hoc lustris bis iam mihi quinque peractisomne fuit Musae carmen inerme meae.In Propertius Apollo lays aside the peaceful lyre and takes up his bow to begin the onslaught (55) which will bring Augustus easy victory (57). By echoing Propertius' words Ovid signals his own move into bellicose poetics. But whereas Apollo is equally adept with the lyre and the bow, Ovid is a stranger to war and no more equipped to take up figurative arms in his unaccustomed hands (cf. 10) than he is to take up real arms in self-defence against the marauding hordes of Pontic barbarians (cf.Tr.4.1.71–4). So why does Ovid have no option but to make war when, on his own admission, he is so ill-equipped for the task? Why is he at such pains to stress his strangeness to arms?
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Kiseleva, Irina, and Ksenia Potashova. "M. YU. LERMONTOV’S POEM SVIDANIE (1841): TEXTUAL HISTORY, ARCHITECTONICS, MEANING." Проблемы исторической поэтики 19, no. 1 (February 2021): 124–39. http://dx.doi.org/10.15393/j9.art.2021.8422.
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The article discusses the formation of the poetics of the 1841 poem by M. Yu. Lermontov’s Svidanie (Rendez-vous) from first to final draft. The reconstruction of the creative history of the text allows us to imagine the peculiarities of M. Yu. Lermontov’s reasoning, his path to the creation of artistic reality in its spatial and objective design. Landscape details, visual plans, and the image of the lyrical hero change in the creative process. The novelty of research has a factual (for the first time the process of creating a poem is presented in as much detail as possible) and interpretative character, associated with the clarification of Lermontov’s poetics and worldview. The poem is interpreted as a contamination of reality, dream and transitional states, with particular attention paid to the poetics of dreams. The incompleteness of the text is presented as an aesthetic device for the reliable portrayal of the sleep phenomenon. The poem is understood as an aesthetically and metaphysically integral text, in which the author manifests himself as a person with knowledge and experience of spiritual life.
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Pejanović, Ana. "ФРАЗЕОЛОШКИ ЖАНРОВИ У ШЋЕПАНУ МАЛОМ (У ПОРЕЂЕЊУ СА ГОРСКИМ ВИЈЕНЦЕМ) PHRASEOLOGICAL GENRES IN STEPHEN THE LITTLE (COMPARED TO THE MOUNTAIN WREATH)." Folia linguistica et litteraria XII, no. 37 (October 30, 2021): 87–103. http://dx.doi.org/10.31902/fll.37.2021.7.
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The article aims at the comprehensive analysis of the phraseological level of the Njegos’ poem Stephen the Little. The idioms of the poems have been organized into eight phraseological genres, based on the author's classification already applied to the text of The Mountain Wreath. The author has illustrated each genre with the appropriate examples, as well as their syntactic, semantic, and stylistic features. The high frequency and stylistic diversity of the phraseology of the poem prove the importance of researching its phraseological units in the overall assessment of the poet's idiolect and idio style. This paper, also, highlights the importance of researching the phraseology of Njegos’ works for the study of the overall phraseology of the Serbian language in its diachrony and synchrony, bearing in mind the high share of dialectal and archaic idioms. Moreover, some attested idioms present evidence of old ethnocultural concepts that have been verbalized and preserved in the language of the era, so their reconstruction is valuable for other humanities, as well. The author emphasizes the importance of studying Njegos' phraseology in the Slavic context on the examples of the reconstruction of the meaning of certain archaic idioms.
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Richelle, Matthieu. "How to Edit an Elusive Text? The So-called Poem of Solomon (1 Kgs 8:12–13 MT // 8:53a LXX) as a Case Study." Textus 27, no. 1 (August 28, 2018): 205–28. http://dx.doi.org/10.1163/2589255x-02701013.
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AbstractThe creation of an eclectic edition of the Hebrew Bible is complicated by the hypothetical nature of reconstructing its textual evolution, and the uncertainty involved in retroversion from Greek to Hebrew. These issues are especially apparent in the case of the so-called “poem of Solomon” (1 Kgs 8:12–13 MT // 8:53a LXX), which I examine here as a case study to demonstrate that even such a difficult text can be dealt with responsibly in a critical, eclectic edition. Specifically, I show how such an edition can adequately address the retroversion of the Greek text, the existence of two versions of the poem, and the location of this poem in the chapter.
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Smelik, Willem. "A Biblical Aramaic Pastiche from the Cairo Geniza." Aramaic Studies 9, no. 2 (2011): 325–39. http://dx.doi.org/10.1163/147783511x619881.
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Abstract Two fragments in the Cambridge Genizah Collections preserve an odd specimen of Aramaic liturgical poetry in two copies. The poem is a pastiche from Biblical Aramaic phrases, recycled with occasional later Aramaic or Hebrew supplements and supplemented with Biblical Hebrew citations. The biblical lexemes were lifted out of their original co-text and rearranged as an acrostic. The poem celebrates the reconstruction of the Temple and the city walls in the face of fierce opposition, a theme markedly enriched with eschatological motifs. It is quite difficult to date this specimen of mixed Aramaic poetry, but the dialect admixture and some dialect features suggest a relative date in the last quarter of the second millennium CE.
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Geric, Michelle. "READING MAUD'S REMAINS: TENNYSON, GEOLOGICAL PROCESSES, AND PALAEONTOLOGICAL RECONSTRUCTIONS." Victorian Literature and Culture 42, no. 1 (February 19, 2014): 59–79. http://dx.doi.org/10.1017/s1060150313000260.
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As Tennyson's “little Hamlet,”Maud (1855) posits a speaker who, like Hamlet, confronts the ignominious fate of dead remains. Maud's speaker contemplates such remains as bone, hair, shell, and he experiences his world as one composed of hard inorganic matter, such things as rocks, gems, flint, stone, coal, and gold. While Maud's imagery of “stones, and hard substances” has been read as signifying the speaker's desire “unnaturally to harden himself into insensibility” (Killham 231, 235), I argue that these substances benefit from being read in the context of Tennyson's wider understanding of geological processes. Along with highlighting these materials, the text's imagery focuses on processes of fossilisation, while Maud's characters appear to be in the grip of an insidious petrification. Despite the preoccupation with geological materials and processes, the poem has received little critical attention in these terms. Dennis R. Dean, for example, whose Tennyson and Geology (1985) is still the most rigorous study of the sources of Tennyson's knowledge of geology, does not detect a geological register in the poem, arguing that by the time Tennyson began to write Maud, he was “relatively at ease with the geological world” (Dean 21). I argue, however, that Maud reveals that Tennyson was anything but “at ease” with geology. While In Memoriam (1851) wrestles with religious doubt that is both initiated, and, to some extent, alleviated by geological theories, it finally affirms the transcendence of spirit over matter. Maud, conversely, gravitates towards the ground, concerning itself with the corporal remains of life and with the agents of change that operate on all matter. Influenced by his reading of geology, and particularly Charles Lyell's provocative writings on the embedding and fossilisation of organic material in strata in his Principles of Geology (1830–33) volume 2, Tennyson's poem probes the taphonomic processes that result in the incorporation of dead remains and even living flesh into the geological system.
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Braginsky, V. I. "A Preliminary Reconstruction of the Rencong Version of "Poem of the Boat"." Bulletin de l'Ecole française d'Extrême-Orient 77, no. 1 (1988): 263–301. http://dx.doi.org/10.3406/befeo.1988.1746.
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Moles, John. "The Dramatic Coherence of Ovid, Amores 1.1 and 1.2." Classical Quarterly 41, no. 2 (December 1991): 551–54. http://dx.doi.org/10.1017/s0009838800004766.
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In his magisterial new commentary on the Amores J. C. McKeown alleges an ‘inconsistency’ or ‘flaw in the dramatic continuity’ between Amores 1.1 and 1.2: ‘whereas Ovid is fully aware in 1.1 that he is under Cupid's domination, he shows no such awareness in the opening lines of 1.2.’ Previously A. Cameron had used this ‘inconsistency’, together with the evident programmatic character of 1.2, as an indication that the second poem must in fact have been the first poem of one of the original five books of Amores; then when Ovid decided to reduce the number of books from five to three, he wanted to keep Esse quid hoc dicam and had no choice but to put it as near as possible the front of the first book, immediately after that book's own introductory poem. This reconstruction McKeown rightly rejects on the ground that 1.2's emphasis on Ovid's newness to love makes it out of place in any book other than the first.
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Lekmanov, Oleg Andershanovich. "AN EPISODE FROM THE BIOGRAPHY OF O. E. MANDELSTAM: AN ATTEMPT OF RECONSTRUCTION." Russkaya literatura 2 (2022): 241–43. http://dx.doi.org/10.31860/0131-6095-2022-2-241-243.
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The article examines in detail an obscure episode from the biography of O. E. Mandelstam — his participation in a debate after K. I. Chukovsky’s lecture on Futurism in 1913. New features are added to the annals of the life and work of the poet, an assumption is made as to which Mandelstam’s poem of 1913 can be provisionally termed «Futuristic».
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Abdulmueen Hassan Balfas, Abdulmueen Hassan Balfas. "قصيدة المديح الإحيائية: البيعة والخلافة." journal of king abdulaziz university arts and humanities 27, no. 4 (January 6, 2019): 157–79. http://dx.doi.org/10.4197/art.27-4.6.
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The study examines H?fidh Ibr?h?m's panegyric mad?h poem to the Neo-Classical pioneer poet, Ma?m?d S?m? al-B?r?d?, whose poetry is the cornerstone of the Neo-Classical School in the Modern Arabic literature. The main objective of this study is to understand the status of al-B?r?d? as the precursor of the Arab poetic revival of the modern age and of H?fidh as his successor. The poem acts as a poetic allegiance to al-B?r?d? on one hand, and a supplication for succession on the other. To support the descriptive approach which employs the critical analysis of the poetic texts, the study focuses on significant concepts such as H?fidh Ibr?h?m's panegyric mad?h poem as a poetic contrafaction (Mu'?radha) of al-Mutanabbi's d?liyyah, H?fidh's poetic voice (lyric I), the reconstruction of the traditional qas?dah with its themes and sections, and virtue as an essential factor for leadership in modern Arab community.
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Batori, Andreea-Corina. "Apologia Tăcerii Și A Căutării În Poemul Autoportret." Lucian Blaga Yearbook 20, no. 1 (June 1, 2019): 162–70. http://dx.doi.org/10.2478/clb-2019-0017.
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AbstractLucian Blaga is popular among the Romanian writers for his beliefs in the power of the unknown and the unsaid-word, for his attention given to the notion of mystery and knowledge.The present paper focuses on two of the main elements that coordinate some of the poet’s lyrical writings: silence and the state of being in a continuous search for the initial harmonious relationship with the Universe by returning to the origins of the world, by regeneration and reconstruction. These ideas are emphasized in the poem titled Autoportret in which the soul of the individual find sit self in the these arch for beauty and nothingness, for the pure word which is able to reinforce the bond between the individual and the totality of the unharmed Universe.Using themes, motifs, symbols, myths, figures of speech and techniques of construction, Lucian Blaga succeeds in creating a representative poem for his last volume entitled Nebănuitele trepte, a poem characterized by expressiveness, depth and a strong wish to find by means of silence what the souls has been looking for since ever – purity, peace and harmony.
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Kiselyova, I. A., K. A. Potashova, and E. A. Sechenych. "Reconstruction of Creative History of Poem by M. Yu. Lermontov “They Loved Each Other for so Long and Dearly...” (1841) as a Way of Understanding the Meaning of Text." Nauchnyi dialog, no. 6 (June 29, 2020): 265–82. http://dx.doi.org/10.24224/2227-1295-2020-6-265-282.
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Dynamic poetics is analyzed - from draft to clean manuscript - the poem by M. Yu. Lermontov “They loved each other for so long and dearly ...” (1841), which is a free translation of the poem by H. Heine. Based on a comparison of the transcription of clean manuscript and two draft manuscripts of the poem, as well as the source - the German text - Lermontov’s creative process, his work on choosing the exact word and creating an integral artistic image is reconstructed. The article outlines the causes and mechanisms of Lermontov’s textual corrections that help to understand the movement of author’s thought. The process of Lermontov’s work on the text is associated with the emotional saturation of the “skeletal part” of a German source. Based on the textual analysis of the manuscripts of Lermontov’s poem from the “Notebook presented by V. F. Odoyevsky”, the semantic transformation of the source of the poem is traced, the process of enhancing the tragedy of the text achieved through its openness to eternity is revealed. The relevance of the problem is seen in the need to clarify the originality of the artistic imagery of Lermontov’s poem, to identify the reasons for the strength of its aesthetic impact on the reader, as well as the ontological meaning of the text. The semantic evidence of the text is revealed in the need for direct relations “here and now”, in understanding eternal life as a continuation of the mortal life. The novelty of the study has a factual (for the first time the creative process of composing a poem is presented in as much detail as possible) and interpretative in nature, associated with the refinement of Lermontov's worldview.
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Corbea-Hoisie, Andrei. "Szene im Kirschgarten: Zu einem Gedicht von Paul Celan, mit einem methodologischen Exkurs." arcadia 57, no. 2 (November 1, 2022): 267–81. http://dx.doi.org/10.1515/arcadia-2022-9054.
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Abstract The reconstruction of the creation of Paul Celan’s posthumous poem “In meinem zerschossenen Knie” enables an examination of the complex network of elements of his own biography – the traces of formative readings, his identity questions projected in his positions towards Judaism and Zionism, the obsessional poetic motives etc. – from which the poet lets the lyrical text ‘coagulate.’ The relationship between the author’s genetically anticipated ‘message’ and the hermeneutic freedom in the interpretation of Celan’s poetry is also considered.
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Bartlett, M. G. "Mapping uncertainties through the POM-SAT model of climate reconstruction from borehole data." Climate of the Past Discussions 8, no. 4 (July 5, 2012): 2503–18. http://dx.doi.org/10.5194/cpd-8-2503-2012.
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Abstract. Borehole temperature-depth profiles contain information about the ground surface temperature (GST) history of a locale and can be employed in climate reconstruction. The borehole method of climate reconstruction assumes that the dominant heat transport mechanism in the upper few hundred meters of the earth's crust is conduction; mathematically, conduction is a compressive (information losing) mapping from the temperature-time space of GST to the temperature-depth profile (T−z). Because the mapping is compressive, multiple GST histories can map into the same T−z profile; the solution suffers from non-uniqueness. One means of dealing with the non-uniqueness problem is to limit the number of parameters sought in the solution space. However, even when only a single parameter (the pre-observation mean GST, or POM) is sought in the inversion, a certain amount of a priori information must be introduced prior to inverting for a GST history. In the POM-SAT method, a priori information introduced includes the surface-air temperature history (SAT), the thermal diffusivity of the conductive medium, and the reducing parameter used to remove the background (non-climatic) heat flux. I perform a set of Monte Carlo analyses to investigate how uncertainties in these a priori model parameters are mapped into the solution space of the POM-SAT method of climate reconstruction. Results indicate that uncertainties in the thermal diffusivity are generally reduced by an order of magnitude when mapped to the POM. Uncertainties in the SAT time series are approximately equivalent in magnitude to their projection onto the POM. However, uncertainties in the adjustment for the background (non-climatic) thermal regime are magnified by an order of magnitude in the POM solution-space. These results suggest a degree of prudence should be exercised in interpreting surface temperature histories from reduced borehole data.
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Snyder, H. Gregory. "The Discovery and Interpretation of the Flavia Sophe Inscription: New Results." Vigiliae Christianae 68, no. 1 (January 27, 2014): 1–59. http://dx.doi.org/10.1163/15700720-12341146.
Full textAbstract:
Abstract New archival material relating to the discovery of the Flavia Sophe inscription is presented and arguments made that the inscription was discovered in situ. Careful attention to the epigraphical, palaeographical, and metrical aspects of the poem, as well as its use of nuptial imagery lead to new proposals for reconstructions. Arguments for a date in the second century are re-examined and strengthened. The language of the inscription is placed within the context of other Greek funeral epigrams to show that the writer of the epigram was well aware of the conventions Hellenistic funeral poetry and that the poem artfully subverts many of these conventions. And finally, I claim that for this group of Christians, the “bridal chamber ritual” should be understood as a mortuary rite.
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Mirelman, Sam. "A NEW MANUSCRIPT OF LUGAL-E, TABLET IV." Iraq 79 (June 23, 2017): 155–62. http://dx.doi.org/10.1017/irq.2017.5.
Full textAbstract:
This study edits BM 48053, a newly identified Late Babylonian manuscript of the epic poem Lugal-e in the British Museum collection. This tablet, which is likely to come from Borsippa, contributes towards the reconstruction of Tablet IV of the epic in its late bilingual form. It is also of interest for its colophon, which specifies the swift return of the tablet following a same day loan, using the phrase ina mišil ūmīšu “in half a day” or perhaps “at midday”.
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Plakueva-Olejniczak, Marianna. "Strategie przekładu Adama Pomorskiego na przykładzie tłumaczenia wiersza Метель Borysa Pasternaka." Acta Polono-Ruthenica 3, no. XXIII (September 30, 2018): 127–40. http://dx.doi.org/10.31648/apr.2832.
Full textAbstract:
The subject of this article’s research is the problem of translation of poetic texts on the basis of a poem Метель by Boris Pasternak. The work aims to analyse certain mechanisms and processes involved in the translation of poetic texts which are not limited to the rhythmical layer but also include lexical and phonological dimension. The article examines strategies of translation created by Adam Pomorski, a critic, essayist and recognised translator of Russian, German and English belles-letters, and a chairman of the Polish PEN Club. Pomorski reckons that translation is a “reconstruction of the prototype” within the norms and conventions, while all rest is a result of individual style. While creating literature, some artists recall the sounds that they associate with the literary pictures. This way, the language goes beyond the sematic layer of a work, while trying to imitate the sounds through onomatopoeic words, acoustic expressions and also other ways that influence the rhythmisation of a poem and bring out the connotation to the musical side of things. We will try to investigate how the poetic word of a prototype changed upon a translation on the basis of a Метель poem Pasternak.
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Ilunina, Anna A. "Intertextuality in Andrea Levy's novel “Small Island”." Vestnik of Kostroma State University 27, no. 4 (December 23, 2021): 162–67. http://dx.doi.org/10.34216/1998-0817-2021-27-4-162-167.
Full textAbstract:
The purpose of this article was to identify how intertextuality in the novel “Small Island” (2004) by the British writer Andrea Levy (1956–2019) contributes to the representation of postcolonial issues. To solve the research problems, we applied cultural-historical, comparative, biographical methods of literary analysis. The article considers how to appeal to the poem “Daffodils” by William Wordsworth allows the contemporary writer to criticise the anglicised system and the content of education in the colonies, which becomes the conductor of the dominant, Western discourse. The reference to “Gone with the Wind” helps Levy demonstrate how the stereotyping of images of blacks in cultural texts is pointedly acutely perceived by her dark-skinned heroine. An appeal to the poem “The Charge of the Light Brigade” by the Lord Tennyson and, through it, to Rudyard Kipling's poem “The Last of the Light Brigade”, to the speech of Winston Churchill, serves in “Small Island” to recall the undeservedly, according to Levy, forgotten contribution of the indigenous inhabitants of the colonies to the protection of British territory in World War II and the post-war reconstruction of the country.
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Garrouri, Sihem. "Mythologizing the Memory of Gloriana." Anafora 8, no. 1 (2021): 81–98. http://dx.doi.org/10.29162/anafora.v8i1.5.
Full textAbstract:
Consideration of Anne Bradstreet’s poem “In Honour of That High and Mighty Princess, Queen Elizabeth, of Most Happy Memory” (1643) draws our attention to the paramount significance of mythical imagery in shaping Elizabeth I’s posthumous reputation. The examination of this poem illustrates the ways in which Elizabeth’s memory is glorified and discusses the elegiac mythical reconstruction of her image by what Schweitzer aptly labelled a “gendered poetic voice” (307). This project shows that the poet makes good use of myth to write Elizabeth’s afterlife image. It scrutinizes Bradstreet’s mythological depiction of the last Tudor monarch, Queen Elizabeth I, illustrating how a woman poet rewrites the identity of a female sovereign. A close analysis of various mythical, elegiac images celebrating Elizabeth allows us to evaluate Bradstreet’s contribution to her myth-creation. It examines three mythical representations: Elizabeth as an incomparable leader, a Phoenix Queen, and a warrior Amazonian monarch.
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Langmann, Sten, and Paul Gardner. "The intersemiotic affordances of photography and poetry." Semiotica 2020, no. 236-237 (December 16, 2020): 85–102. http://dx.doi.org/10.1515/sem-2018-0050.
Full textAbstract:
AbstractThis article explores the intersemiotic affordances of photography and poetry and the expansion of meaning that surpasses the meanings embedded in and elicited from both. We specifically investigate the processes and mechanisms of this semantic expansion by systematically reconstructing the compositional process of poems written from three photographs and forensically investigate how the poems emerged out of each visual frame. We discovered that intersemiosis between photography and poetry demonstrates a strong interpretative component. Intra-semiotic connections between elements within the photograph are interpreted by the viewer or writer and are translated by means of inter-semiotic triggers into intra-semiotic connections within the emerging poem during the process of composition. The resulting inter-semiotic connections between the photograph and the poem create and multiply meaning for both mediums together and independently. In other words, in the process of composition, the poem reads the meanings of components of the photograph framed by the photographer and super-frames them; creating a new frame of meanings that draw upon, and extend, meanings in the original frame of the photograph. At the same time, the poem enters a stage of self-change and self-reflection, inhabiting the life of the photograph.
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Scaife, Ross. "The "Kypria" and Its Early Reception." Classical Antiquity 14, no. 1 (April 1, 1995): 164–92. http://dx.doi.org/10.2307/25000145.
Full textAbstract:
This article analyses the remains of the seventh-century epic known as the "Kypria" from literary as well as iconographical perspectives. The literary study of the "Kypria" includes a provisional reconstruction followed by a defense of the poem against many critics, beginning with Aristotle, who have found it tediously linear and unsophisticated. The "Kypria" apparently made artful use of catalogues, flashbacks, digressions, and predictions as traditional sources of epic poikilia. The second part of this study examines several (but not all) instances in which the "Kypria" influenced representational art of Archaic Greece. Study of the iconographical tradition often yields details which may be retrojected into the poem, albeit with varying degrees of certitude. The influence of the "Kypria" on the iconography of Greek art, especially pronounced considering the greater overall prestige of the Iliad and the Odyssey, is explained on the basis of the themes and purposes of the cyclic poem. First, the "Kypria" was so often translated into the visual medium because of the high number of potentially interesting subjects which it offered to artists. Second, Proklos commented that the poems of the epic cycle were later preserved less for their literary quality than for the concatenation of epic events which they preserved. In choosing to transfer this poetic tradition to their own media, archaic artists simultaneously evoked the powerful causality of the poem and, more importantly, alluded to the larger story of the Trojan War.
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Poljakov, Fedor B. "Early Edition of Ellis’ Collection Cross and Lear: A Study in Reconstruction." Literary Fact, no. 19 (2021): 312–24. http://dx.doi.org/10.22455/2541-8297-2021-19-312-324.
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The paper is dedicated to the last period in creative work and biography of Ellis (Lev L’vovich Kobylinsky, 1879–1947), a symbolist poet and theoretician of art. In 1930s Ellis was actively writing on various historical, literary, religious, philosophical and esoteric subjects and continued to work on his poems and translations. The article provides excerpts from the Ellis’ letters to the artist Nikolai Zaretsky, on the basis of which the stages of Ellis’ work on his third and last book of poetry and translations titled Cross and Lear during the 1930s can be clarified in some detail. In the Addendum Ellis’ poem “Death and a Knight (Old Engraving)” is published.
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Ivinskiy, Aleksandr D. "On Mikhail Muravyov’s Poem The Painter (Based on Materials of Russian State Library and Institute of Russian Literature)." Two centuries of the Russian classics 3, no. 2 (2021): 168–85. http://dx.doi.org/10.22455/2686-7494-2021-3-2-168-185.
Full textAbstract:
The article is devoted to the textual reconstruction of the poem The Painter by M. N. Muravyov. It was published in “Academic News” in 1779. In the Manuscripts Department of the Russian State Library (Moscow), we have found the earliest manuscript of this work, which we date 1775. This variant differs greatly from the final one – both in terms of volume and style. In the Manuscript Department of the Institute of Russian Literature (St. Petersburg), we found the second version of The Painter, written, as we claim, in 1778. It was stored with Muravyov’s letters to Dmitry Khvostov. Such close attention of the author to this poem could be explained by the fact that he expressed in it some crucial ideas about the nature of creativity and about the principles of interaction with the authorities. From our point of view, The Painter is one of Muravyov’s key texts, in which he acclaimed his loyalty to the cultural policy of Catherine II.
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Bošković, Aleksandar. "Revolution, Production, Representation: Iurii Rozhkov's Photomontages to Maiakovskii's Poem “To the Workers of Kursk”." Slavic Review 76, no. 2 (2017): 395–427. http://dx.doi.org/10.1017/slr.2017.84.
Full textAbstract:
In 1924, the self-taught artist Iurii Nikolaevich Rozhkov created a series of photomontages inspired by Vladimir Maiakovskii's poem “To the Workers of Kursk” and the geological discovery of the Kursk Magnetic Anamoly (KMA). Rozhkov's series for Maiakovskii's ode to labor is both an example of the political propaganda of the reconstruction period of the NEP era and a polemical answer to all those who relentlessly attacked Maiakovskii and criticized avant-garde art as alien to the masses. The article introduces Rozhkov's less-known photomontage series as a new model of the avant-garde photopoetry book, which offers a sequential reading of Maiakovskii's poem and functions as a cinematic dispositive of the early Soviet agitprop apparatus (dispositif). Bošković argues that the photopoem itself converts into an idiosyncratic avant-garde de-mountable memorial to the working class: a dynamic cine-dispositive through which the the early agitprop apparatus is realized in lived experience, reproduced, and transformed, thus delineating its shift towards the newdispositifof the late 1920s—socialist realism.
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Kiss, Sándor. "La transition latino-romane : problèmes de la reconstruction." Acta Antiqua Academiae Scientiarum Hungaricae 59, no. 1-4 (September 25, 2020): 19–25. http://dx.doi.org/10.1556/068.2019.59.1-4.4.
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SummaryProto-Romance linguistic transformations are partially hidden by the archaic style that char- acterizes Late Latin documents. However, these texts (e. g. chronicles) permit insights into the changes undergone by the oral language, because authors and scribes can reproduce unconsciously their own speech habits, already different from Classical standard. In our presentation, this curious duality is shown by the example of noun declension, which is undermined, but not yet completely eliminated, in 7th century Latin. A comparison is made between the so-called Fredegarius, a Merovingian chronicle, and an early French poem, the Eulalia Sequence, which manifests the last stage of the declension, just before its disappearance. The morphological change has its counterpart in the restructuration of the sentence: the neighbourhood of subject and verb becomes usual in the surface structure, and certain limitations are im- posed upon the freedom of word order. Thus, the reconstruction process we propose has two aspects: it is necessary to describe the diastratic variation at different moments of the history of Late Latin, and, on the other hand, the results need to be compared with the Early Romance linguistic systems. In this manner, reconstruction can show the coexistence of tradition and innovation in the language, a necessary condition of its normal functioning.
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Gryakalova, Nataliya Juryevna. "FET’S «FAUSTIANA» AS INTERPRETED BY A. A. BLOK (CONCERNING THE HERMENEUTICS OF READING)." Russkaya literatura 3 (2021): 85–93. http://dx.doi.org/10.31860/0131-6095-2021-3-85-93.
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Drawing from the provisions of the hermeneutics of reading, as formulated by P. Ricoeur, the article analyzes the approaches to the analysis of A. A. Blok’s personal library, to the reconstruction of his circle of reading, interpretation of notes and marginalia. The research focuses on Blok’s notes on Fet’s translation of the second part of Faust, and especially on the preface. Blok’s treatment of this translation of the tragedy is considered in view of his creative evolution from his early lyrics to the metaphysics of Eternal Femininity and to the glimpses of the «Faustian theme» in his poem The Retribution.
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Dhungel, Nabaraj. "Indeterminacy of Meaning in William Blake’s “The Sick Rose”." Interdisciplinary Journal of Innovation in Nepalese Academia 1, no. 1 (December 31, 2022): 104–11. http://dx.doi.org/10.3126/idjina.v1i1.51973.
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This study attempts to make deconstructive reading of William Blake’s poem “The Sick Rose”. It also shows how the literary text can be interpreted from multiple perspectives deriving infinite meanings from the same text. The major motive of this research is to demonstrate potentiality of every text to be creatively misread generating various possible meanings. The paper also projects the fact that deconstruction is not destruction, rather it is reconstruction. It displays how the use of language in the text creates contradiction, un-decidability and multiplicity opening up possibility for new meanings. To justify the argument, deconstructive ideas of the philosophers Jacques Derrida and Roland Barthes have been used. The four steps of deconstructive reading- a. Reading the Text b. Finding the Binaries c. Hierarchizing the Binaries and d. Creative Misreading-have been followed for the study of the poem “The Sick Rose”. This research can be a contributing source for promotion of deconstructive reading of anything prevailing in the society and thereby decentering the center and re-centering the margin opening up possibilities for new perspectives, meanings and truths.
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Viljoen, H. "What Oom Gert does not tell: Silences and resonances of C. Louis Leipoldt’s ‘Oom Gert vertel’." Literator 20, no. 3 (April 26, 1999): 129–46. http://dx.doi.org/10.4102/lit.v20i3.496.
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This paper is an attempt to reconstruct the resonance of “Oom Gert vertel” at the time it was written. The story that Oom Gert tells is reread for its silences and unsaid things. Oom Gert’s reticence about his own story, his silence about the politics of the time and his partial view of the devastating effects of martial law are explored against the backdrop of Leipoldt's reports on the trials of Cape rebels in the treason court for the pro-Boer newspaper The South African News and of other reconstructions of the period. From this reading Oom Gert emerges as representing the complexities of the loyalty of Cape Afrikaners. It is postulated that the unsaid historical background, which would have resonated powerfully for Cape Afrikaners of that time, was written out of the poem so that it could fit better into the circumstances of its first publication. Appropriating the poem for Afrikaner nationalism is a misreading.
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Ivinskiy, Alexander D. "M.N. Muravyov and Ancient Poets: Unpublished Translations." Studia Litterarum 6, no. 2 (2021): 358–85. http://dx.doi.org/10.22455/10.22455/2500-4247-2021-6-2-358-385.
Full textAbstract:
The article is devoted to the translations of M.N. Muravyov. We present more than ten unpublished texts from his Notebook, which is preserved at the Manuscripts Department of the Russian State Library: a number of works of Horace, Virgil, Anacreon, Martial, Callimachus, Lucretius and Lucan. Secondary in this context, but no less important, is the translation of a fragment from the famous poem Jerusalem Delivered by T. Tasso. These texts do not exhaust the subject (many of Muravyov’s translations still remain unpublished), but, along with others, may become the basis for the reconstruction of Muravyov’s literary position, which can already be characterized as oriented towards European “classicism.”
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Ivinskiy, Alexander D. "M.N. Muravyov and Ancient Poets: Unpublished Translations." Studia Litterarum 6, no. 2 (2021): 358–85. http://dx.doi.org/10.22455/2500-4247-2021-6-2-358-385.
Full textAbstract:
The article is devoted to the translations of M.N. Muravyov. We present more than ten unpublished texts from his Notebook, which is preserved at the Manuscripts Department of the Russian State Library: a number of works of Horace, Virgil, Anacreon, Martial, Callimachus, Lucretius and Lucan. Secondary in this context, but no less important, is the translation of a fragment from the famous poem Jerusalem Delivered by T. Tasso. These texts do not exhaust the subject (many of Muravyov’s translations still remain unpublished), but, along with others, may become the basis for the reconstruction of Muravyov’s literary position, which can already be characterized as oriented towards European “classicism.”
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Leech-Wilkinson, Daniel. "Le Voir Dit: a reconstruction and a guide for musicians." Plainsong and Medieval Music 2, no. 2 (October 1993): 103–40. http://dx.doi.org/10.1017/s0961137100000486.
Full textAbstract:
Guillaume de Machaut's autobiographical poem, Le Voir Dit, has been known to musicians mainly by reputation. In 1928 Friedrich Ludwig printed extracts from passages on music in the introduction to his edition of Machaut's complete musical works, in 1969 Sarah Jane Williams examined Machaut's remarks about manuscript production, and in a more general article, for the 1977 Machaut anniversary, she introduced Le Voir Dit to non-specialists. On the whole, however, musicians have been content to leave study of the complete text to scholars of Middle French. Their priorities are, of course, very different; much of the most influential writing on Le Voir Dit from the last twenty years has been concerned to show how the text might be read in a structuralist or post-structuralist manner, and has placed relatively little emphasis on more positivistic questions such as how the text was compiled or its relationship to the historical persons and events it mentions. Yet to anyone interested in the origins and function of this extraordinary document such issues seem fundamental; indeed, the historically minded reader might wonder how the text can be understood at all until such matters have been addressed.
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Harris, R. N. "Variations in air and ground temperature and the POM-SAT model: results from the Northern Hemisphere." Climate of the Past 3, no. 4 (October 9, 2007): 611–21. http://dx.doi.org/10.5194/cp-3-611-2007.
Full textAbstract:
Abstract. The POM-SAT model for comparing air and ground temperatures is based on the supposition that surface air temperature (SAT) records provide a good prediction of thermal transients in the shallow subsurface of the Earth. This model consists of two components, the forcing function and an initial condition, termed the pre-observational mean (POM). I explore the sensitivity of this model as a function of forcing periods at time scales appropriate for climate reconstructions. Synthetic models are designed to replicate comparisons between borehole temperatures contained in the global database of temperature profiles for climate reconstructions and gridded SAT data. I find that the root mean square (RMS) misfit between forcing functions and transient temperature profiles in the subsurface are sensitive to periods longer than about 50 years, are a maximum when the period and the 150-year time series are equal and then decreases for longer periods. The magnitude of the POM is a robust parameter for periods equal to or shorter than the length of this time series. At longer periods there is a tradeoff between the amplitude of the forcing function and the POM. These tests provide guidelines for assessing comparisons between air and ground temperatures at periods appropriate for climate reconstructions. The sensitivity of comparisons between the average Northern Hemisphere gridded SAT record and subsurface temperature-depth profile as a function of forcing period is assessed. This analysis indicates that the Northern Hemisphere extratropical average SAT and reduced temperature-depth profile are in good agreement. By adding modest heat to the subsurface at intermediate periods some improvement in misfit can be made, but this extra heat has negligible influence on the POM. The joint analysis of borehole temperatures and SAT records indicate warming of about 1.1°C over the last 500 years, consistent with previous studies.
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Kiseleva, Irina A., and Ksenia A. Potashova. "The Dynamic Poetics in the Text History of Lermontov’s Poem “The Dream”." Проблемы исторической поэтики 27, no. 1 (February 2020): 130–45. http://dx.doi.org/10.15393/j9.art.2020.6742.
Full textAbstract:
<p>The article focuses on the analysis of the poetic genesis of Lermontov’s poem “The Dream” (1841) that manifests itself in the author’s corrections in the rough copy and in the clean one. There was carried out a reconstruction of the poet’s creative process, of his work on the contexture and the creation of a completed artistic image. The article presents the transcription of the poem’s rough and clean copies including alterations and symbols of the manuscript. It has been proved that while the first versions in the main text identify three dreams, the final version keeps only two of them. In the course of his work on the text the poet chooses not to introduce the image of a dream into the first poem, but makes it clear that everything is happening in the dream only by means of the title. This technique increases the reality of the given image. In the analysis of the poem’s dynamic poetics a special emphasis is made on the registration of the landscape details changes due to which the poet conveys his perception of the natural world and his place in it as a body and soul creature. The narrator’s feelings of desolation and abandonment in the natural world get worse from the rough copy to the clean one, and at the same time grows his anxiety for the unanimity with his mistress who, as the hero himself, has a spiritual sight. The capacity of the characters for empathy and the experience of bodily death assert the poet’s faith in the immortality of the soul.</p>
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Liu (劉剛), Gang. "A Reconstruction of the Text of the Poem “You Bi” of the Liturgies of Lu Section of the Classic of Poetry." Bamboo and Silk 4, no. 1 (January 28, 2021): 189–99. http://dx.doi.org/10.1163/24689246-00401007.
Full textAbstract:
Abstract When ancient texts copied repeated words, they commonly used the notation = to represent it; successive repeated words written as A=B= could be read as either AABB or as ABAB. In Pre-Qin manuscripts unearthed in recent years, there have been examples in which these duplication marks can also be read multiple times. Referring to this usage of duplication marks, I raise several hypotheses regarding the poem “You bi” 有駜 (There are Stout Steeds) in the Liturgies of Lu section of the Classic of Poetry, suggesting that the lines 振振鷺，鷺于下 and 振振鷺，鷺于飛 in the first two stanzas of the poem would have been written in early manuscripts as 振=鷺=于下 and 振=鷺=于飛. 振= 鷺=于下 should be read as 振鷺振鷺，振鷺于下 “Flapping egrets, flapping egrets, Flapping egrets are there below,” and 振=鷺=于飛 should be read as 振鷺振鷺， 振鷺于飛 “Flapping egrets, flapping egrets, Flapping egrets are taking flight.” On the basis of this, I attempt a reconstruction of the original text of “You bi.”
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Pfau, Monique, Sanio Santos, and Noélia Borges de Araújo. "Do projeto de tradução de Liffey Swim, de Jessica Traynor, para o processo de tradução do poema sin-eater." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, no. 2 (May 31, 2019): 87–114. http://dx.doi.org/10.5007/2175-8026.2019v72n2p87.
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Liffey Swim is a book of poems by the Irish writer Jessica Traynor (2015). It features characteristics to contemporary Irish literature, such as Irish identity and local culture related to other cultures. The Liffey Swim translation project takes into account Irishness alongside the theoretical and methodological reflections on translation of poetry through translation stages that observed form and content. This article presents a two-step result from the translation process of one of the poems, Sin-eater. The poem depicts a death ritual in Ireland, one of the defining themes of Irish literature. The first stage comprises the result of a cultural and linguistic revision, while the second stage focused on the rhythm and other phonetic aspects, for the reconstruction of image and spirit.