Relevant bibliographies by topics / Song poems

Academic literature on the topic 'Song poems'

Author: Grafiati
Published: 27 July 2024
Last updated: 28 July 2024

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Journal articles on the topic "Song poems"

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Khadka, Kul Bahadur. "The Un-bodied Voices in Shelley’s “To a Skylark” and Keats’s “Ode to a Nightingale”." Journal of Development Review 8, no. 1 (August 1, 2023): 16–21. http://dx.doi.org/10.3126/jdr.v8i1.57130.

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B. Shelley and John Keats are noted Romantic poets and their works are celebrated. In this article, Percy Bysshe Shelly’s “To a Skylark” and John Keats’s “Ode to a Nightingale” have been appreciated. The skylark and the nightingale seem to be similar birds while reading the poems simultaneously. Shelley glorifies the skylark’s song and Keats immortalizes the nightingale due to its melodious song. The article, structured in four headings- Introduction, Appreciating, The Un-bodied Voices and Conclusion, introduces the poets and their aforesaid poems. It appreciates both the poems in matter of the contrasts and commonalties between the birds, the major themes in the poems, the poets’ power of imagination and the un-bodied voices in the poems. It makes a quest for how the un-bodied voices in the poems represent idealism in contrast to the harsh reality of life. To appreciate the poems and further strengthen the ideas, the poets’ respective poems and books by various writers have been consulted. The article concludes that the songs of the skylark and the nightingale are the un-bodied voices which symbolize beauty, purity, perfection and freedom. These un-bodied voices are in contrast to the harsh reality of human life on the earth.
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Zholkovsky, A. K. "On the main-meta-song by Bulat Okudzhava." Voprosy literatury, no. 5 (November 29, 2021): 126–50. http://dx.doi.org/10.31425/0042-8795-2021-5-126-150.

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The article analyses Bulat Okudzhava’s ‘The Main Song’ [‘Glavnaya pesenka’] (1962). The poem’s metapoetic leitmotif and expressive structure are examined in a broader context of corresponding common literary motifs, Okudzhava’s poetic invariants, and immediately contemporary subtexts, including in song lyrics. The intertextual field comprises poems of the same metric structure, namely, three-foot amphibrachs. M. Gasparov specified themetre’s appropriate halos: suggestions of a drinking song ( ‘zazdravnaya,’ sung to toast someone’s health); a ballad; an allusion to Heine’s manner (memory, dreams, daily life); a Romantic intonation; and, lastly, a ceremonial verse, including metapoetic works, i.e., written by poets about poetry (namely, V. Bryusov’s, A. Akhmatova’s, and V. Khodasevich’s poems). Okudzhava’s ‘The Main Song’ belongs with the aforementioned series, as well as with poems united by the leitmotif of walking (departing), rejection and the actual process of poetry writing. A detailed analysis of Okudzhava’s intertext and method helps reveal the originality of the poet’s take on a traditional topic.
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INGLESE, FRANCESCA. "“Watch Out For The Sharks”: Gender, Technology, and Commerce in the American Song-Poem Industry." Journal of the Society for American Music 7, no. 3 (July 30, 2013): 295–315. http://dx.doi.org/10.1017/s1752196313000230.

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AbstractSince the early 1900s, song-poem entrepreneurs, often referred to as “song sharks,” have fueled a diffuse and largely hidden American industry that produces music to accompany the poems and lyrics of amateur writers. These entrepreneurs have long been demonized in the popular media for preying on the naiveté of their clientele. Yet despite charges of exploitation, this musical equivalent of the vanity press has survived for over a century. Although the vast majority of song-poets and their song-poems have remained in obscurity, in the 1990s, song-poems developed a cult following among record collectors; as “anonymous collaborations,” these recordings highlighted tensions between poignant personal expression and impersonal commercial rendering that appealed to listeners with a penchant for the obscure. This article draws on advertisements, sheet music, media coverage, and personal interviews to piece together a history of the song-poem industry, with particular focus on the gendered dimensions of the practice, the role of technology in the production process, and the multiplicity of meanings embedded in song-poems for both song-poets and collectors.
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Han, Christina. "Turning Songs into Poems and Poems into Songs: Intersections of Literary Sinitic and Vernacular Korean in Chosŏn Literature." Sungkyun Journal of East Asian Studies 21, no. 2 (November 1, 2021): 211–35. http://dx.doi.org/10.1215/15982661-9326219.

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Abstract This article investigates the dynamic intersections of Literary Sinitic and vernacular Korean and their impact on the innovations in poetry and song in fifteenth- through nineteenth-century Chosŏn Korea. More specifically, it traces the evolution of poetry or song discourse and explores the different strategies employed by Chosŏn poets and songwriters to render oral songs into text. It also investigates the differing views on the function of poetry and song, musical and textual preservation, and emotional and lyrical immediacy, which influenced the composition and translation of song-poems. The article probes the creative collaboration and competition between Literary Sinitic and vernacular Korean, and the fluid relations between translation and vernacularization. On the whole, it explores the ways in which the evolution of poetry-song discourse and the ensuing literary innovations contributed to Chosŏn's complex linguistic ecology.
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Luo, Lianlian, Fengjiao Gong, and Hang Zuo. "The Study of Poetical Style Attribution and Classification of Poetic Subgenres in the Tang and Song Poetry." Journal of Social Science Humanities and Literature 6, no. 6 (December 29, 2023): 19–28. http://dx.doi.org/10.53469/jsshl.2023.06(06).04.

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The literary styles of Tang and Song poetry exhibit noticeable differences, at times directly denoting two distinct categories of poetic styles. However, sometimes the poetic style of Tang Dynasty poets may be more akin to Song poetry, and the poetic style of Song Dynasty poets may lean closer to that of the Tang Dynasty. This study employs quantitative analysis and establishes mathematical models to investigate these differences. Methods: Firstly, this paper employs a logistic regression model based on the simulated annealing algorithm to classify the style of poets and determine their style affiliation. Secondly, using the k-means clustering model, Tang and Song poetic styles are further refined into subcategories. Finally, scores are computed using the TOPSIS model modified by the entropy weight method to select the most representative poems and poets within each style. Conclusions: 1) The model identifies the style affiliation of Pei Che and Liu Yizhi as Song poetry style and Tang poetry style, respectively, with an accuracy rate of 83.3%. 2) The Tang poetic style is divided into three categories, and the Song poetic style is divided into five categories, with the first subcategory of Tang poetry including poems like "Passing Jin Yang Palace" and "Spring Platform Views." 3) The most representative poems include "Sending Xue Shaoqing to Qingyang" and "Introducing the Ballad for the Feast."
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Roland-Silverstein, Kathleen. "Music Reviews." Journal of Singing 80, no. 2 (October 25, 2023): 237–40. http://dx.doi.org/10.53830/vckz2369.

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Review of vocal music by two American composers: Scott Wheeler, “Dreams, Lies & Love Songs” and Juliana Hall, “Setting Sails,” twelve song settings of Emily Dickinson poems for soprano, mezzo, or tenor. British composer Jacques Cohen’s “Love Journey,” seven song settings for voice and piano, and for string orchestra, on poems from James Joyce’s “Chamber Music.”
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Kamitova, Alevtina Vasilevna. "FEATURES OF POEMS-SONGS OF THE UDMURT POET AIVO IVI." Yearbook of Finno-Ugric Studies 14, no. 1 (March 27, 2020): 82–87. http://dx.doi.org/10.35634/2224-9443-2020-14-1-82-87.

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This article discusses the features of the functioning of the song genre in the creative practice of Aivo Ivi. The appeal of the Udmurt poets of the beginning of the XX century to the creation of literary songs, which were alterations, imitations, re-singing and stylization of folk songs, was a common phenomenon and played a positive role in the development of national literature. In this work, on the example of Aivo Ivi's creativity, the characteristic features of the poems-songs created by him are revealed. It is determined that his texts represent improvisation of folk songs with preservation of traditional plots, complicated by signs of time. In some cases, the popular melody of Russian songs was attracted by the Udmurt poet to "service" his compositions. In building the text on the basis of a simple plot line, the calculation for the ease of perception of information by the reader is obvious. It is established that the author's songs of Ivo Ivy went beyond the book existence. It is summarized that the song texts created by him as a whole were formed under the influence of socio-cultural trends and the previous song-poetic tradition. The "folk" form of poems, their adaptation to the tunes understandable to the illiterate population allowed the poet to realize ideological and educational meanings, were a way of creative self-realization, introducing the reader to the artistic word.
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Wiaderny, Jacek. "Title: Refrains of trauma: Eugeniusz Tkaczyszyn-Dycki’s songs." Tekstualia 2, no. 53 (July 29, 2018): 71–78. http://dx.doi.org/10.5604/01.3001.0013.3293.

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The article focuses on Eugeniusz Tkaczyszyn-Dycki’s songs, that is poems containing the word „song” in the title (e.g. „Song for Ms. Mościcka”). Although they are called „songs”, they are not intended to be performed orally; instead, they explore the musical potencial of their form for strictly textual purposes. The discussion follows Magdalena Łopata’s typology of Tkaczyszyn-Dycki’s songs, which refl ects the poet’s own differentiation between „somebody’s” songs, songs „about something”, „some” songs and songs „for somebody”. Subsequently, the article problematizes Tomasz Majeran’s conception of the refrainity” of Tkaczyszyn-Dycki’s poems. The Lacanian theory of trauma and tuché helps explain this particular aspect of Tkaczyszyn-Dycki’s poetic writing.
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Lv, Chen. "A Study on the Ideological Connotation and Significance of Agricultural Poetry in the Northern Song Dynasty." Studies in Linguistics and Literature 7, no. 2 (July 17, 2023): p87. http://dx.doi.org/10.22158/sll.v7n2p87.

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The agrarian-related poems of the Northern Song Dynasty are far from the realistic creation tradition of the Book of Songs, the Yuefu folk songs of the Han Dynasty, “those who are hungry sing about their food, those who are working about their work”, and the realistic spirit of Du Fu’s “Three officials” and “three different” and Bai Juyi’s New Yuefu Movement, “Only songs live the people’s disease”. Through multiple contrast techniques, they fully show the miserable fate of the peasants under the heavy pressure of land, taxation, labor and other systems in the Northern Song Dynasty. It exposes the social situation of extreme disparity between the rich and the poor and sharp contradictions between classes, and expresses the complex feelings of compassion, hatred and guilt of scholars and literati. Influenced by the social culture of the Song Dynasty, the agriculture-related poems of the Northern Song Dynasty also showed the creative tendency of argumentation and prose culture, which was different from the previous poetry, and demonstrated the unique artistic style of the Song poetry.
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Bharadwaj, S. "Dylan Thomas’s “In Country Sleep”: His Paradoxical Sensibility." Studies in Linguistics and Literature 4, no. 4 (September 9, 2020): p12. http://dx.doi.org/10.22158/sll.v4n4p12.

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In “In Country Sleep”, Dylan Thomas offers the Yeatsian paradoxical sensibility, the process of magnanimous impersonal art as salvation to the tumultuous Auden who condescends to the mortal levelling charges of conspiracy, war mongering, tilting and toppling against him as his performance as an artist of Yeatsian pagan altruistic art songs has undone his success, popularity and appeal among the contemporary poets. Auden, despite the loss of his grandeur, continues with the Eliotian metaphysical process of aesthetic amoral art song that has made him great in the early phase. The time-conscious political poets of the thirties, while heading towards the romantic ideals of their early phase, mounts up their rage against Thomas for his deviation in the later art songs from his early poems of pity. The young Movement poets commend Auden’s early poem for the parable of pure poetry and aesthetic success and defends his avenging move against Thomas. The introductory poem implies that it is Thomas’s introspective process of individuation and integration, coherence and co-existence, his paradoxical sensibility, his tragi-comic vision of Grecian altruistic art song that guards his sober and benign functioning as an ardent emulator of the pagan altruistic tradition of Hardy, Yeats, Houseman and Blake, as a poet of reconciliation, harmonization and cosmopolitan culture analogous to his functioning in the early poem 18 Poems.
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Dissertations / Theses on the topic "Song poems"

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Redman, Carolyn E. "Songs to the moon: a song cycle by Jake Heggie from poems by Vachel Lindsay." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1101848827.

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Redman, Carolyn Elizabeth. "Songs to the moon a song cycle by Jake Heggie from poems by Vachel Lindsay /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1101848827.

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Thesis (D.M.A.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains xiv, 159 p.; also includes graphics Includes bibliographical references (p. 147-149) and discography.
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Ng, Kam-lung, and 吳錦龍. "A study of the Yuan period criticism of the Song poems." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39634085.

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Tse, Wai-lok. "Female singers and the ci poems of the Tang and Song periods Ge ji yu Tang Song ci /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38322110.

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Tse, Wai-lok, and 謝煒珞. "Female singers and the ci poems of the Tang and Song periods=." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38322110.

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Lai, Hing-fong Camilla. "Ci poems on plum blossoms of the southern Song period (1127-1279) /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19929638.

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Kulma, David. "Emily: A Song Cycle For Soprano and Chamber Ensemble on Poems of Emily Dickinson." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1291039230.

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Hu, Maria Theresa. "Daughters of the lesbian poet| Contemporary feminist interpretation of Sappho's poems through song." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1596463.

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This thesis examines the seven song and/or choral settings of Sappho’s poetry by contemporary women composers Carol Barnett, Sheila Silver, Elizabeth Vercoe, Liza Lim, Augusta Read Thomas, Mary Ellen Childs, and Patricia Van Ness. Each composer has set Sappho’s poems in her own creative and artistic interpretation through diverse modern musical styles, giving the Greek poetess a modern, gendered female voice. This paper presents connections between the poetry chosen, its themes and interpretations, as well as the expressive musical devices employed. The various methodological approaches include historical and textual criticism, sociomusicology, and gender and sexual studies. The setting of Sappho’s poetry and the commonalities of the poetic themes set to music help us understand how modern women view Sappho’s image, hear, and give voice to the poetess of the ancient world.

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Ng, Kam-lung. "A study of the Yuan period criticism of the Song poems Yuan dai dui Song shi ping jia zhi yan jiu /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B39634085.

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Bell, Susan. "Verse into Song Composers and their settings of poems by Thomas Hardy: 1893 - 1928." Thesis, Loughborough University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492734.

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This thesis explores the work and lives of composers who set Hardy's verse to music during his lifetime and seeks to identify the place of Hardy song settings in English musical history and in the personal history of their composers. It also gives evidence that Hardy possessed an extraordinary musical memory, and that, to an extent that has not been appreciated, he consciously wrote various poems for musical settings.
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Books on the topic "Song poems"

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Kelly, Brigit Pegeen. Song: Poems. Brockport, USA: BOA Editions, Ltd., 1995.

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Mohamed, Paloma. Song: Poems. Dover, MA: Majority Press, 2000.

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Anyachonkeya, Ngozi. Udara song: Poems. Enugu, Nigeria: ABIC Books, 2006.

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Maeder, Susan. White song: Poems. Comptche, Calif: Pot Shard Press, 1998.

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Gypsy song: Poems. Simsbury, Connecticut: Antrim House, 2014.

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Rothberg, Joel. Earth-song: Poems. Los Angeles, Calif: Dragon's-Tail Press, 1992.

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Slade, Leonard A. The whipping song: Poems. Lewiston, N.Y: Mellen Poetry Press, 1993.

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Bennett, Hopkins Lee, and Taylor, Cheryl Munro, 1957- ill., eds. Song and dance: Poems. New York: Simon & Schuster books for young readers, 1997.

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Song of napalm: Poems. New York: Atlantic Monthly Press, 1988.

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Chinonyerem, Nze James. The changing song: Poems. Owerri, Imo State, Nigeria: Cel-Bez Didactic Books, 2004.

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Book chapters on the topic "Song poems"

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Everest, Kelvin. "Song." In Shelley: Selected Poems, 385–87. London: Routledge, 2023. http://dx.doi.org/10.4324/9781315170343-31.

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Everest, Kelvin. "Song of Apollo." In Shelley: Selected Poems, 433–34. London: Routledge, 2023. http://dx.doi.org/10.4324/9781315170343-39.

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Everest, Kelvin. "Song of Pan." In Shelley: Selected Poems, 435–36. London: Routledge, 2023. http://dx.doi.org/10.4324/9781315170343-40.

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Cain, Tom, and Ruth Connolly. "A Song." In The Poems of Ben Jonson, 890. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315696195-297.

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Cain, Tom, and Ruth Connolly. "A Song." In The Poems of Ben Jonson, 798. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315696195-265.

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McDonald, Peter. "Spinning Song." In The Poems of W.B. Yeats, 114–18. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003360407-11.

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Everest, Kelvin. "The Indian Girl's Song." In Shelley: Selected Poems, 725–29. London: Routledge, 2023. http://dx.doi.org/10.4324/9781315170343-57.

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Brown, Robert D., and Robert DeMaria. "A Song." In The Complete Poems of Samuel Johnson, 886. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003273257-147.

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Cain, Tom, and Ruth Connolly. "Song. To Celia." In The Poems of Ben Jonson, 504–6. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315696195-187.

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Cain, Tom, and Ruth Connolly. "Song. To Celia." In The Poems of Ben Jonson, 519–22. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315696195-191.

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Conference papers on the topic "Song poems"

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Shan, Yong, Jinchao Zhang, Huiying Ren, Yao Qiu, and Jie Zhou. "LingGe: An Automatic Ancient Chinese Poem-to-Song Generation System." In Thirty-Second International Joint Conference on Artificial Intelligence {IJCAI-23}. California: International Joint Conferences on Artificial Intelligence Organization, 2023. http://dx.doi.org/10.24963/ijcai.2023/842.

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This paper presents a novel system, named LingGe ("伶歌" in Chinese), to generate songs for ancient Chinese poems automatically. LingGe takes the poem as the lyric, composes music conditioned on the lyric, and finally outputs a full song including the singing and the accompaniment. It consists of four modules: rhythm recognition, melody generation, accompaniment generation, and audio synthesis. Firstly, the rhythm recognition module analyzes the song structure and rhythm according to the poem. Secondly, the melody generation module assembles the rhythm into the template and then generates the melody. Thirdly, the accompaniment generation module predicts the accompaniment in harmony with the melody. Finally, the audio synthesis module generates singing and accompaniment audio and then mixes them to obtain songs. The results show that LingGe can generate high-quality and expressive songs for ancient Chinese poems, both in harmony and rhythm.
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DIAO, Ke. "A Study on the Music and Writing Characteristic of Robert Schumann's Diechterliebe." In 2021 International Conference on Culture, Literature, Arts & Humanities. Clausius Scientific Press, 2021. http://dx.doi.org/10.23977/icclah2021021.

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Schumann's Diechterliebe is deep in annotation explanatory note of the poem, accurate. Schumann is good at portraying the fine and smooth emotion of heart, he has expanded the vocal music and created the tactics with their fresh styles, make art song vocal music sing between part and piano accompany partly organic to combine, inseparable, undertaking to demonstrate the mission of the real intension of poems together.
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Yin, Xuechen, and Hongzhi Yu. "Research of the breathing characteristics when reading short song-poems." In 2014 International Conference on Audio, Language and Image Processing (ICALIP). IEEE, 2014. http://dx.doi.org/10.1109/icalip.2014.7009830.

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Jiang, Yan. "Translation Strategies of Color Images in Poems of Tang and Song dynasties." In 2017 7th International Conference on Mechatronics, Computer and Education Informationization (MCEI 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/mcei-17.2017.181.

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Pudjiati, Danti, and Nu'umah A. Ashri. "The Approaches of English-Indonesian Translation in Huesca and Song IV Poems." In Proceedings of the 2nd Internasional Conference on Culture and Language in Southeast Asia (ICCLAS 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icclas-18.2019.48.

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Zhang, Yilei, and Feng Xin. "Spreading Correct View of Love in College Chinese Teaching----Exemplified by Song Ci Poems." In 2016 2nd International Conference on Education Technology, Management and Humanities Science. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/etmhs-16.2016.147.

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ABAZOĞLU, Muhammet. "The revolution against the traditional beginning of poems in ancient Arabic poetry (Abu Nawas as a model)." In VI. International Congress of Humanities and Educational Research. Rimar Academy, 2023. http://dx.doi.org/10.47832/ijhercongress6-2.

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The Arabic poem remained on a unified approach for long periods, and its mold was set by a group of paternal poets who were classified in the first class among critics, and Imru’ al-Qais, Zuhair, and al-Nabigha al-Dhubiani came in the forefront. With these ancestors, the Arabic poem became a model to be followed by those who came after them, and they even began to adhere to the same approach as a custom that should be followed. So the poem had to start by standing on the ruins, and then move on to depicting the different factors that arouse the poet’s approval. Finally, he ends with the main theme of his poem, whatever its purpose. But the oath that sparked great controversy later and voices rose among poets to leave it and depart from it is the beginning of the poem, or what is known as "standing on the ruins." In fact, the phenomenon of the introduction to the poem arose related to the environment and the type of civilization in it, and it remained connected to it and developed with it. These introductions were not an artistic tradition devoid of feelings and ideas, but rather constituted a methodology that carried the poets' emotions, their memories, and the events that passed through them. The development in the forms of these introductions, or the invention of other new forms, is due to the development of environmental factors and social life. Which requires modifying these introductions to keep pace with the new intellectual contents in their stylistics. In the past, the poem was a description of the ruins and the animals, a description of the horse, the camel, the arduous journey, and the description of the desert with its fears. As for the poets of the following eras, they changed - even if it was a little - in the readings of their poems, and most of their poems were not standing on ruins and describing the lost. On the contrary, a description of amusement, promiscuity, leisure life, and wine appeared in the Abbasid poetry, because they lived in a new environment. The son of Baghdad could not describe the arduous journey, the desert, and the animals that he did not see, because he was the son of a new environment, and every person starts from his environment. This research aims to shed light on the modernization that took place in the beginning of the Arabic poem, especially in the Abbasid era, specifically Abu Nawas's revolution against the old style
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Storozhuk, Alexander. "BAI JUYI AND ORIGINS OF THE NEW YUEFU." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.07.

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The first poetic cycle of 50 New Yuefu was written by Bo Juyi (白居易, 772–846) in 809 after the works of by his friend Li Shen (李紳, 772–846). Bo Juyi wrote it simultaneously with another great Tang poet Yuan Zhen (元稹, 779–831), and the new literary style has been known for centuries as Yuan-Bo (元白). Both of the poets shared the same attitude towards the role of letters in the society and aspired to implement their credo at the official posts they held. The origin of New Yuefu philosophy dates back at least to 806, when he together with Yuan Zhen created the illustrious political composition known as Celin (策林), where the bulk of their sociopolitical concepts were pronounced and stated. Most of these notions, inspired by Fugu movement, seem quite predictable and naive: the belief in an omni harmonizing role of ancient ritual, claim of necessity to promote worthy and knowledgeable, appeal to stop war and cut taxes. With all that this was a declaration of primary of benevolence over quasi orderliness, and this idea fully revealed later in New Yuefu poetry. Surely enough, New Yuefu have not been limited to the 50 poems, inspired by Li Shen. The new poetic experience gave birth to a whole literary trend, covering the most burning, up-to-date issues of contemporaneousness as well as the nearest past, picturing typical characters of different strata, pointing out social diseases and perils. The absolute trust in uppermost ritual role of a text has been embodied in such texts as, for example, Song of Eternal Grief (《長恨歌》), where the infamous story of Emperor Xuan-zong (玄宗, 685–762) and his favorite concubine Yang Gui-fei (楊貴妃, 719–756) found a new interpretation, that later would have become mainstream. Thus, the main conclusions are: 1) New Yuefu had a philosophic basement, carried out long before the first poem of the new style appeared; 2) its main goal was to revive the actual social role of poetry; 3) it had a great impact on the later Chinese poetry and social thought.
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9

Loh, Cassandra, Marcos Mortensen Steagall, and Tatiana Tavares. "Codificación lógica y poesía emocional: Una exploración de la expresión poética en lo digital." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.164.g216.

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Esta investigación de diseño orientada a la práctica investiga las oportunidades que tiene una expresión poética significativa dentro del medio digital. Su objetivo es crear poemas nacidos en formato digital que vinculen estrechamente el contenido con su forma, priorizando la presentación y el contenido textual del poema. Plantea la hipótesis de que el medio digital ofrece más oportunidades para la expresión personal que la impresión tradicional. Los poemas digitales pueden ser dinámicos, con animación, interactividad y descubrimientos. Pueden permitir que un poeta atraiga a los lectores más profundamente a su mundo, donde las acciones reaccionan y se convierten en parte de la expresión. Sin embargo, estos vienen con complejidades adicionales. Este espacio puede resultar intimidante para los creativos, ya que los profesionales deben aprender lenguajes de codificación para crear experiencias interactivas. Este proyecto se enmarca dentro de la poesía digital, pero toma prestadas ideas de otros ámbitos del conocimiento y la práctica, como el expresivismo estético (Collingwood, 2017) y el hipertexto (Landow, 2006). La práctica se centra en probar, reflejar y articular la expresión poética presente en tres características distintas del entorno digital: efimeridad, contenido oculto y no linealidad. Estos se derivaron inicialmente de la obsolescencia de la poesía digital (Angello, 2015), la falta de orientación dentro de los medios hipertextuales (Pope, 2006) y las definiciones del hipertexto (Landow, 2006). Estas características se investigan más a fondo a través de prototipos, donde la investigación prueba técnicas que reflejan sus cualidades para crear experiencias poéticas. Dentro de este proyecto, el investigador asume dos roles con diferentes visiones del mundo: el poeta y el diseñador. El primero aporta lentes expresivos y subjetivos, mientras que el segundo introduce objetividad y atención a las habilidades técnicas. Ambos son integrales y su relación es el núcleo de esta investigación. La investigación explora aquellos casos en los que la escritura poética ocurre en relación con la elección de técnicas del medio. A veces, las voces artísticas y técnicas resultaron disonantes. Sin embargo, ha habido destellos de simbiosis durante el proceso. Podría decirse que encontrar formas de fomentar la simbiosis entre estas dos voces puede garantizar una mayor sinergia y conexiones significativas entre el poema y su forma. Para investigar esto más a fondo, la investigación ha experimentado con flujos de trabajo de escribir poemas primero y priorizarlos, escribir poemas en segundo lugar y priorizar las técnicas, y finalmente desarrollar los poemas y las técnicas simultáneamente. Las evaluaciones de prototipos utilizan estas lentes para determinar la idoneidad de las técnicas hacia la expresión y sus características digitales asociadas. Como resultado, la investigación mapea una variedad de flujos de trabajo utilizados para abordar la poesía digital a través de las características descritas del medio. Se cree que sin una comprensión clara de lo que puede ofrecer el espacio digital, un poema no podría tener ninguna diferencia en su experiencia de lectura de su forma impresa escrita, o los practicantes podrían crear una experiencia discordante y sin sentido. El resultado final del diseño de esta investigación es una pequeña colección de poemas digitales sobre el tema de las relaciones en línea. Cada poema sirve para articular cómo se pueden aplicar y utilizar estas características, destacando las posibilidades de sustentar la expresión a través de sus relaciones con el poema.
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10

Álvarez Gallego, Isabel, and Silvia Blanco Agüeira. "Estrellas sobre fondos cambiantes: convocando la luz." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.980.

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Resumen: Tras crear y desarrollar durante siete años diecinueve poemas manuscritos, que hoy en día son considerados síntesis de su pensamiento, Le Corbusier publicó en 1955 su Poème de l´Angle Droit. Al estudiar este poema reconocemos en él los principales temas presentes en su trayectoria, así como algunos elementos —la espada, la nube y la estrella— que aparecen en su obra pictórica y arquitectónica. La presente comunicación pretende desvelar las conexiones que se establecen entre uno de estos elementos en concreto, como es la imagen de la estrella, y su incorporación al proceso de proyecto lecorbusieriano. Se trata de analizar cómo este tema, que se repite de forma obsesiva, configura imágenes que permanecen en las estrategias arquitectónicas que llevó a cabo el maestro suizo. La estrella habla de faro, de guía, de motor dentro de un proceso de viaje. Es el elemento que representa la movilidad del cosmos, que rige ese carácter de repetición ligado al arte; una señal que guía al viajero y define el itinerario que deben seguir sus pasos, que nos hace pensar en una brillante luz y en la distancia entre lo real y lo imaginado. Y, sobre todo, es la referencia presente en edificios, que condensaban así reflexiones que daban coherencia y unidad a las distintas opciones del proyecto. Abstract: Following a seven year period dedicated to the creation and development of nineteen manuscript poems, which today are considered a synthesis of his thinking, in 1955 Le Corbusier published his Poème de l´Angle Droit. The study of this poem reveals the principal themes that dominated his trajectory, as well as a series of elements, namely the sword, the cloud and the star, which appear in his pictorial and architectural work. This paper aims to shed light on the connections established between one of these elements in particular —the star— and its incorporation into Lecorbuserian method of architectural design. It seeks to analyse how this item is repeated obsessively, forming images which remain rooted in the architectural strategies developed by the Swiss architect. The star speaks of a lighthouse, a guide, a driving force that spurs on the journey. It is the element that represents the mobility of the cosmos, which governs the nature of repetition linked to art; a signal that guides the traveler and traces the route their steps must take them, leading us to think of a bright light and the distance that separates the real and the imagined. And above all, it is the reference in those buildings that condensed the reflections that gave coherence and unity to the various project options. Palabras clave: estrella; cosmos; proyecto; mirada; símbolo; proceso creativo. Keywords: star; cosmos; project; gaze, symbol; creative process. DOI: http://dx.doi.org/10.4995/LC2015.2015.980
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