Academic literature on the topic 'Praise poem'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Praise poem.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Praise poem"
1
Maddock, Lelys. "Praise poem… in praise of an accountant." Accounting, Auditing & Accountability Journal 32, no. 4 (May 24, 2019): 1207–8. http://dx.doi.org/10.1108/aaaj-05-2019-045.
Full text
2
Moses, croc E. "Praise Poem for Amahle." Agenda 25, no. 3 (September 2011): 96–97. http://dx.doi.org/10.1080/10130950.2011.610996.
Full text
3
Henderson, W. J. "Die antieke Griekse lofgedig." Literator 17, no. 1 (April 30, 1996): 153–68. http://dx.doi.org/10.4102/lit.v17i1.592.
Full textAbstract:
Ancient Greek praise poems Arguing from both the surviving texts themselves and from ancient theorists, the present article deals with early Greek lyric poems in praise of human beings. This type of lyric falls under the more “secular types” of ancient Greek lyric, in the sense that they were addressed, not to a divine being, but to a human being. The context or space of such “secular” lyric performance includes, not only the public gathering of officials and the populace, but also the private and intimate circle of individuals with shared interests. Both choral odes and solo-lyrics are therefore involved. The lyric types discussed are the praise poem, the war poem, the political poem and the dirge.
4
Dwyer, Jaclyn. "Praise Poem for American Girls." Ploughshares 39, no. 1 (2013): 39–40. http://dx.doi.org/10.1353/plo.2013.0011.
Full text
5
Kabir, Saleh Muhammad, Zakir Alhaj Shariff, and Muhammad Tukur Abdullahi. "Zajal al-Asīr fī Madḥ al-Shaykh Usman Al-Bashir, Qaṣīdah Nūnīyah li-Musa Kalim Al-Qali: Dirāsah Taḥlīlīyah Adabīyah." Al-Ma‘rifah 18, no. 1 (April 30, 2021): 97–108. http://dx.doi.org/10.21009/almakrifah.18.01.09.
Full textAbstract:
This study aims to study the life of the poet Musa Kalim Al-Qali and his eulogy poem. The method used in this study is the descriptive-analytical approach, where the researchers read the selected poem and then follow it with study and analysis. The poem chosen was Zajal al-Asīr which contains his praise to Sheikh Usman Al-Bashir. The results of this study indicate that (1) the beginning of the poem (maṭla‘ al-qaṣīdah) invites the reader to follow what he will say about the praised Sheikh; (2) good disposal (ḥusn al-takhalluṣ) of the poem, the poet proceeded directly with the topic, noting that he did not explore his poem with a prologue or propaganda introduction; (3) a good syllable (ḥusn al-maqṭa‘) in the poem, the last words upon which the poet stood was well tolerated and kept a pleasure in listening in the most eloquent expression and the most beautiful meaning; (4) the sincerity of emotion (ṣidq al-‘āṭifah), the poem was distinguished by the sincerity of emotion, the heat of feeling, and the acuity of feeling.
6
Collison, David J. "In praise of the refereed poem." Critical Perspectives on Accounting 9, no. 3 (June 1998): 386. http://dx.doi.org/10.1006/cpac.1996.0235.
Full text
7
Vayntrub, Jacqueline. "Beauty, Wisdom, and Handiwork in Proverbs 31:10–31." Harvard Theological Review 113, no. 1 (December 27, 2019): 45–62. http://dx.doi.org/10.1017/s0017816019000348.
Full textAbstract:
AbstractThe book of Proverbs concludes with an alphabetic acrostic that describes and praises its feminine subject (Prov 31:10–31). The poem’s praise closes with a generalized critique of beauty, its deceptiveness and short-lived nature (v. 30). What function does this critique of beauty serve in light of the praise of the woman and her deeds? How do the poem and, specifically, this critique of beauty function in the broader organization of the book of Proverbs? This study argues that the poem rejects innate beauty in favor of acquired wisdom, a message that can be found elsewhere in Proverbs. The poem rejects beauty through an appeal to a rhetorical device—the “totalizing description”—which is used elsewhere to argue for a subject’s beauty or perfection. Through the structure of the alphabetic acrostic, the poem carefully embeds its message of willed action and acquired wisdom; using a description of the woman’s successive deeds, the poem shows how each deed leads to the enduring success of the woman’s family, her community, and the subsequent generation.
8
İsmailova, E. "PRAISE OF HUMAN FEELINGS IN M.SHAHRIYAR'S POEM “SAHANDIYA”." East European Scientific Journal 3, no. 5(69) (June 15, 2021): 37–40. http://dx.doi.org/10.31618/essa.2782-1994.2021.3.69.60.
Full textAbstract:
There is nothing that can affect the spirit and national consciousness of the people as an artistic word. Glorification, propagation and transmission of human feelings from generation to generation is the highest task of the art of speech and literature. In this sense, there is a greater task and responsibility before genius masters of a word. In keeping the people alive, instilling human feelings, and glorifying the highest human feelings such as patriotism, heroism, and bravery, the poets held a leading position in all periods of society. The works of the poet Mohammad Hussein Shahriyar (1906-1988), the most famous figure of both South and North Azerbaijani literature, and the pearls of art he created, especially the poem “Sahandiya” written in a modern style, are of great interest to many readers today. The main purpose of the article is to acquaint the modern reader with the valuable heritage of the poet, promote this heritage by demonstrating the artistic features and importance of the poem “Sahandiya”, which is considered one of the masterpieces among the poet's works written in the native language.
Although the poet does not speak in an open context in the poem, the city of M.A. Sabir, remembering Shamakha and Shirvan, actually reminds of the problem of divided Azerbaijan.
The last parts of the poem are dedicated to the problem of separation, one of the most painful issues of a divided Azerbaijan. The master described the enthusiasm of the poets of North Azerbaijan for his voice as the support of the mountains, the clear dawn of the waters of the Araz, holding the lamp in the darkness, "the sturgeon of that foal." Due to these features - the high appreciation of national and spiritual interests, the poem "Sahandiya" remains relevant at all times.
9
Földi, Zsombor J., and Gábor Zólyomi. "A Praise Poem of Warad-Sîn, King of Larsa, to Nippur." Altorientalische Forschungen 47, no. 1 (August 5, 2020): 57–66. http://dx.doi.org/10.1515/aofo-2020-0004.
Full textAbstract:
AbstractThis paper publishes a praise poem of Warad-Sîn, king of Larsa. The manuscript, a one-column tablet, comes from a private collection and is unprovenanced. The text might be an excerpt from a longer composition. Its 20 lines long text praises first Nippur, the city of Enlil, then Warad-Sîn speaks in the first person about the commission given to him by Enlil, about his deeds to the city, and about their permanence. The author of this text appears to be familiar both with the literary corpus and the royal inscriptions of the early Old Babylonian period.
10
Kuzner, James. "George Herbert’s “The Flower” and the Problem of Praise." Modern Language Quarterly 82, no. 1 (March 1, 2021): 27–53. http://dx.doi.org/10.1215/00267929-8742413.
Full textAbstract:
AbstractThis essay dwells on George Herbert’s “The Flower” and on how its speaker can love and praise God. Writing of praise and doubt, Stanley Cavell remarks that the problem of skepticism is partly a problem of finding an object that one can praise, a search that certainly occurs in “The Flower.” While Herbert’s speaker seeks God as that object, his own memory impedes him, making him question God’s goodness and forcing him not only to abandon forms of remembering that Herbert’s sources—from psalmists to theologians—employ so as to rise to praise, but also to use form in order to forget. The essay’s conclusion compares Herbert’s poem with another strange praise poem, Paul Celan’s “Psalm.” The essay claims that if Cavell sees praise as signaling a triumph over doubt, “The Flower” shows, as only verse can, how praise and doubt accompany each other, using doubt to keep praise at a distance from both psalmic theology and skeptical philosophy.
Dissertations / Theses on the topic "Praise poem"
1
Lamont, Dougald. "Origin of the spaces, a Darwinian poetics of identity transformation and the long prairie poem." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ53171.pdf.
Full text
2
Carvalho, Helba. "Da poesia concreta ao poema-processo: um passeio pelo fio da navalha." Universidade de São Paulo, 2002. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-04072002-103858/.
Full textAbstract:
A proposta desta dissertação é discutir a polêmica trajetória das vanguardas poéticas brasileiras, representadas pela poesia concreta, neoconcreta, praxis e poema-processo, com base na análise de alguns procedimentos técnicos, conceitos teóricos e princípios formais apresentados nos principais textos (manifestos e plataformas) e práticas poéticas desses movimentos. Feita uma revisão crítica do conceito de vanguarda e suas aporias no contexto da crise do Modernismo na segunda metade do século XX, foram discutidos alguns impasses estético-políticos, teóricos e práticos dessa poesia de vanguarda, diante do cenário sociocultural brasileiro dos anos 1950 e 1960. Se, por um lado, a necessidade programática de afirmar o "novo" nos grupos vanguardistas lançou alguns procedimentos técnicos e princípios formais que, principalmente com a poesia concreta, incidiram no campo da crítica literária e do ensino das letras nas universidades, por outro, retomou e radicalizou velhas categorias futuristas, cubistas, construtivistas e modernistas de 1922.The proposal of this dissertation is to discuss the polemic course of Brazilian poetry avant-gardes, represented by Concrete, Neoconcrete, Praxis and Process poetries, based on the analysis of some technical procedures, theoretical concepts and formal principles presented in the main texts (manifests and platforms) and poetical practices in these movements. After a critical revision of the concept of avant-garde and its contradictions in the context of the Modernism crisis in the second half of the 20th century, we discussed some esthetic-political, theoretical and practical deadlocks, inside the sociocultural Brazilian scenario during the 1950s and 1960s. If, on one side, the need of stating the "new" in the avant-garde groups created some technical procedures and formal principles that, notably with the concrete poetry, targeted the fields of literary critics and teaching literature at universities, on the other side, resumed and radicalized old futurist, cubist, constructivist and 1922 modernist categories.
3
Tiba, Makhosini Michael. "Indigenous African concept of a leader as reflected in selected African novels." Thesis, University of Limpopo (Turfloop Campus), 2012. http://hdl.handle.net/10386/980.
Full textAbstract:
Thesis (M.A. (English Studies)) --University of Limpopo, 2012The mini dissertation seeks to explore the positive and negative qualities of an indigenous African leader as presented in a variety of oral texts including folktales, proverbs and praise poems as well as in the African novels of Mhudi, Maru, Things Fall Apart and Petals of Blood in order to deduce an indigenous African concept of a leader. This research is motivated by the fact that although researchers and academics worldwide acknowledge that it is very difficult to objectively define and discuss the terms ‘leader’ and ‘indigenous leader’ yet many tend to dismiss offhand such indigenous concepts of leadership as ubuntu as primitive, barbaric and irrelevant to modern institutions without examining them in detail.
4
Salem, Bilel. "Sartre, critique des poètes." Thesis, Lyon 2, 2014. http://www.theses.fr/2014LYO20078/document.
Full textAbstract:
Ma thèse traite d’un aspect de la critique sartrienne : la critique poétique. Elle se présente sous forme de triptyque. En effet, chaque partie traite de la figure d’un poète. Dans les deux premières parties de ma thèse, j’aborde deux poètes du XIXème siècle : Baudelaire et Mallarmé. Les deux livres qui m’ont servi de support pour étudier cette critique poétique sont le Baudelaire de Sartre et Mallarmé, La lucidité et sa face d’ombre. Ces deux essais ont radicalement bouleversé la manière avec laquelle on appréhendait jusqu’à là la figure de ces deux poètes. Si le XIXème siècle en a fait des monstres sacrés qui ont apporté la nouveauté dans le genre poétique, Sartre quant à lui, sape certaines idées reçues. Baudelaire est le premier à qui il s’attaque en dénonçant son désengagement. Il critique son dandysme outrancier qui en a fait selon lui un poète stérile. Cet essai est aussi l’occasion pour Sartre d’exposer sa théorie de l’existentialisme et de montrer que l’Engagement et la Littérature vont de pair et illustrent la liberté de l’Homme. Dans la seconde partie qui traite de Mallarmé, la lucidité et sa face d’ombre, la critique poétique se mêle à la critique historique. Sartre commence par brosser un tableau de la société du XIXème siècle en mettant l’accent sur le désœuvrement de ce siècle. Mallarmé semble comme Baudelaire illustrer une certaine forme de désengagement. Pourtant Sartre semble omettre un élément essentiel, c’est que ces poètes de la deuxième moitié du XIXème siècle font partie de ce que l’on appelle « Les Héritiers de l’athéisme ». Mallarmé dévoile l’absence d’un Dieu en caressant l’idée du suicide. Celui-ci apparaît dans ses poèmes puisque le poète expérimente sa propre mort comme pour réaffirmer l’absence de Dieu. En conséquence, il existe une liberté inhérente à ces deux poètes que sont Baudelaire et Mallarmé, mais cette liberté est bien différente de la liberté sartrienne qui se conçoit comme un absolu. Enfin dans la troisième partie de la thèse, c’est Genet qui est à l’honneur. Sartre manifeste là toute son admiration pour ce génie créateur qui a su assumer pleinement ses choix et qui n’a cessé de revendiquer la singularité de son être. La conception que se fait Genet de l’existence se situe aux antipodes de l’attitude baudelairienne. Chez Genet, la poésie s’est imposée comme un acte libérateur. Sartre n’hésite pas à comparer parfois indirectement les poètes. En effet, à ses yeux Baudelaire ne s’est aucunement illustré dans le mal. Genet, lui, par contre a fait de ce mal une véritable splendeur. Il l’a célébré et a fini par l’incarner. En abordant la destinée singulière de trois poètes, Sartre illustre en même temps sa propre philosophie existentielle. Il démontre l’absence d’un Inconscient qui expliquerait toutes nos actions et réaffirme la liberté absolue de l’HommeMy thesis deals with one aspect of Sartre's critic: the poetic criticism. It has three major parts. The first and the second parts of my thesis discuss two poets of the nineteenth century: Baudelaire and Mallarmé.Baudelaire and Mallarmé, La lucidité et sa face d’ombre represent two principals books which have been support my study. Both essays play a great role to change the way in which we thought about them before Sartre’s studies.The nineteenth century has made Baudelaire and Mallarmé as two most important poets, however Sartre brought innovation and tried to broke our popular belief. In the first part, Sartre has been denouncing Baudelaire’s disengagement.In the second part which deals with Mallarmé, la lucidité et sa face d’ombre,, Sartre describe the poets of second half of the nineteenth century as “The heirs of Atheism” . As a result, Sartre creates a new notion of freedom which is totally different from those of Mallarmé and Baudelaire. Finally, in the third part Sartre chose to express his admiration for Genet because he assumed his responsibility for his choice of being. Genet’s conception of existence is contradicted with that of Baudelaire.To crown it all, Sartre show his existential philosophy throughout these three poets of XIX and XX centuries. In relation to Sartre there is no Unconscious that would explain our actions. Consequently, he confirms the absolute freedom of Man
5
Ben, Mansour Mohamed. "Le poète et le Prince : couleurs de l'éloge et du blâme à l'époque abbasside (750 - 965)." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSEN086.
Full textAbstract:
En partant de l’une des périodes les plus riches dans l’histoire de l’Islam en termes de créativité et de production poétiques, notre projet vise à mettre au jour les formes qu’a revêtues le rapport entre le poète et le Prince. Pour élucider ce rapport aussi complexe que protéiforme, nous ferons appel à un corpus riche et varié, et on tentera alors d’examiner la question de l’éloge et du blâme à travers trois prismes : la rhétorique, l’éthique et la politique. Le discours encomiastique mobilise la rhétorique afin d’emporter l’adhésion d’un auditoire sur une matière qui n’est pas encore établie. Mais l’effort déployé par l’orateur afin de convaincre l’auditoire ne peut se passer de la toile de fond éthique et du système commun de valeurs dont il procède pour arriver à la persuasion. Quant à la dimension politique, elle se reflète dans la fonction du poète comme « arme verbale » au service du Prince et instrument de légitimation de sa position politique contre ses adversaires réels ou potentiels. Par-delà la fonction de panégyriste officiel, la performativité du discours politique s’étend également à la parole, d’éducation, de réforme voire de critique ouverte qui pourrait évoquer la parrêsia antique. Grâce à un fonds sapiential, la poésie apporte sa contribution au processus de formation de l’homme politique et lui offre un excellent manuel de gouvernement. Quant à la veine contestataire, l’invective, la caricature et la mobilisation de la parole polémique constituent ses principaux ressorts. La veine contestataire traverse le regard que le poète jette sur l’univers de la cour, la politique du Prince ou le rapport entre gouvernants/gouvernés. Qu’il s’agisse de nominations, de projets politiques ou de l’ethos même de l’homme du pouvoir, le poète est toujours présent pour donner son avis. L’injustice d’une décision prise par un juge, le népotisme d’un gouverneur ou la dureté d’un général sont autant d’aspects qui témoignent de la vivacité de la critique du pouvoir par le poète, et du rôle que ce dernier endosse en tant que moralisateur de cette sphère. Le conseil se présente alors comme le moyen de rectifier les décisions ou les orientations générales du Prince et témoigne de l’existence d’une véritable rationalité poétique. Aussi, la rhétorique de l’éloge et du blâme témoigne-elle de l’existence d’une rationalité poétique qui arrive à maturité à l’époque abbasside et parvient à un degré d’efficience oratoire sans précédent en raison d’une conscience accrue du poète de la nécessité de s’impliquer dans la vie politique et de peser sur le cours de l’HistoireBased on one of the richest periods in the history of Islam in terms of poetic creativity and production, our project seeks to revise the forms that characterized the relationship between the poet and the prince. To elucidate this relationship as complex as it is protean, we will call on a rich and varied corpus, and then examine the question of praise and blame through three prisms: rhetoric, ethics and politics. The encomiastic discourse uses rhetoric to gain an audience’s support for a matter that is not yet established. But the effort required by the orator to convince the audience necessitates the ethical backdrop and common system of values, from which he proceeds to persuade. As for the political dimension, it is reflected in the poet’s function as the “verbal arm” serving the prince and as an instrument legitimizing his political position against real or potential opponents. Beyond the function of official panegyrist, the performativity of political discourse also extends to speech, education, reform, even open criticism that could evoke the antique parrêsia. By virtue of its sapiential substance, poetry contributes to the process forming the politician and offers him an excellent manual to government. As for the dissenting vein, invective, caricature and the mobilization of polemical speech constitute his main resources. The dissenting vein passes through the poet’s gaze on the universe of the court, the prince’s politics and the relationship between governor/governed. Whether it involves nominations, political projects or the very ethos of the man of power, the poet is always present to give his opinion. The injustice of a decision made by a judge, the nepotism of a governor or the harshness of a general are all aspects that demonstrate the poet’s vivacious criticism of power, and the role that the latter assumes as the moralizer of this sphere. The counsel is then presented as a means to rectify the prince’s general decisions or orientations and attests to the existence of a veritable poetic rationality. Furthermore, the rhetoric of praise and blame indicates the existence of a poetic rationality that reached maturity in the Abbasid period and attained an unprecedented degree of oratory efficiency, due to the poet’s growing consciousness of the necessity to be involved in political life and to influence the course of history
6
St, Pierre Kelly M. "Revolutionizing Czechness: Smetana and Propaganda in the Umělecká Beseda." Case Western Reserve University School of Graduate Studies / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=case1333472822.
Full text
7
Gibson, Donald. "Twentieth-century poetry and science : science in the poetry of Hugh MacDiarmid, Judith Wright, Edwin Morgan, and Miroslav Holub." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/8059.
Full textAbstract:
The aim of this thesis is to arrive at a characterisation of twentieth century poetry and science by means of a detailed study of the work of four poets who engaged extensively with science and whose writing lives spanned the greater part of the period. The study of science in the work of the four chosen poets, Hugh MacDiarmid (1892 – 1978), Judith Wright (1915 – 2000), Edwin Morgan (1920 – 2010), and Miroslav Holub (1923 – 1998), is preceded by a literature survey and an initial theoretical chapter. This initial part of the thesis outlines the interdisciplinary history of the academic subject of poetry and science, addressing, amongst other things, the challenges presented by the episodes known as the ‘two cultures' and the ‘science wars'. Seeking to offer a perspective on poetry and science more aligned to scientific materialism than is typical in the interdiscipline, a systemic challenge to Thomas Kuhn's The Structure of Scientific Revolutions (1962) is put forward in the first chapter. Additionally, the founding work of poetry and science, I. A. Richards's Science and Poetry (1926), is assessed both in the context in which it was written, and from a contemporary viewpoint; and, as one way to understand science in poetry, a theory of the creative misreading of science is developed, loosely based on Harold Bloom's The Anxiety of Influence (1973). The detailed study of science in poetry commences in Chapter II with Hugh MacDiarmid's late work in English, dating from his period on the Shetland Island of Whalsay (1933 – 1941). The thesis in this chapter is that this work can be seen as a radical integration of poetry and science; this concept is considered in a variety of ways including through a computational model, originally suggested by Robert Crawford. The Australian poet Judith Wright, the subject of Chapter III, is less well known to poetry and science, but a detailed engagement with physics can be identified, including her use of four-dimensional imagery, which has considerable support from background evidence. Biology in her poetry is also studied in the light of recent work by John Holmes. In Chapter IV, science in the poetry of Edwin Morgan is discussed in terms of its origin and development, from the perspective of the mythologised science in his science fiction poetry, and from the ‘hard' technological perspective of his computer poems. Morgan's work is cast in relief by readings which are against the grain of some but not all of his published comments. The thesis rounds on its theme of materialism with the fifth and final chapter which studies the work of Miroslav Holub, a poet and practising scientist in communist-era Prague. Holub's work, it is argued, represents a rare and important literary expression of scientific materialism. The focus on materialism in the thesis is not mechanistic, nor exclusive of the domain of the imagination; instead it frames the contrast between the original science and the transformed poetic version. The thesis is drawn together in a short conclusion.
8
Mohlala, Mankgoke Jonas. "‘Bamasemola’ : seretotumišo sa E.M. Ramaila." Diss., 2008. http://hdl.handle.net/2263/27041.
Full textAbstract:
The purpose of this study is to trace and describe the form, origin and history of the praise poem ‘Ba Masemola’. This praise poem was included in the volume Seriti sa Thabantsho (1956). In that period, E. M. Ramaila collected and transcribed traditional praise poems of different groups, such as the Bapedi, the Batau, the Mapulana, and others. During his collection, Ramaila urged these groups not to forget their descent and history, and pointed out that these particulars were all brought together in their praise poems. Of the clans that are represented by their praise poems in this volume, only the Batau are discussed in this study. The Batau is a large group that is in its turn divided into five smaller groups, namely the Mphanama, Masemola, Nchabeleng, Makobe and Bakgaditsi groups. From among these smaller units the ‘Ba Masemola’ are selected for closer examination. Among the praise poems about the ‘Ba Masemola’ different kings are praised, for instance Mokwene, Tseke, Mabowe, and others. Not all these poems will be scrutinised, though occasional reference will be made to them. The most important concepts that are discussed in this study are the following: the praise poem, the narrative poem (poem with epic characteristics) and the epic. These genres share certain characteristics, yet also differ from each other. With regards to the content of the poem, several important characters are praised. The foremost figures that are mentioned here are the praise poet, the praised one and the ‘audience’. Their conduct differentiate them from characters found in (other) narratives works. The actions that are described can be divided into two groups, namely those that operate autonomously from other actions, and those that link with other actions. Nevertheless, all these happenings belong to the past. The milieu in this praise poem largely corresponds to that found in the narrative works, mainly because in the traditional settings, the praise poem is a declamatory piece that has several characteristics in common with the stage performance. In the description of the structural composition of this praise poem, a distinction will be made between the poem as literary work and the poem as verse. In the first case the theme, title and structure of the poem will be examined. The description of the structure of ‘Ba Masemola’ entails the different techniques Ramaila employs to carry across his ‘message’ and elucidates his point of view. In the examination of the verse composition, the first emphasis is on metrical principles that govern form, i.e correspondence and co-ordination, and the way in which Ramaila used them is then illuminated. In the stylistic finish of the poem there is a noticeable emotional charge. This can be mentioned as an important quality of the poem, and brings to the fore the bravery and fearlessness of the clan of GaMasemola.Dissertation (MA)--University of Pretoria, 2008.
African Languages
unrestricted
9
Tsiu, M. W. (Moruti William) 1944. "Basotho oral poetry at the beginning of the 21st century." Thesis, 2008. http://hdl.handle.net/10500/1362.
Full textAbstract:
Largely based on material recorded during an internationally sponsored inter-university research tour through the Sesotho speaking area of southern Africa in August 2000, this thesis explores the state of the Basotho oral poetry, the dithoko `praise poems', the difela `mine workers' chants' and the diboko `family odes' at the beginning of the 21st century.
Unlike the classical dithoko which were inspired by the wars or the battles in which the Basotho fought as well as cannibalism, those composed at the beginning of the 21st century are inspired by socio-economic and political situations of the poets. Lack of wars has resulted in the poets turning the praising to their chiefs and themselves. Changing socio-economic conditions inspired the difela compositions. The diboko though still a living tradition among the rural Basotho are not adhered to by some who are affected by modernism.
Performance of the three oral genres has shifted from the natural settings such as the battlefield, working parties, traditional courts, assemblies, etc., to organized annual festivals such as Morija Arts & Cultural Festival which constitute the Basotho's `popular culture'. The subject-matter and themes of the dithoko have shifted from warfare to traditional chiefs, current heroic deeds of the poets, current political situations and religion. The difela are characterized by inclusion of new subject-matter. The diboko still play an important function as carriers of the names of the ancestors, the tribal idiosyncrasy of the clan and the history associated with the clan's establishment.
The three Basotho oral genres demonstrate an emergence of a new phenomenon whereby one genre penetrates another, a phenomenon which may be called `migration of texts'. The last chapter explores the insights emanating from the entire research, and discusses suggestions on what should be done to ensure that the Basotho oral genres are maintained and improved. The video footage of the poets recorded at various places of the Free State and Lesotho have contributed to the success of the research. The thesis serves as a contribution to the Basotho's dynamic oral poetry on which scholars will hopefully do further research in the near future.African Languages
D. Litt et Phil. (African Languages)
10
Kekana, Thupana Solomon. "Sebopego sa diretotumišo tša bogologolo tša ditaola tša Sepedi (Sepedi)." Diss., 2005. http://hdl.handle.net/2263/26171.
Full textAbstract:
Eiselen (1932: 1) commented that the Black population of South Africa attached a particular religious value to the dolos art. He consequently collected some of the dolos sayings, but did not delve deeper into them. 1932 can hence be considered to be an important year with regard to this genre in the traditional literature of the Bapedi. The aim of this mini-dissertation is to investigate and discuss the design of the traditional dolos sayings in particular, because this research area in Sepedi literature has been neglected. In addition to a discussion of the dolos art, an attempt will be made to also find out what this form of art means to the people concerned. An adapted narratological model will be used for the interpretation of the various sayings; i.e. the content, the compilation and the meaning of the dolos sayings will be discussed. In an investigation of this kind, it is inevitable that attention will also be paid to the praise poem as a commendation. In this case, a distinction between the traditional and the modern forms of this genre is made of necessity. This distinction is based mainly on the fact that the modern praise poem sings the praise of present-day subjects, while kings, heroes, counsellor, animals, different kinds of objects and last but not least, dolosses are extolled in the traditional praise poem. A set of dolosses consists of 42 pieces, four of which are not only important but also indispensable in such a set. They are Moremogolo (male), Selomi (male), Mmakgadi (female) and Selomi (female). When the dolosses are thrown, they land in a specific way. This is called the landing of the dolosses, which is then interpreted and explained by the dolos master. Dolos sayings resort under the traditional praise poem as a separate genre. They are mainly short sayings and are not divided into stanzas. The verse form of the dolos saying by its nature differs from that of the European verse. The form of the dolos saying is, amongst other things, determined by the fact that these sayings never came into being in a written form; they were recitations. For the rest, those verse form principles that characterise them as verses, namely coordination and correspondence, are indeed applied by the reciter. The principle of coordination determines in this case that the caesura divides the dolos saying into 2 or 3 mutually dependent metrical units. The correspondence principle reconciles the various mutually dependent metrical units with one another through an equal number of syllable and length peaks plus the repetition of word stems or words. In the investigation, special attention was paid to the structuring of the dependent metrical units. When long measure repetition is investigated in the stanza of the traditional poem, it is indicated how this form of repetition in the metrical units brings about a solid unit through the repetition of a single word. This means that the lines of poetry inside the stanza are also bound together by this repetition. The important functions of repetition are emphasis and the reinforcement of the core information of the line being repeated. When dependent metrical units are repeated in the dolos saying, it is particularly the last line or a section thereof that is involved in this. At the same time it is a very important characteristic (resp.metre) of the dolos saying. Finally, linking is also looked at in so far as it brings about the second or subsequent line within the stanza.Dissertation (MA (Sepedi))--University of Pretoria, 2007.
African Languages
unrestricted
Books on the topic "Praise poem"
2
Fleischman, Paul. Ghosts' grace: A poem of praise for four voices. New York: Laura Geringer Book, 1996.
Find full text
3
Landeg, White, ed. Power and the praise poem: Southern African voices in history. Charlottesville: University Press of Virginia, 1991.
Find full text
4
Alexander, Elizabeth. Praise Song for the Day: A Poem for Barack Obama’s Presidential Inauguration. New York, USA: Katherine Tegen Books, 2012.
Find full text
5
Praise Song for the Day: A Poem for Barack Obama's Presidential Inauguration. Saint Paul, USA: Graywolf Press, 2009.
Find full text
9
Wolverton, Terry. Shadow and praise: Poems. Charlotte, NC: Main Street Rag Pub., 2008.
Find full text
10
McGuire, Jack. My pop: Poems of praise. Wilson, NC: Lifting up the Light of the World, 1989.
Find full textBook chapters on the topic "Praise poem"
1
Gueye, Marame. "Ode to Patriarchy: The Fine Line between Praise and Criticism in a Popular Senegalese Poem." In Gender Epistemologies in Africa, 63–83. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230116276_4.
Full text
2
Geider, Thomas. "Izibongo (Zulu Praise-Poems)." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_10824-1.
Full text
3
Decter, Jonathan. "Poems for Ploni: On the Use and Reuse of Praise." In The Poet and the World, 107–16. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110599237-008.
Full text
4
Underhill, James W. "Structure and Reconstruction: Jiří Levý and the Translation of Poems." In The Prague School and Theories of Structure, 313–42. Göttingen: V&R unipress, 2009. http://dx.doi.org/10.14220/9783862347049.313.
Full text
5
"Praise poem." In Anthropology after Gluckman. Manchester University Press, 2020. http://dx.doi.org/10.7765/9781526138019.00003.
Full text
6
"Political praise poem: The Ludwigslied." In A History of the German Language Through Texts, 93–101. Routledge, 2004. http://dx.doi.org/10.4324/9780203488072-16.
Full text
7
Tarrant, Richard. "To the Cool Grove." In Horace's Odes, 25–34. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780195156751.003.0003.
Full textAbstract:
This chapter differentiates modern connotations of the term “ode” (which now overwhelmingly refers to a praise poem) from its sense in antiquity as a musical composition. A discussion of Odes 1.1 shows how Horace situates himself as the Roman counterpart to the canonical Greek lyric poets such as Sappho, Alcaeus, and Pindar. Several other aspects of “lyric” as defined by Horace are identified, such as verbal decorum, a flexibility of subject matter, and an absence of polemic. Horace’s references to the Muses are interpreted in this chapter as a means of conferring authority on his personal lyric voice.
8
Petrie, Jennifer. "Petrarch solitarius." In Petrarch in Britain. British Academy, 2007. http://dx.doi.org/10.5871/bacad/9780197264133.003.0003.
Full textAbstract:
This chapter examines Petrarch's view on the solitary life based on his De Vita Solitaria. It explores the tensions behind the Petrarch's praise of the solitary life, notably the criticisms of it voiced by Augustinus in the Secretum. It explains that this opposition is left unresolved and what is left is a more complex picture of the humanist's self-portrayal as solitarius. It presents a poem from the second part of the Canzoniere which can be read as a subversion or as a sort of complement mirror image of all that is said in the De Vita Solitaria.
9
Stewart, Dustin D. "Commerce after Money." In Futures of Enlightenment Poetry, 119–51. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857792.003.0005.
Full textAbstract:
This chapter addresses the extractive logic of the poet Edward Young. It shows how his late masterpiece Night Thoughts at once extends and complicates the imperialism of his earlier work. At the heart of the analysis is Young’s notion that movement somehow generates depth, so that the mobility of a gold coin produces inner value, immaterial worth ready to be drawn out by its user. The treasure, on Young’s strange view, lies within the gold. Night Thoughts applies this thinking to the spiritual realm. Instead of assuming that it is God who extracts souls from bodies—as workers remove ore from mines—the poem suggests that souls can extract themselves from materiality through religious and poetic inspiration. Then they can delve into the interiorities of other angelic beings and exchange thoughts and feelings with them. Closing the chapter are a comparison to Charles Johnstone’s popular it-narrative Chrysal (1760–5) and a reading of Ignatius Sancho’s gushing praise for Night Thoughts.
10
Mottram, Stewart. "Wondering at Ruins." In Ruin and Reformation in Spenser, Shakespeare, and Marvell, 54–91. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198836384.003.0002.
Full textAbstract:
This chapter explores Spenser’s ambivalence towards the violence of reformation, and its ruination, not just of medieval monasteries, but the lives and legends of saints in monastic manuscripts. It offers a comparative analysis of two texts—William Vallans’s A Tale of Two Swannes (1590) and Spenser’s Ruines of Time (1591)—both written in the aftermath of the 1588 Spanish armada and with England’s war with Spain in the Low Countries ongoing. The chapter shows how both poets use a chorographical focus on the ruins of Roman Verulamium as a frame for their patriotic praise of Anglo-British heroism across history. Yet while both use historical examples of heroism to counter contemporary invasion anxieties in the early 1590s, both poems also reveal British history itself as a battleground between competing catholic and protestant versions of the past. These are tensions foregrounded by each poet’s respective approach to the life of St Alban, Verulamium’s most famous citizen. Vallans follows the medieval, monastic accounts of Alban’s life that are dismissed by John Foxe as ‘Abbeylike additions’ in his post-dissolution, protestant rewriting of Alban’s life in Actes and monuments, and this echoes Vallans’s interest in monastic history and monastic ruins elsewhere in his poem. If St Alban is the site of controversy in A Tale, he is a figure conspicuously absent from Spenser’s poem. The chapter argues for Alban’s shadowy presence in The Ruines of Time nonetheless, pointing to Spenser’s hitherto unacknowledged indebtedness to Gildas’s sixth-century De excidio Britonum and other ‘Abbeylike’ accounts of Alban.
Conference papers on the topic "Praise poem"
1
Sonntag, Inna. "Любовная лирика как предмет коммуникативного анализа." In Пражская Русистика 2020 – Prague Russian Studies 2020. Charles University, Faculty of Education, 2020. http://dx.doi.org/10.14712/9788076032088.19.
Full textAbstract:
The article considers the specifics of love lyrics from the point of view of rhetorical positions: the features of appropriate speech analysis of love poetry, as well as the genre repertoire (external and internal) of love poems are characterized.
2
Grominová, Andrea. "Может ли стать метареалистский текст привлекательным для студентов вуза?" In Пражская Русистика 2020 – Prague Russian Studies 2020. Charles University, Faculty of Education, 2020. http://dx.doi.org/10.14712/9788076032088.6.
Full textAbstract:
The poetry of metarealism is considered the poetry of the complexity of perception, interpretation, understanding, not only for students, but also for the researchers and literary critics themselves. The rich use of metametaphors, or the metabol, and their sequential accumulation makes it difficult to decode individual images and the meaning of the whole poem. Poetic texts of this kind, in addition, require their readers to have a general outlook on knowledge of history, culture, literature, technology, etc. Deciphering the meaning often resembles solving crosswords. To motivate university students studying Russian as a foreign language to read and understand the poetry of metarealism, one needs to arouse interest among them. Therefore, the purpose of this paper is to show the diverse use of information technology in the classroom on Russian literature, and more specifically in seminars on modern Russian literature to draw attention to metarealist poetry.
3
Queiroz, Taciana da Costa. "RECIFES ARTIFICIAIS: USO ESTRATÉGICO E ANÁLISE DE VIABILIDADE NA PRAIA DE MADRE DE DEUS – BA." In I Congresso Nacional On-line de Conservação e Educação Ambiental. Revista Multidisciplinar de Educação e Meio Ambiente, 2021. http://dx.doi.org/10.51189/rema/1812.
Full textAbstract:
Introdução: Os recifes de corais são formados por rochedos rígidos, resistentes e diversificados. Tem a função de abrigo e alimento para diversos organismos. Estudos mostram que apenas 10% dos oceanos são caracterizados como áreas de presença biológica produtiva, entre elas: zonas costeiras e plataformas continentais, que ficam à margem dos oceanos e mares. Entretanto, as ocupações nestas regiões causam a degradação desse ecossistema. Nesse cenário, surgem os recifes artificiais como instrumentos de manejo, com objetivos relacionados a mitigação de áreas degradadas na zona costeira, suprimento da perda de estoques pesqueiros, ampliação da disponibilidade dos recursos em locais onde a pesca é um dos meios de subsistência e redução da pressão sobre os recifes naturais. Objetivos: Esta pesquisa reúne informações sobre a Praia de Madre de Deus - Ba, suas características físicas e os materiais que podem ser utilizados como estruturas para proporcionar o desenvolvimento de recifes artificiais marinhos no local. Material e métodos: A metodologia foi baseada em um levantamento de dados secundários proveniente de referenciais bibliográficos. O tema foi abordado de forma descritiva e, entre os resultados, foram obtidos dados desde o ano de 1974 até o ano de 2019 com aplicações nos países da França, Japão, Estados Unidos, Austrália, Cuba, Canadá e Brasil. Os autores foram selecionados de acordo com o âmbito da pesquisa, isto é, uso dos materiais para o coral artificial em locais com características físicas semelhantes à área de estudo. A descrição das estruturas foi realizada de forma detalhada e qualitativa, apontando estudos que mostram os resultados obtidos em regiões com características similares a Ilha de Madre de Deus, os pontos positivos, negativos e melhores formas aplicação. Resultados: Entre as opções encontradas nos resultados, os pneus e o concreto estão entre os mais adequados à área de estudo por já terem sido aplicados com sucesso em regiões com características físicas semelhantes. Conclusão: Os recifes artificiais, na maioria dos estudos, são considerados uma forma eficiente de incrementar a fauna e a flora marinha de um local e, quando apresentam resultados negativos, as falhas se relacionam à falta de pesquisas em referencial ou são testes pioneiros.
4
Sarly, Monique S., Carmen A. Pedro, Catarina S. Bruno, Ana Pombo, and Sílvia C. Gonçalves. "PERFIL BIOQUÍMICO DAS GÔNADAS DO OURIÇO-DO-MAR PARACENTROTUS LIVIDUS EXPOSTAS A HIDROCARBONETOS NA COSTA PORTUGUESA." In I Congresso Brasileiro de Biotecnologia On-line. Revista Multidisciplinar de Educação e Meio Ambiente, 2021. http://dx.doi.org/10.51189/rema/812.
Full textAbstract:
Introdução: As gônadas dos ouriços-do-mar são consideradas uma fonte de proteínas, lipídios e minerais. Esse aparato nutricional está associado ao gênero e aos estágios gametogênicos do organismo, os quais podem ser alterados por condições desfavoráveis, como presença de poluentes e limitação de alimento. Em julho de 2017, ocorreu um derramamento acidental de três toneladas de hidrocaronetos na Praia do Abalo, na costa de Peniche, Portugal, tornando-se um local de investigação científica. Objetivo: Dentro desse panorama, o presente estudo foi desenvolvido com o objetivo de avaliar os efeitos ambientais desse evento, utilizando os teores de lipídios e proteínas das gônadas de Paracentrotus lividus como biomarcadores da presença de contaminantes. Material e métodos: Para tanto, 30 ouriços-do-mar foram recolhidos na Costa Impactada (CI) e numa Costa de Referência (CR) nos meses de julho, agosto e setembro de 2017. Foram realizadas análises para quantificação dos metais traço Cd, Pb, Ni, Fe, Mn, Zn e Cu por Espectrometria de Absorção Atômica, bem como análises para determinação de quantidade de lipídios e proteínas, ambas nas gônadas dos animais. Resultados: Os resultados demonstraram que houve presença de contaminantes nas duas estações de amostragem ao longo dos meses estudados, com exceção do Cd em setembro. Além disso, observou-se que as concentrações médias dos metais Zn e Cd foram significativamente menores nas gônadas masculinas quando comparadas as gônadas femininas. A tendência observada nos teores de lipídios e proteínas ao longo dos meses foi caracterizada por um pico em setembro, durante o crescimento das gônadas. O Zn exibiu uma correlação positiva com os teores de lipídios e proteínas. Por outro lado, observou-se uma correlação negativa entre os níveis de Ni e as proteínas nas gônadas. Conclusão: O presente estudo concluiu que os ouriços-do-mar da espécie P. lividus respondem à exposição direta a contaminantes, em níveis bioquímicos e função reprodutiva.